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Questions 6～10It is Monday morning, and you are having trouble waking your teenagers. You are not alone. Indeed, each morning, few of the country’s 17 million high school students are awake enough to get much out of their first class, particularly if it starts before 8 am. Sure, many of them stayed up too late the night before, but not because they wanted to.Research shows that teenagers’ body clocks are set to as schedule that is different from that of younger children or adults. This prevents adolescents from dropping off until around 11 pm, when they produce the sleep-inducing hormone melatonin, and waking up much before 8 am when their bodies stop producing melatonin.The result is that the first class of the morning is often a waste, with as many as 28 percent of students falling asleep; according to a National Sleep foundation poll. Some are so sleepy they do not even show up, contributing to failure and dropout rates.Here is an idea: stop focusing on testing and instead support changing the hours of the school day, starting it later for teenagers and ending it later for all children. Indeed, no one does well when they are sleep-deprived, but insufficient sleep among children has been linked to obesity and to learning issues like attention deficit/hyperactivity disorder. You would think this would spur educators to take action, and a few have.In 2002, high schools in Jessamine County in Kentucky pushed back the first bell to 8:40 am, from 7:30 am. Attendance immediately went up, as did scores on standardized tests, which have continued to rise each year. In Minneapolis and Edina, Minnesota, which instituted high school start times of 8:40 am and 8:30 am respectively in 1997, students’ grades rose slightly and lateness, behavioral problems and dropout rates decreases. Later is also safer. When high schools in Fayette County in Kentucky delayed their start times to 8:30 am, the number of teenagers involved in car crashes dropped, even as they rose in the state.So why has not every school board moved back that first bell Well, it seems that improving teenagers’ performance takes a back seat to more pressing concerns: the cost of additional bus service, the difficulty of adjusting after school activity schedules and the inconvenience to teachers and parents.But few of these problems actually come to pass, according to the Center for Applied Research and Educational Improvement at the University of Minnesota. In Kentucky and Minnesota, simply flipping the starting times for the elementary and high schools meant no extra cost for buses.There are other reasons to start and end school at a later time. According to Paul Reville, a professor of education policy at Harvard and chairman of the Massachusetts Board of Education, "trying to cram everything out 21th-century students need into a 19th-century six-and-a-half-hour day just isn’t working". He said that children learn more at a less frantic pace, and that lengthening the school day would help "close the achievement gap between disadvantaged students and their better-off peers". According to the passage, what determines a person’s body clock is （）.
Questions 1～5Writing articles about films for The Front Page was my first proper job. Before then I had done bits of reviewing—novels for other newspapers, films for a magazine and anything I was asked to do for the radio. That was how I met Tom Seaton, the first arts editor of The Front Page, who had also written for radio and television. He hired me, but Tom was not primarily a journalist, or he would certainly have been more careful in choosing his staff.At first, his idea was that a team of critics should take care of the art forms that didn’t require specialized knowledge: books, TV, theatre, film and radio. There would be a weekly lunch at which we would make our choices from the artistic material that Tom had decided we should cover, though there would also be guests to make the atmosphere sociable.It all felt a bit of a dream at that time: a new newspaper, and I was one of the team. It seemed so unlikely that a paper could he introduced into a crowded market. It seemed just as likely that a millionaire wanted to help me personally, and was pretending to employ me. Such was my lack of self-confidence. In fact, the first time I saw someone reading the newspaper on the London Underground, then turning to a page on which one of my reviews appeared, I didn’t know where to look.Tom’s original scheme for a team of critics for the arts never took off. It was a good idea, but we didn’t get together as planned and so everything was done by phone. It turned out, too, that the general public out there preferred to associate a reviewer with a single subject area, and so I chose film. Without Tom’s initial push, though, we would hardly have come up with the present arrangement, by which I write an extended weekly piece, usually on one film.The space I am given allows me to broaden my argument—or forces me, in an uninteresting week, to make something out of nothing. But what is my role in the public arena I assume that people choose what films to go to on the basis of the stars, the publicity or the director. There is also such a thing as loyalty to "type" or its opposite. It can only rarely happen that someone who hates westerns buys a ticket for one after reading a review, or a love story addict avoids a romantic film because of what the papers say.So if a film review isn’t really a consumer guide, what is it I certainly don’t feel I have a responsibility to be "right" about a movie. Nor do I think there should be a certain number of "great" and "bad" films each year. All I have to do is put forward an argument. I’m not a judge, and nor would I want to be. Which of the following best describes what the author says about his work（）
Questions 11～15It’s estimated that every year 100,000 children aged 16 and under run away from home. The London Refuge, an unremarkable house on an unremarkable street, is the only place in Britain that will give them a bed. Last year it gave sanctuary to 238 children of whom the youngest was 11. What happened to the other 99,762 Nobody knows, although it’s a fair bet that some of them ended up on the streets, that some fell into inappropriate and dangerous company, that some didn’t survive. "The mere fact that they’re running away puts them at risk," says Lorna Simpson, the refuge’s deputy manager. "On the streets they’ 11 mix with other young people. They’ re so naive; they don’t understand that people who are nice to them will want payback. Our job is to make them safe. "Simpson, a former social worker, is a calm woman of great warmth. The refuge has six beds and has been open since 1993, often with the threat of closure hanging over it. The problem has nothing to do with the quality of its service and everything to do with funding. A week’s placement costs ￡2. 278 and three successive governments have argued that the annual running costs of ￡720. 000 should be locally funded. But because it is used by children from many parts of London, and beyond, local authorities are reluctant to contribute.The Government has now agreed to work on a strategy to support runaway children in England and Wales, which is rich after its withdrawal of funding from the refuge in December. Since then the NSPCC, National Society for the Prevention of Cruelty to Children, which runs the refuge in conjunction with St Christopher’s Fellowship, has financed it through a donation from an individual, but that money will last only until late next year. "Without this facility there’s nothing; children who run away are on the street," says Nasima Patel, the assistant director of the NSPCC. "One of the strengths of the refuge is that children who have left home can ring up directly and will get a bed and supportive staff without having to go through a process of assessment".The refuge accommodates six children plus staff. Many of the admissions are at night and children can stay up to 21 days in three months, although most stay for three to five days. They find it through social services, through ChildLine and through word of mouth."Children run away from everything you can think of," Simpson says. "Arguments with step-parents, sexual abuse, alcoholic parents, being left to bring up their younger siblings, neglected children who have been failed by social services, girls who have been trafficked. We get doctors’ and lawyers’ children who run away because they want more pocket money, or want to stay out later than their parents allow. They’ve been given everything, they get to 15 and no one thinks to pull the reins in. By that time it’s too late; they rebel. "Most of the children are from families known to social services, and for them the refuge’s ordered regimen is a welcome contrast to the chaos they know. Staff listen without judging and without encouraging dependency, trying to establish why the children have run away. The aim is to get them home or into the care of social services and, after discharge from the refuge, a family support worker is available. The word "sanctuary" (para. 1) is closest in meaning to （）.
Questions 1～5Writing articles about films for The Front Page was my first proper job. Before then I had done bits of reviewing—novels for other newspapers, films for a magazine and anything I was asked to do for the radio. That was how I met Tom Seaton, the first arts editor of The Front Page, who had also written for radio and television. He hired me, but Tom was not primarily a journalist, or he would certainly have been more careful in choosing his staff.At first, his idea was that a team of critics should take care of the art forms that didn’t require specialized knowledge: books, TV, theatre, film and radio. There would be a weekly lunch at which we would make our choices from the artistic material that Tom had decided we should cover, though there would also be guests to make the atmosphere sociable.It all felt a bit of a dream at that time: a new newspaper, and I was one of the team. It seemed so unlikely that a paper could he introduced into a crowded market. It seemed just as likely that a millionaire wanted to help me personally, and was pretending to employ me. Such was my lack of self-confidence. In fact, the first time I saw someone reading the newspaper on the London Underground, then turning to a page on which one of my reviews appeared, I didn’t know where to look.Tom’s original scheme for a team of critics for the arts never took off. It was a good idea, but we didn’t get together as planned and so everything was done by phone. It turned out, too, that the general public out there preferred to associate a reviewer with a single subject area, and so I chose film. Without Tom’s initial push, though, we would hardly have come up with the present arrangement, by which I write an extended weekly piece, usually on one film.The space I am given allows me to broaden my argument—or forces me, in an uninteresting week, to make something out of nothing. But what is my role in the public arena I assume that people choose what films to go to on the basis of the stars, the publicity or the director. There is also such a thing as loyalty to "type" or its opposite. It can only rarely happen that someone who hates westerns buys a ticket for one after reading a review, or a love story addict avoids a romantic film because of what the papers say.So if a film review isn’t really a consumer guide, what is it I certainly don’t feel I have a responsibility to be "right" about a movie. Nor do I think there should be a certain number of "great" and "bad" films each year. All I have to do is put forward an argument. I’m not a judge, and nor would I want to be. What do we learn about Tom Seaton in the first paragraph（）
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