PART I: Cloze (20 points) FtufuL?JS
Directions: Choose the best word(s) for each numbered blank. M,j(=hRJ/E
Production workers must be able to do statistical quality control. Production workers must be PqNFyQkl
able to do just-in-time inventories. Managers are increasingly shifting from a "don't think, do what (nW67YTr
you are told" to a "think, I am not going to tell you what to do" style of management. ^1:U'jIXO
This shift occurs not because today's managers are more ___(1)___ than yesterday's managers, 9p$V)qdX
but because the evidence is mounting that the second style of management is more ___(2)___ than @4%L36k
the first style of management. But this means that problems of training and motivating the work x?x`oirh
force both become more central and require different models of behavior. 5ep/h5*/
To be on top of this situation, tomorrow's managers will have to have strong background in sDgXU@
organizational psychology, human relations, and labor ___(3)___. The MIT Sloan School of quickly $@\mpw
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management attempts to ___(4)___ our understanding in these areas through research and then MyJ4><oG
quickly bring the ___(5)___ of this new research to our students so that they can be leading-edge a/~aFmu6b
managers when it comes to the human side of the equation. }MR1^
The first three decades after World War II were ___(6)___ in ___(7)___ the United States had a OE)~yKy
huge technological lead ___(8)___ all the rest in the world. In a very real sense, ___(9)___ YL
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technological competitive. American firms did not have to worry about their technological vgn@d,v
competitiveness because they were ___(10)___. K\[!SXg@
But that world has disappeared. Today we live in a world where American firms ___(11)___ -71dN0hWh
have automatic technological ___(12)___. In some areas they are still ahead, in some areas they are H-rWDN#
_ 4vK8kkW1
__(13)___, and in some areas they are behind, but on average, they are average. [~W`E1,
___(14)___ this means is that American managers have to understand the forces of technical 3`hUo5K
change in ways ___(15)___ were not necessary in the past. Conversely, managers from the rest of uBg 8
h{>
the world know that it is now possible for them to dominate their American competitors if they I4rPHZ|
understand the forces of technical change better than their American competitors do. "re-@Baw
In the world of tomorrow managers cannot be technologically ___(16)___ ___(17)___ their ~>G]_H]?
functional tasks within the firm. They don't have to be scientists or engineers inventing new fbrp#G71y
technologies, ___(18)___ they have to be managers who understand when to bet and when not bet vY6W|
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on new technologies. If they ___(19)___ what is going on and technology effectively becomes a {hSGv
black box, they ___(20)___ to make the changes. They will be losers, not winners. Q+|{Bs)6i1
1 a. enlightened b. enlightening c. enlightenment d. enlighten )G^TW'9
h>
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2 a. sterile b. producing c. productive d. extravagant 78#!Q.##
3 a. economics b. economic c. economy d. economies -P=g3Q i
4 a. take b. arouse c. rise d. advance 1.@vS&Y7OE
5 . a. results b. evidence c. content d. fruits KcGsMPJ
6 a. usual b. flawed c. unusual d. unessential $*MCUnl
7 . a. which b. / c. that d. those 6@;ha=[+
8 a. by b. over c. on d. upon 33l>{(y
9 a. was the world not b. the world was not c. did the world be not d. was not the world /z."l!u6
10 a.superior b. super c. inferior d. junior "vF
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11 a. still b. even c. neither d. no longer r >{G`de4
12 a. superiority b. inferiority c. majority d. minority :bM+&EP
13 a. common b. average c. ignorant d. exceptional ";3*?/uM
14 a. How b. That c. What d. Which cleOsj;S
15 a. that b. they c. those d. who e&Y0}oY
16 a. illiterate b. sophisticated c. literate d. omniscient s}x>J8hK
17 a. regardless b. in spite of c. despite d. regardless of uq7T{7~<
18 a. and b. likewise c. furthermore d. but -mNQ;zI1
19 a. didn’t understand b. don't understand c. haven’t understood d. hadn’t understood d{+(Lpj^
20 a. failed b. would have failed c. would fail d. would be failed {5:Zl<0
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PART II: Reading Comprehension (30 points) vS;'}N
Directions: Choose the best answers based on the information in the passages below. t
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Passage 1 ?qHF}k|
The leaders of the mythopoetic men's movement believe that modernization has led to the +H'\3^C-
feminization of men. Mythopoets believe that the rise of the urban industrial society "trapped men QX0Y>&$)
into straitjackets of rationality, thus blunting the powerful emotional communion and collective jp<VK<s]
spiritual transcendence that they believe men in tribal societies typically enjoyed". Most Q|hm1q
importantly, the movement seeks to restore the "deep masculine" to men who have lost it in their <!x+eE`
more modern lifestyles. Other causes for the loss of the "deep masculine" include: Men no longer ?X_V#8JK
being comrades who celebrated their masculinity together. Rather, they had become competitors r2eQ{u{nX
within their workplaces; Men spending more time in their houses with women than they did with Ek .3
men (in non-competitive terms outside of work). Excessive interaction with women generally kept B4W\
t{
men from realizing their internal masculinity; Feminism is bringing attention to the “feminine X-Ycz 5?
voice.” Through this, the mythopoetic men felt that their voices had been muted (though Bly and Q_P5MLU>
others are careful in not blaming feminism for this); The separation of men from their fathers kept `F1dyf!p<
them from being truly initiated into manhood, and was a source of emotional damage. Men were iBbbr,
suffering further emotional damage due to feminist accusations about sexism. Men should celebrate M []OHw
their differences from women, rather than feeling guilty about them. Men is being discouraged from jXIEp01
expressing their emotions. Male inexpressivity is an epidemic and does not correspond to their =7jEz+w#
"deep masculine" natures. Groups of primarily white, middle-aged, heterosexual men from the TbNGgjT
professional class retreated from their female loved ones in order to join in spiritual rituals that (([
I]q
emphasized homosociality, with the central goal of reclaiming the parts of their masculinity that gue(C(~.k_
they had lost called the "deep masculine." Because most men no longer perform masculine rituals, Jp]T9W\
mythopoets assert that men have mutated into destructive, hypermasculine chauvinists, or, in the S<oQ}+4[~
opposite direction, have become too feminized. The mythopoetic men performed rituals at these
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gatherings, which were meant to imitate those performed by tribal societies when men initiated "{F;M{h$},
boys into a deeply essential natural manhood. The movement emphasized the importance of Q4%IxR?
including multiple generations of men in the rituals, so that the men could learn about masculinity a$+#V=bA
from those who were older and wiser. Characteristic of the early mythopoetic movement was a S}gD,7@
tendency to retell myths, legends and folktales, and engage in their exegesis as a tool for personal .cR*P<3O
insight. Using frequent references to archetypes as drawn from Jungiananalytical psychology, the &%e"9v2`
movement focused on issues of gender role, gender identity and wellness for the modern man (and N(R,8GF5G
woman). Advocates would often engage in storytelling with music, these acts being seen as a k,]{NO
modern extension to a form of "new ageshamanism" popularized by Michael Harner at C4_t_N
approximately the same time. The movement sought to empower men by means of equating b\L)m (
archetypal characters with their own emotions and abilities. For instance, Michael Messner ? ).(fP
describes the concept of "Zeus energy" as emphasizing "male authority accepted for the good of the # U`&
jBU
community". Beliefs about the emotional system based in archetypes of great men, mythopoets VRhRwdC
sought to channel these characters in themselves, so that they could unleash their "animal-males". Qa?QbHc
This group primarily analyzed the archetypes of King, Warrior, Magician, Lover and Wildman. w4}(Ab<Y
As a self-help movement the mythopoetic movement tends not to take explicit stances on w:R]!e_6\9
political issues such as feminism, gay rights or family law (such as the issues of divorce, domestic B}5XRgq
violence or child custody), preferring instead to stay focused on emotional and psychological j&}B<f _6J
well-being. Because of this neutrality, the movement became a site of social criticism by feminists, Ap,q
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S
and was often characterized as anti-intellectual as well as apolitical. Michael Messner once gave a MZi8Fo'
speech at a gathering, in which he addressed the dangers of celebrating the warrior, as instances of <w11nB)
rape are higher in countries that glorify war. The mythopoets responded that they were not \]GGVI;u
interested in intellectual or political pursuits, but were primarily concerned with conducting V9]uFL
spiritual and emotional work. Additional feminist critique revolved around the movement's absence XAlD
ww
of women's perspectives, as well as the essentialism in the movement's teachings. h=mv9=x
Comprehension Questions: :O#gJob-%s
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21. The mythopoetic men's movement can best be understood as ________________. dK7 ^
a. a men’s literary movement X)FQ%(H<
c. a men's rights movement *Ag, kW"
b. a men's liberation movement B
C&^]M
d. a second-wave feminist movement 3g+\?L-c
22. The mythopoetic men's movement consists of groups of men who retreated from their female *xho
loved ones in order to strive for ________________. GYTbeY
a. gay rights gGD]t;<u
b. same-sex marriage wf^cyCR0
c. masculinity JCBnFrP
d. myths, legends and folktales *+# k{D,
23. The idea that modernization has led to the feminization of men means that Z 'Zd[."s
_________________. lK 9s0t'
a. men cannot be themselves $Jt8d|UP
c. men’s voices have changed <kk'v'GW@
b. men can no longer make friends eq7C]i
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d. men cannot express themselves m}sh I8S
2 P/HHWiD`D
24. The root issue is ________________. `
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a. feminism UeC 81*XZ
b. masculinity YlxUx
c. sex _y.mpX&
d. gender F5Cqv0HV
25. According to the text, the causes for rape must be sought in _________________. qsQ]M^@>
a. the celebration of the archetype of the warrior i]V
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b. the unleashing of men’s "animal-males” h:eN>yW
c. domestic violence Ul7,k\q@
d. the loss of masculine rituals IhtmD@H}
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Passage 2 \r)_-
Although in the novel the millennium has been and gone, there are no references at all to real |rG8E;>
contemporary American or global political events of the time of writing. Chapstick, Pledge, and .CB"@.7
Skevener in their study The Endless Loop of History: Space Time in the work of David Foster
~
`a#h#
Wallace (London 2001) have already noted the way Infinite Jest divorces itself from history by the Vw6>:l<+<
use of sci fi elements. They note how compared with the American post moderns, whose works T(t
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interact with real historical time, Infinite Jest takes place in an ahistorical, allegorical time. DFW’s %`8KG(F^
invention of Subsidized Time, and the renaming of years after products and companies shows the D"1vw<Ak
way in which the soul-rotting effects of advertising infect time as well as internal and external C"V?yDy2~
space (cf: Phillip K Dick’s adverts projected onto the moon in The Man in the High Castle). fbW,0
Otherwise, the ubiquitous presence of advertising in contemporary daily life is absent from the MV:<w3!
novel. Actually, this is not correct. The theme of waste management (also the underlying structure S.?\>iH[
of Don DeLillo’s novel Underworld) reflects some of the anxieties of the 90s, the decade in which }-k_?2"A
the novel was written: namely, global warming, environmental concerns, nuclear waste ^$T!@+:
management, including its export to third world countries, the trading of carbon emission points, o
%9Ua9|RR
futures swaps in carbon footprints etc. DFW is here simply satirizing contemporary concerns; and a xP|%rl4
Freudian reading of this theme is both unnecessary and not really illuminating, Don Gately’s work Xv<;[vq}F
as a shit hoser notwithstanding. DFW’s use of spurious knowledge and scholarship (including a JCQx8;V%I
spurious academic apparatus at the back of the book) has been amply commented on, especially the D| 8sjp4
doubtful physics of J.O. Incandenza’s work with lenses and nuclear annulation, and the iffey math )U3 H15
involved in the Eschaton game. By his use of the spurious DFW is not only satirizing the discourse 9|?(GG
of academic knowledge, but making a serious point about the extent and typology of knowledge n8y ,{|
itself. Once knowledge becomes so specialized as to become comprehensible to only a very few HCn]#
those firmly inside the discourse- what status does that knowledge gain? To those outside the ft.}$8vIT
discourse, the knowledge can only be taken on trust, and therefore all manner of hoods may be f"OA Zji
winked. In this case the boundaries between the fictional and the real become blurred, a matter for \M1M2(@pDJ
argument. We are used to questioning the reliability of the narrative voice in fiction, but not so able C$Hl`>?$
to question in the same way the reliability of academic discourse or specialist knowledge. The 0'`8HP
presence of the spurious next to the real infects the real, inviting us to extend our distrust of !<UEq`2
fictional narrative to non-fictional exposition, the fiction (le mensonge) and the truth become 3
MI ) E
mirrors of each other. The title of a work stands in metonymic relationship to the content of the kxKnmB#m-
work: War and Peace, for example, signifies the two main themes and structuring devices of that Ty,)mx){)
novel. For existing books, (real, read books), the title summons up everything we know or OKLggim{
remember about the book. Where that work is non-existent (fictional, spurious, lost or simply wshp{ y
unknown/unread) the title acts as an empty signifier, which we can fill with our imagination, %N AFU/&
effectively writing the work ourselves in a flash. Barthes calls these bookless titles prolepses; O+UV\
Nabokov creates summaries and detailed commentaries for them (in Pale Fire and The Real life of BD-c 0-+m
Sebastian Knight); Borges bases his whole stylistics on this process of metonymic expansion; and "3KSmb
Eco fills entire imaginary libraries with these fantastical books. DFW for his imaginary works, like |?t8M9[Z
Hoffmann, has a penchant for excessively long and humorous titles, whose length guides us in this > Qbc(}w
process of creation cf: Good Looking Men in Small Clever Rooms that Utilize Every Centimeter of GVHfN5bTqn
Available Space With Mind-Boggling Efficiency (title of one of J.O. Incandenza’s entertainments), Cx3m\
\c
and Mousetraps and their Influence on the Character and Achievement of the Feline Race (title of j[=_1~
u}
one of Murr’s books from Hoffmann’s The Life and Opinions of the Tomcat Murr).
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Comprehension Questions: Ev|{~U
26. According to the author, the use of some of the anxieties of the 90s does not contradict the w)y9!li
proposition that the novel Infinite Jest takes place in an ahistorical time because $CYpO}u#
______________. f [I'j0H%
a. the millennium has been and gone 'V9aB5O&
b. DFW is here simply satirizing contemporary concerns
-
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c. DFW’s invention of Subsidized Time -O>mY
)
d. he uses sci fi elements 0gb]Kj x
27. DFW’s invention of Subsidized Time exemplifies _______________. jvQ+u L
a. the ubiquitous presence of advertising in contemporary daily life HtXBaIl\
b. the commercialization of American society E `j5y(44
c. the endless loop of history gwB>oi*OE
d. American post modernism 4bJ2<j
28. Following Roland Barthes, which of the following titles would be an example of prolepsis? 7'/2 :"
a. War and Peace. 8sjHQ)<
b. The Real life of Sebastian Knight ~aR='\<