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Questions 11 to 13 are based on a conversation between Professor Williams and one of his students on Japanese art. You now have 15 seconds to read Questions 11 to 13. When did Japanese art really take its form

A. In the 7th century.
B. In the 9th century.
C. In the 10th century.
D. In the 13th century.

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Questions 17 to 20 are based on a telephone conversation between Ms Muller and a hotel receptionist. You now have 20 seconds to read Questions 17 to 20. How many people does Vera Muller book rooms for

A. Two people.
B. Three people.
C. Four people.
D. Five people.

Questions 14 to 16 are based on a talk about business management. You now have 15 seconds to read Questions 14 to 16. To start a new business, you should first ______.

A. get ahead of yourself
B. explore the market
C. know more about competitors
D. forecast the lowest cost

How long had business-centered electronic commerce developed

Text 2 Many things make people think artists are weird. But the weirdest may be this: artists’ only job is to explore emotions, and yet they choose to focus on the ones that feel bad. This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century onward, more artists began seeing happiness as meaningless, phony or, worst of all, boring, as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil. You could argue that art became more skeptical of happiness because modem times have seen so much misery. But it’s not as if earlier times didn’t know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today. After all, what is the one modem form of expression almost completely dedicated to depicting happiness Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just all ideal but an ideology. People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in danger and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too. Today the messages the average Westerner is bombarded with are not religious but commercial, and for ever happy Fast-food eaters, news anchors, text messengers, all smiling, smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda -- to lure us to open our wallets -- they make the very idea of happiness seem unreliable. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks. But what we forget -- what our economy depends on us forgetting -- is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need art to tell us, as religion once did, Me mento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air. By citing the examples of poets Wordsworth and Baudelaire, the author intends to show that ______.

A. poetry is not as expressive of joy as painting or music
B. art grows out of both positive and negative feelings
C. poets today are less skeptical of happiness
D. artists have changed their focus of interest

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