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Questions 19～22 Where is this conversation taking place（）
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For centuries people have been fighting over whether governments should allow trade between countries. There have been, and probably always will be, (1) to the argument. Some people argue that just (2) is best for both the country and the world. Others argue that trade with other countries (3) for some people to make a good living. Both sides are at least (4) .International trade matters a lot. Its effects on (5) are enormous. Imagine a world in which your country (6) at all with other countries. Imagine what kind of job you would be (7) and what goods you could buy or not buy in such a world.For the United States, for example, start by imagining that it lived without its (8) a year in imported oil, and cut back on its (9) because the remaining domestic oil and other energy sources were (10) . Producers and consumers in other parts of the economy would (11) if they were suddenly stripped of foreign-made goods like CD players and clothing. On the (12) side, suppose that Boeing could sell airplanes, and farmers could sell their crops, (13) the United States, and that U. S. universities could admit only (14) . In each case there are people who gain and people who lose from (15) international trade. In any case, less or more international trade will have (16) on your career as well as your life.For years, American companies are often faced with the choice of buying (17) , which are expensive, and foreign-made goods, which are cheap. If the company buys American goods, it may (18) taxpayers by failing to keep prices low. But if it buys foreign goods, it may (19) the jobs of American workers. Recently, Congress has passed a law compelling American companies with government contracts to (20) domestic goods and services. 2（）
Questions 27～30 According to the conversation, what has the woman observed recently（）
Questions 11～14 What do the man’s parents often ask him to do when he is going away（）
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 does the author mean when he says that Tom’s scheme "never took off" (para. 4) （）
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