PART I: Cloze (20 points) +i `*lBup$
Directions: Choose the best word(s) for each numbered blank. 0uVv<Q~
Production workers must be able to do statistical quality control. Production workers must be hf!|\f
able to do just-in-time inventories. Managers are increasingly shifting from a "don't think, do what ,p{`pma
you are told" to a "think, I am not going to tell you what to do" style of management. di9!lS$
This shift occurs not because today's managers are more ___(1)___ than yesterday's managers, f<i7@%
but because the evidence is mounting that the second style of management is more ___(2)___ than t^=U*~
the first style of management. But this means that problems of training and motivating the work oC*ees
g_
force both become more central and require different models of behavior.
NW$H"}+o
To be on top of this situation, tomorrow's managers will have to have strong background in O(2cWQ
organizational psychology, human relations, and labor ___(3)___. The MIT Sloan School of quickly >QQ(m\a$
management attempts to ___(4)___ our understanding in these areas through research and then K5 3MMH[q#
quickly bring the ___(5)___ of this new research to our students so that they can be leading-edge RR1A65B
managers when it comes to the human side of the equation. Qx|H1_6
The first three decades after World War II were ___(6)___ in ___(7)___ the United States had a ?9j{V7h
huge technological lead ___(8)___ all the rest in the world. In a very real sense, ___(9)___ !}TMiCK
technological competitive. American firms did not have to worry about their technological I"L;L?\S
competitiveness because they were ___(10)___. hVoNw6fE
But that world has disappeared. Today we live in a world where American firms ___(11)___ wyc D>hc
have automatic technological ___(12)___. In some areas they are still ahead, in some areas they are +\`vq"e
_ x
FJg
__(13)___, and in some areas they are behind, but on average, they are average. `T*U]/zQ
___(14)___ this means is that American managers have to understand the forces of technical AWr}"r?s
change in ways ___(15)___ were not necessary in the past. Conversely, managers from the rest of S^RUw
the world know that it is now possible for them to dominate their American competitors if they <T,A&`/
understand the forces of technical change better than their American competitors do. khd5 Cf[
In the world of tomorrow managers cannot be technologically ___(16)___ ___(17)___ their
GrJ#.
functional tasks within the firm. They don't have to be scientists or engineers inventing new 2F_
R/{D
technologies, ___(18)___ they have to be managers who understand when to bet and when not bet F:FMeg
on new technologies. If they ___(19)___ what is going on and technology effectively becomes a N?r>%4
black box, they ___(20)___ to make the changes. They will be losers, not winners. a^nAZ
1 a. enlightened b. enlightening c. enlightenment d. enlighten (ClhbfzD
>G)qns9
2 a. sterile b. producing c. productive d. extravagant pck >;V
3 a. economics b. economic c. economy d. economies #mc!Wt10
4 a. take b. arouse c. rise d. advance |g)FA_#|<
5 . a. results b. evidence c. content d. fruits </oY4$ l'
6 a. usual b. flawed c. unusual d. unessential X33v:9=
7 . a. which b. / c. that d. those 0LVE@qEL
8 a. by b. over c. on d. upon W*T{,M@Y
9 a. was the world not b. the world was not c. did the world be not d. was not the world Fxd{ Zk`
10 a.superior b. super c. inferior d. junior _+QwREP
11 a. still b. even c. neither d. no longer Rq)BssdF
12 a. superiority b. inferiority c. majority d. minority L ^Y3=1#"g
13 a. common b. average c. ignorant d. exceptional W? ,$!]0
14 a. How b. That c. What d. Which M-9gD[m
15 a. that b. they c. those d. who 4 rB8Nm1
16 a. illiterate b. sophisticated c. literate d. omniscient cy3ww})
17 a. regardless b. in spite of c. despite d. regardless of vE\lp8j+
18 a. and b. likewise c. furthermore d. but ym%slg
19 a. didn’t understand b. don't understand c. haven’t understood d. hadn’t understood WYIw5jzC
20 a. failed b. would have failed c. would fail d. would be failed >]$aoA#
YB!!/ SX4
?b$3ob"
. ZlR!s!vv
PART II: Reading Comprehension (30 points) 1kFjas`g
Directions: Choose the best answers based on the information in the passages below. gbGTG
(:1S
Passage 1 zXre~b03ZS
The leaders of the mythopoetic men's movement believe that modernization has led to the &4kM8
Qh
feminization of men. Mythopoets believe that the rise of the urban industrial society "trapped men f'{>A
Ki=C
into straitjackets of rationality, thus blunting the powerful emotional communion and collective ?SX_gY
e9
spiritual transcendence that they believe men in tribal societies typically enjoyed". Most 4;<DJ.XlN=
importantly, the movement seeks to restore the "deep masculine" to men who have lost it in their J+2R&3;_O
more modern lifestyles. Other causes for the loss of the "deep masculine" include: Men no longer nR'#s%K
j
being comrades who celebrated their masculinity together. Rather, they had become competitors DP>mNE
within their workplaces; Men spending more time in their houses with women than they did with |9s wZ[
men (in non-competitive terms outside of work). Excessive interaction with women generally kept 5u,sx664
men from realizing their internal masculinity; Feminism is bringing attention to the “feminine Zoow*`b|$U
voice.” Through this, the mythopoetic men felt that their voices had been muted (though Bly and u%opY<h
others are careful in not blaming feminism for this); The separation of men from their fathers kept yX9B97XyC
them from being truly initiated into manhood, and was a source of emotional damage. Men were )73DT3-0$
suffering further emotional damage due to feminist accusations about sexism. Men should celebrate MVAc8d S
their differences from women, rather than feeling guilty about them. Men is being discouraged from '3%*U*I
expressing their emotions. Male inexpressivity is an epidemic and does not correspond to their n4*'B*
"deep masculine" natures. Groups of primarily white, middle-aged, heterosexual men from the 2{};6{yz
professional class retreated from their female loved ones in order to join in spiritual rituals that -s~p}CQ.
emphasized homosociality, with the central goal of reclaiming the parts of their masculinity that
lt%-m@#/
they had lost called the "deep masculine." Because most men no longer perform masculine rituals, &ps6s.K
mythopoets assert that men have mutated into destructive, hypermasculine chauvinists, or, in the t^$Div_%G
opposite direction, have become too feminized. The mythopoetic men performed rituals at these [NR1d-Wg
gatherings, which were meant to imitate those performed by tribal societies when men initiated o}R|tOe
boys into a deeply essential natural manhood. The movement emphasized the importance of :wCC^Y]
including multiple generations of men in the rituals, so that the men could learn about masculinity UJs?9]x>
from those who were older and wiser. Characteristic of the early mythopoetic movement was a hGKdGu`0
tendency to retell myths, legends and folktales, and engage in their exegesis as a tool for personal d.1Q~&`
insight. Using frequent references to archetypes as drawn from Jungiananalytical psychology, the A?V<l<EAm
movement focused on issues of gender role, gender identity and wellness for the modern man (and ^ N_`^m
woman). Advocates would often engage in storytelling with music, these acts being seen as a n(# c`t*
modern extension to a form of "new ageshamanism" popularized by Michael Harner at ]=pWZ~A
approximately the same time. The movement sought to empower men by means of equating WFks|D:sB
archetypal characters with their own emotions and abilities. For instance, Michael Messner T/3;NXe6E
describes the concept of "Zeus energy" as emphasizing "male authority accepted for the good of the ,dq`EsHg`M
community". Beliefs about the emotional system based in archetypes of great men, mythopoets *Ag, kW"
sought to channel these characters in themselves, so that they could unleash their "animal-males". B
C&^]M
This group primarily analyzed the archetypes of King, Warrior, Magician, Lover and Wildman. '4Y*-!9
As a self-help movement the mythopoetic movement tends not to take explicit stances on 2f
/bEpi
political issues such as feminism, gay rights or family law (such as the issues of divorce, domestic J2x$uO{Bn
violence or child custody), preferring instead to stay focused on emotional and psychological :4b- sg#
well-being. Because of this neutrality, the movement became a site of social criticism by feminists, wf^cyCR0
and was often characterized as anti-intellectual as well as apolitical. Michael Messner once gave a s
UvKA0
speech at a gathering, in which he addressed the dangers of celebrating the warrior, as instances of *+# k{D,
rape are higher in countries that glorify war. The mythopoets responded that they were not %hrsE5k^,
interested in intellectual or political pursuits, but were primarily concerned with conducting (jt*u (C&Y
spiritual and emotional work. Additional feminist critique revolved around the movement's absence >EyvdX#v
of women's perspectives, as well as the essentialism in the movement's teachings. &s_}u%iC
Comprehension Questions: ~9]Vy
(L
">0 /8] l
mRNHq3
21. The mythopoetic men's movement can best be understood as ________________. 0!)U *+j,
a. a men’s literary movement (u$!\fE-et
c. a men's rights movement /<Gyg7o0
b. a men's liberation movement !;6W!%t.|
d. a second-wave feminist movement dICnB:SSB
22. The mythopoetic men's movement consists of groups of men who retreated from their female BNF++<s
loved ones in order to strive for ________________. Zz{[Al{
a. gay rights pU[a[
b. same-sex marriage @D( KuF
c. masculinity Vu^Q4Z
d. myths, legends and folktales KI^ q 5D ?
23. The idea that modernization has led to the feminization of men means that ci#Zvhtkr
_________________. :C}KI)
a. men cannot be themselves <[*h_gE5
c. men’s voices have changed hPNQGVv
b. men can no longer make friends 0$Qn#K
d. men cannot express themselves j@!BOL~?
2 Zi15wE
24. The root issue is ________________. vgd}09y
a. feminism @8}-0c
b. masculinity 0Te)s3X
c. sex "oKj~:$
d. gender ;+#za?w
25. According to the text, the causes for rape must be sought in _________________. 2xz%'X%
a. the celebration of the archetype of the warrior "m<eHz]D
b. the unleashing of men’s "animal-males” D:S6
Mu
c. domestic violence h|Teh-@A5
d. the loss of masculine rituals K%.YNVHHC
9, sCJ5bb"
Passage 2 %<bG%V(
Although in the novel the millennium has been and gone, there are no references at all to real $TH'"XK
contemporary American or global political events of the time of writing. Chapstick, Pledge, and l%Fse&4\
Skevener in their study The Endless Loop of History: Space Time in the work of David Foster 7o 83|s.Bm
Wallace (London 2001) have already noted the way Infinite Jest divorces itself from history by the 1' @lg
*^9
use of sci fi elements. They note how compared with the American post moderns, whose works dcc%G7w
interact with real historical time, Infinite Jest takes place in an ahistorical, allegorical time. DFW’s Wtzj;GJj
invention of Subsidized Time, and the renaming of years after products and companies shows the /^es0$Co.
way in which the soul-rotting effects of advertising infect time as well as internal and external UVQ a
af
space (cf: Phillip K Dick’s adverts projected onto the moon in The Man in the High Castle). 6=`m
Otherwise, the ubiquitous presence of advertising in contemporary daily life is absent from the ytcG6WN3
novel. Actually, this is not correct. The theme of waste management (also the underlying structure `!>dbR&1
of Don DeLillo’s novel Underworld) reflects some of the anxieties of the 90s, the decade in which G\aLg
the novel was written: namely, global warming, environmental concerns, nuclear waste [?K\
%]
management, including its export to third world countries, the trading of carbon emission points, <PuB3PEvV
futures swaps in carbon footprints etc. DFW is here simply satirizing contemporary concerns; and a f 7QUZb\
Freudian reading of this theme is both unnecessary and not really illuminating, Don Gately’s work h1UlLy8
as a shit hoser notwithstanding. DFW’s use of spurious knowledge and scholarship (including a ?H86Wbz
spurious academic apparatus at the back of the book) has been amply commented on, especially the ^5'/ }iR2N
doubtful physics of J.O. Incandenza’s work with lenses and nuclear annulation, and the iffey math >7v.`m6?H
involved in the Eschaton game. By his use of the spurious DFW is not only satirizing the discourse =='{[[J
of academic knowledge, but making a serious point about the extent and typology of knowledge F>oxnhp6
itself. Once knowledge becomes so specialized as to become comprehensible to only a very few l!2Z`D_MD
those firmly inside the discourse- what status does that knowledge gain? To those outside the la"A$Tbu~
discourse, the knowledge can only be taken on trust, and therefore all manner of hoods may be re 1k]
winked. In this case the boundaries between the fictional and the real become blurred, a matter for ;h(;(
argument. We are used to questioning the reliability of the narrative voice in fiction, but not so able !O -_Dp\#
to question in the same way the reliability of academic discourse or specialist knowledge. The K7R])*B.~
presence of the spurious next to the real infects the real, inviting us to extend our distrust of "VVR#H}{
fictional narrative to non-fictional exposition, the fiction (le mensonge) and the truth become V]PhXVJ
mirrors of each other. The title of a work stands in metonymic relationship to the content of the He_(JXTP
work: War and Peace, for example, signifies the two main themes and structuring devices of that ,5
+X%~'
novel. For existing books, (real, read books), the title summons up everything we know or Sph"w08
remember about the book. Where that work is non-existent (fictional, spurious, lost or simply 1S.e5{
unknown/unread) the title acts as an empty signifier, which we can fill with our imagination, kpreTeA]
effectively writing the work ourselves in a flash. Barthes calls these bookless titles prolepses; JW.&uV1Z
Nabokov creates summaries and detailed commentaries for them (in Pale Fire and The Real life of zam0(^=
Sebastian Knight); Borges bases his whole stylistics on this process of metonymic expansion; and lX k-86[M
Eco fills entire imaginary libraries with these fantastical books. DFW for his imaginary works, like W;}u 2GH
Hoffmann, has a penchant for excessively long and humorous titles, whose length guides us in this jl0Eg
process of creation cf: Good Looking Men in Small Clever Rooms that Utilize Every Centimeter of l:Xf(TLa
Available Space With Mind-Boggling Efficiency (title of one of J.O. Incandenza’s entertainments), >@89k^#
Vc
and Mousetraps and their Influence on the Character and Achievement of the Feline Race (title of
T]Td4T!
one of Murr’s books from Hoffmann’s The Life and Opinions of the Tomcat Murr). .q[sk
=|&"/$+s
Comprehension Questions: }/}`onRZ
26. According to the author, the use of some of the anxieties of the 90s does not contradict the :a
!a
proposition that the novel Infinite Jest takes place in an ahistorical time because <l
s/3!
______________. 6
{r[ Dq
a. the millennium has been and gone wQuaB6E
b. DFW is here simply satirizing contemporary concerns 1Y"qQp
c. DFW’s invention of Subsidized Time :yFCp@&
d. he uses sci fi elements K]*ERAfM%m
27. DFW’s invention of Subsidized Time exemplifies _______________. L , Fso./y
a. the ubiquitous presence of advertising in contemporary daily life eKti+n.
b. the commercialization of American society z>g& ?vo2
c. the endless loop of history kJpHhAn4
d. American post modernism 0bL=l0N$W
28. Following Roland Barthes, which of the following titles would be an example of prolepsis? Uk ;.Hrt.
a. War and Peace. 5)NfZN#&