PART I: Cloze (20 points) \T`iq[+6
Directions: Choose the best word(s) for each numbered blank.
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Production workers must be able to do statistical quality control. Production workers must be ]<o^Q[OL
able to do just-in-time inventories. Managers are increasingly shifting from a "don't think, do what WWIQ6EJO
you are told" to a "think, I am not going to tell you what to do" style of management. "4QD\k5
This shift occurs not because today's managers are more ___(1)___ than yesterday's managers, (=D^BXtH|
but because the evidence is mounting that the second style of management is more ___(2)___ than z
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the first style of management. But this means that problems of training and motivating the work -hO[^^i9
force both become more central and require different models of behavior. Et"B8@'P
To be on top of this situation, tomorrow's managers will have to have strong background in 4
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organizational psychology, human relations, and labor ___(3)___. The MIT Sloan School of quickly J*f..:m
management attempts to ___(4)___ our understanding in these areas through research and then +JBYGYN&K
quickly bring the ___(5)___ of this new research to our students so that they can be leading-edge McQWZ<
managers when it comes to the human side of the equation. naW!Mg
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The first three decades after World War II were ___(6)___ in ___(7)___ the United States had a a)M#O\i`
huge technological lead ___(8)___ all the rest in the world. In a very real sense, ___(9)___ l*4_
technological competitive. American firms did not have to worry about their technological i<u
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competitiveness because they were ___(10)___. U3ao:2zP
But that world has disappeared. Today we live in a world where American firms ___(11)___ m"8Gh`Fo
have automatic technological ___(12)___. In some areas they are still ahead, in some areas they are }?z_sNrDk
_ zE4TdT1y|
__(13)___, and in some areas they are behind, but on average, they are average. 5Og=`T
___(14)___ this means is that American managers have to understand the forces of technical =5X(RGK
change in ways ___(15)___ were not necessary in the past. Conversely, managers from the rest of b+ v!3|
the world know that it is now possible for them to dominate their American competitors if they "( P-VX
understand the forces of technical change better than their American competitors do. yBwCFn.uP-
In the world of tomorrow managers cannot be technologically ___(16)___ ___(17)___ their /N(Ol WEp
functional tasks within the firm. They don't have to be scientists or engineers inventing new Wfyap)y
technologies, ___(18)___ they have to be managers who understand when to bet and when not bet "G
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on new technologies. If they ___(19)___ what is going on and technology effectively becomes a d<^o@
black box, they ___(20)___ to make the changes. They will be losers, not winners. B<uUf)t
1 a. enlightened b. enlightening c. enlightenment d. enlighten N| L Ey
9-?[%8
2 a. sterile b. producing c. productive d. extravagant s+yX82Y
3 a. economics b. economic c. economy d. economies 1K'.QRZMb9
4 a. take b. arouse c. rise d. advance `(7HFq<N
5 . a. results b. evidence c. content d. fruits Yy:Q/zwo
6 a. usual b. flawed c. unusual d. unessential /SDDCZ`;|c
7 . a. which b. / c. that d. those {Deg1V!x>
8 a. by b. over c. on d. upon atO/
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9 a. was the world not b. the world was not c. did the world be not d. was not the world vg/:q>o
10 a.superior b. super c. inferior d. junior nXuoRZ
11 a. still b. even c. neither d. no longer 'v*Y7zZ#K
12 a. superiority b. inferiority c. majority d. minority SecZ5(+=
13 a. common b. average c. ignorant d. exceptional HC*V\vz
14 a. How b. That c. What d. Which s&7,gWy}BE
15 a. that b. they c. those d. who 3bp'UEF^k
16 a. illiterate b. sophisticated c. literate d. omniscient h5?yrti
17 a. regardless b. in spite of c. despite d. regardless of -K K)}I`
18 a. and b. likewise c. furthermore d. but <U ?_-0
19 a. didn’t understand b. don't understand c. haven’t understood d. hadn’t understood TZ,kmk#
20 a. failed b. would have failed c. would fail d. would be failed m
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PART II: Reading Comprehension (30 points) 'v"{frh
Directions: Choose the best answers based on the information in the passages below. _lE0_X|d
Passage 1 )`ZTu -|
The leaders of the mythopoetic men's movement believe that modernization has led to the
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feminization of men. Mythopoets believe that the rise of the urban industrial society "trapped men V@xlm
h,
into straitjackets of rationality, thus blunting the powerful emotional communion and collective Y4 Y;xK"
spiritual transcendence that they believe men in tribal societies typically enjoyed". Most "c6(=FFq
importantly, the movement seeks to restore the "deep masculine" to men who have lost it in their BQol>VRu
more modern lifestyles. Other causes for the loss of the "deep masculine" include: Men no longer xCOC5f5*@
being comrades who celebrated their masculinity together. Rather, they had become competitors ?
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within their workplaces; Men spending more time in their houses with women than they did with vbeYe2;(
men (in non-competitive terms outside of work). Excessive interaction with women generally kept uV:;q>XM'%
men from realizing their internal masculinity; Feminism is bringing attention to the “feminine os]P6TFFX?
voice.” Through this, the mythopoetic men felt that their voices had been muted (though Bly and ;MqH)M
others are careful in not blaming feminism for this); The separation of men from their fathers kept y/ #{pyJ
them from being truly initiated into manhood, and was a source of emotional damage. Men were TqM(I[J7\
suffering further emotional damage due to feminist accusations about sexism. Men should celebrate fJ3*'(
their differences from women, rather than feeling guilty about them. Men is being discouraged from $~|#Rz%v
expressing their emotions. Male inexpressivity is an epidemic and does not correspond to their AiT&:'<UT
"deep masculine" natures. Groups of primarily white, middle-aged, heterosexual men from the ^&'&Y>
professional class retreated from their female loved ones in order to join in spiritual rituals that g9fS|T
emphasized homosociality, with the central goal of reclaiming the parts of their masculinity that I$o^F/RH
they had lost called the "deep masculine." Because most men no longer perform masculine rituals, )19As8rL/o
mythopoets assert that men have mutated into destructive, hypermasculine chauvinists, or, in the 9Se7
1
opposite direction, have become too feminized. The mythopoetic men performed rituals at these |=7ouFl
gatherings, which were meant to imitate those performed by tribal societies when men initiated AZ7
boys into a deeply essential natural manhood. The movement emphasized the importance of GUJaeFe
including multiple generations of men in the rituals, so that the men could learn about masculinity =|lKB
;
from those who were older and wiser. Characteristic of the early mythopoetic movement was a Fg3VD(D^U
tendency to retell myths, legends and folktales, and engage in their exegesis as a tool for personal *TpzX
y
insight. Using frequent references to archetypes as drawn from Jungiananalytical psychology, the 18|i{fE;
movement focused on issues of gender role, gender identity and wellness for the modern man (and '1lr "}"Q+
woman). Advocates would often engage in storytelling with music, these acts being seen as a 6
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modern extension to a form of "new ageshamanism" popularized by Michael Harner at }t tiL
approximately the same time. The movement sought to empower men by means of equating ,O@xv
archetypal characters with their own emotions and abilities. For instance, Michael Messner ?j^[7
describes the concept of "Zeus energy" as emphasizing "male authority accepted for the good of the lF]cUp#<
community". Beliefs about the emotional system based in archetypes of great men, mythopoets P=:mn>
sought to channel these characters in themselves, so that they could unleash their "animal-males". =#N;ZG
This group primarily analyzed the archetypes of King, Warrior, Magician, Lover and Wildman. 289@O-
As a self-help movement the mythopoetic movement tends not to take explicit stances on 03ol!|X"9
political issues such as feminism, gay rights or family law (such as the issues of divorce, domestic _~aFzM
violence or child custody), preferring instead to stay focused on emotional and psychological [C
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well-being. Because of this neutrality, the movement became a site of social criticism by feminists, tn-_3C
and was often characterized as anti-intellectual as well as apolitical. Michael Messner once gave a pA(B~9 WQ
speech at a gathering, in which he addressed the dangers of celebrating the warrior, as instances of <#U9ih
2
rape are higher in countries that glorify war. The mythopoets responded that they were not (U"Ub;[
7
interested in intellectual or political pursuits, but were primarily concerned with conducting lW^bn(_gQ
spiritual and emotional work. Additional feminist critique revolved around the movement's absence bkQEfx.
of women's perspectives, as well as the essentialism in the movement's teachings. j?&Rf,,%
Comprehension Questions: RbUhLcG5
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21. The mythopoetic men's movement can best be understood as ________________. xtef1 8i>
a. a men’s literary movement I\JJ7/S`t
c. a men's rights movement /5^"n4/M
b. a men's liberation movement l0Myem
v?z
d. a second-wave feminist movement <szD"p|K
22. The mythopoetic men's movement consists of groups of men who retreated from their female t?NB#/#%x
loved ones in order to strive for ________________. a+$WlG/x
a. gay rights x0^O?UR
b. same-sex marriage 2c>e Mfa
c. masculinity M)Iu'
d. myths, legends and folktales YqsN#E3pf
23. The idea that modernization has led to the feminization of men means that S Rs~p
_________________. BJI}gm2y
a. men cannot be themselves {R[FwB^7wJ
c. men’s voices have changed i6R2R8
b. men can no longer make friends B4^+&B#
d. men cannot express themselves cE}R7,y
2 bWzv7#dd=
24. The root issue is ________________. L,*KgLG
a. feminism NET?Ep
b. masculinity Zh
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c. sex =5NrkCk#V
d. gender %}
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25. According to the text, the causes for rape must be sought in _________________. k9j_#\E[
a. the celebration of the archetype of the warrior cstSLXD
b. the unleashing of men’s "animal-males” ;Ee!vqD2
c. domestic violence c$),/0td|
d. the loss of masculine rituals y9d[-j
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Passage 2 >jEn>H
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Although in the novel the millennium has been and gone, there are no references at all to real hzIP ?0^E
contemporary American or global political events of the time of writing. Chapstick, Pledge, and ji(W+tQ2Y'
Skevener in their study The Endless Loop of History: Space Time in the work of David Foster UW7*,B q
Wallace (London 2001) have already noted the way Infinite Jest divorces itself from history by the !@mV$nTA
use of sci fi elements. They note how compared with the American post moderns, whose works =[%ge{ ,t
interact with real historical time, Infinite Jest takes place in an ahistorical, allegorical time. DFW’s _E eH
invention of Subsidized Time, and the renaming of years after products and companies shows the [(v?Z`cX\
way in which the soul-rotting effects of advertising infect time as well as internal and external ,Y&LlB 2
space (cf: Phillip K Dick’s adverts projected onto the moon in The Man in the High Castle). yidUtSv=,
Otherwise, the ubiquitous presence of advertising in contemporary daily life is absent from the 7%?2>t3~
novel. Actually, this is not correct. The theme of waste management (also the underlying structure &7* |rshZ
of Don DeLillo’s novel Underworld) reflects some of the anxieties of the 90s, the decade in which a1Q|su{H
the novel was written: namely, global warming, environmental concerns, nuclear waste "&jA
CI
management, including its export to third world countries, the trading of carbon emission points, Fu4LD-#
futures swaps in carbon footprints etc. DFW is here simply satirizing contemporary concerns; and a @y%4BU&>0
Freudian reading of this theme is both unnecessary and not really illuminating, Don Gately’s work 6^U8Utx
as a shit hoser notwithstanding. DFW’s use of spurious knowledge and scholarship (including a
/]H6'
spurious academic apparatus at the back of the book) has been amply commented on, especially the UhuEE
doubtful physics of J.O. Incandenza’s work with lenses and nuclear annulation, and the iffey math U M$\{$
involved in the Eschaton game. By his use of the spurious DFW is not only satirizing the discourse y,{=*2Yt
of academic knowledge, but making a serious point about the extent and typology of knowledge C
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itself. Once knowledge becomes so specialized as to become comprehensible to only a very few 2E~WcB
those firmly inside the discourse- what status does that knowledge gain? To those outside the om%L>zfB
discourse, the knowledge can only be taken on trust, and therefore all manner of hoods may be y<7C!E#b8
winked. In this case the boundaries between the fictional and the real become blurred, a matter for qfp,5@p
argument. We are used to questioning the reliability of the narrative voice in fiction, but not so able +a$'<GvP
to question in the same way the reliability of academic discourse or specialist knowledge. The H/8H`9S$
presence of the spurious next to the real infects the real, inviting us to extend our distrust of u6o:~=WwM
fictional narrative to non-fictional exposition, the fiction (le mensonge) and the truth become MfNxd
6w
mirrors of each other. The title of a work stands in metonymic relationship to the content of the *_G(*yAe(
work: War and Peace, for example, signifies the two main themes and structuring devices of that +X[+SF)!
novel. For existing books, (real, read books), the title summons up everything we know or t)|*-=
remember about the book. Where that work is non-existent (fictional, spurious, lost or simply }SL&Y `Y]
unknown/unread) the title acts as an empty signifier, which we can fill with our imagination, ]dzBm!u
effectively writing the work ourselves in a flash. Barthes calls these bookless titles prolepses; )!+M\fT
Nabokov creates summaries and detailed commentaries for them (in Pale Fire and The Real life of E(J@A'cX
Sebastian Knight); Borges bases his whole stylistics on this process of metonymic expansion; and (S1c6~
Eco fills entire imaginary libraries with these fantastical books. DFW for his imaginary works, like 2'O2n]{
Hoffmann, has a penchant for excessively long and humorous titles, whose length guides us in this +O`3eP`u
process of creation cf: Good Looking Men in Small Clever Rooms that Utilize Every Centimeter of ~>C@n'\lv
Available Space With Mind-Boggling Efficiency (title of one of J.O. Incandenza’s entertainments), L?~>eT
and Mousetraps and their Influence on the Character and Achievement of the Feline Race (title of FT.6
^)-
one of Murr’s books from Hoffmann’s The Life and Opinions of the Tomcat Murr). Co|3k:I 8
>*DR>U
Comprehension Questions: 0$RZ~
26. According to the author, the use of some of the anxieties of the 90s does not contradict the XY1D<