Wednesday, December 22, 2010
Tuesday, December 7, 2010
Saturday, December 4, 2010
How to Access My Other Blogs
You are most welcome to visit my other blogs:
1. http://nekosan-nekosan.blogspot.com/ - nekosan's Hq / Literature Hq
2. http://kuronekosan-nekosan.blogspot.com/ - nekosan's second Hq
3. http://nekosansclassroomlessons.blogspot.com/ - nekosan's lower secondary literature Hq
4. http://kuronekosan-eigo.blogspot.com/ - nekosan's reading comprehension Hq
5. http://kuronekosan-summary.blogspot.com/ - nekosan's summary writing Hq
6. http://kuronekosan-eigo-w.blogspot.com/ - nekosan's writing Hq
7. http://kuronekosan-no-hashi.blogspot.com/ - nekosan's vocabulary enrichment Hq
8. http://eikaiwa-oral.blogspot.com/ - nekosan's el oral Hq
Thank you for your time.
1. http://nekosan-nekosan.blogspot.com/ - nekosan's Hq / Literature Hq
2. http://kuronekosan-nekosan.blogspot.com/ - nekosan's second Hq
3. http://nekosansclassroomlessons.blogspot.com/ - nekosan's lower secondary literature Hq
4. http://kuronekosan-eigo.blogspot.com/ - nekosan's reading comprehension Hq
5. http://kuronekosan-summary.blogspot.com/ - nekosan's summary writing Hq
6. http://kuronekosan-eigo-w.blogspot.com/ - nekosan's writing Hq
7. http://kuronekosan-no-hashi.blogspot.com/ - nekosan's vocabulary enrichment Hq
8. http://eikaiwa-oral.blogspot.com/ - nekosan's el oral Hq
Thank you for your time.
Monday, November 8, 2010
2011 - Calendar Dates for English / Literature in English (Correct as at 4 November 2010)
01. EL MRL Week 28 March - 1 April [5 days]
02. EL O Level Preparatory Oral Examinations - 18 April to 20 April [3 days]
03. EL Normal Academic / Normal Technical Preliminary Oral Examinations - 21 April [1 day]
04. Review of English Preliminary One - 1 June to 3 June [3 days]
05. Secondary 4/5 English Revision Programme - 6 June - 7 June [2 days]
06. English O Level Preliminary Oral Examinations - 8 June [1 day]
07. Secondary 3 English Revision Programme - 9 June to 10 June [2 days]
08. English N Level Oral Examinations Hot-housing - 8 July to 15 July [6 days]
09. English O Level Oral Examinations Hot-housing - 11 August to 25 August [10 days]
10. English Secondary 3 Oral Examinations - 12 September [1 day]
11. English Secondary 2 Oral Examinations - 15 September [1 day]
12. English Secondary 1 Oral Examinations - 16 September [1 day]
13. English Secondary 1-3 Oral Examinations (make-up) - 22 September [1 day]
02. EL O Level Preparatory Oral Examinations - 18 April to 20 April [3 days]
03. EL Normal Academic / Normal Technical Preliminary Oral Examinations - 21 April [1 day]
04. Review of English Preliminary One - 1 June to 3 June [3 days]
05. Secondary 4/5 English Revision Programme - 6 June - 7 June [2 days]
06. English O Level Preliminary Oral Examinations - 8 June [1 day]
07. Secondary 3 English Revision Programme - 9 June to 10 June [2 days]
08. English N Level Oral Examinations Hot-housing - 8 July to 15 July [6 days]
09. English O Level Oral Examinations Hot-housing - 11 August to 25 August [10 days]
10. English Secondary 3 Oral Examinations - 12 September [1 day]
11. English Secondary 2 Oral Examinations - 15 September [1 day]
12. English Secondary 1 Oral Examinations - 16 September [1 day]
13. English Secondary 1-3 Oral Examinations (make-up) - 22 September [1 day]
Monday, October 18, 2010
Sunday, October 17, 2010
Wednesday, October 13, 2010
Monday, October 11, 2010
Saturday, October 9, 2010
Tuesday, October 5, 2010
POST-MORTEM - 5 and 6 October 2010 with 5B.SHSS - Preparatory Examinations 2010
THIS PRESENTATION DOES NOT INCLUDE SOLUTION TO THE SUMMARY QUESTION No. 16. This is to allow for more time for O level candidates from 5B to work out the solution on their own first.
Saturday, October 2, 2010
Friday, October 1, 2010
Thursday, September 30, 2010
Wednesday, September 29, 2010
Term 4 Week 3 - Student Attendance Checklist Update at SHSS
28 September 2010 (Tuesday)
Many 5B students attended today's lesson although there were two to three absentees - Kaiser Lee and Sean Ong
29 September 2010 (Wednesday)
About six to eight students were absent: Sean Ong, Kaiser Lee, Sze Yan, Macric, Muhaimin Shehan and Shi Hui. So they missed out on the INFERENTIAL QUESTIONS lesson and practices in class.
Many 5B students attended today's lesson although there were two to three absentees - Kaiser Lee and Sean Ong
29 September 2010 (Wednesday)
About six to eight students were absent: Sean Ong, Kaiser Lee, Sze Yan, Macric, Muhaimin Shehan and Shi Hui. So they missed out on the INFERENTIAL QUESTIONS lesson and practices in class.
Sunday, September 26, 2010
Monday, September 20, 2010
Saturday, September 18, 2010
Friday, September 17, 2010
Thursday, September 16, 2010
Friday, September 10, 2010
ZHSS Sec 4E5N MYE 2010 Paper 2
Passage A
Paragraph 1
I was born near the Great River, in the heart of what for thousands of years had been great Bushman country. The Bushman himself as a coherent entity had already gone, but i was surrounded from birth by so many moving fragments of his race and culture that I felt him extraordinarily near. I was always meeting him afresh on the lips of livign men.
Paragraph 2
They said he was a little man, not a dwarf or pigmy, but just a little man about five feet in height. He was well, sturdily and truly made. His shoulders were broad
Paragraph 1
I was born near the Great River, in the heart of what for thousands of years had been great Bushman country. The Bushman himself as a coherent entity had already gone, but i was surrounded from birth by so many moving fragments of his race and culture that I felt him extraordinarily near. I was always meeting him afresh on the lips of livign men.
Paragraph 2
They said he was a little man, not a dwarf or pigmy, but just a little man about five feet in height. He was well, sturdily and truly made. His shoulders were broad
Thursday, September 9, 2010
SQSS Sec 4E5N MYE 2010 Paper 2
Passage A
Paragraph 1
The rapturous reception was not only indicative of the virtuosic performance by the trio, but also an affirmation to the divine sounds made possible by the instruments. Not a surprise. The cello, played by Tanja Tetzlaff, was a wonderfully mellow 1776 Guadagnini. The violin, played by her brother, Christian Tetzlaff, complemented it beautifully, but is provenance was more unexpected. It was made by a modern German luthier, Peter Greiner.
CELLO: 1776 Guadagnini
Christian Tetzlaff
German luthier, Peter Greiner
What does a luthier do?
From Passage A:
From Paragraph 1
1a. Which one word tells us that the performance was very well received? [1m]
1b. Why was the provenance "more unexpected"? [1m]
Paragraph 2
Mr. Tetzlaff plays not just one but two Greiner violins. Most string virtuosi perform on instruments made by Italian masters a few hundred years ago, and preferably by Antonio Stradivari, the greatest of them all. Mr. Telzlaff has previously played two Stradivaris. Now he plays with his Greiner more. He thinks that the best modern violin-makers offer outstanding quality in terms of performance but at a fraction of the astronomical costs.
Antonio Stradivari
From Paragraph 2
2. In your own words, explain what are the advantages of modern violins. [2m]
Paragraph 3
The past two decades have seen a renaissance of string-instrument-making by luthiers across the world. They can learn their trade at renowned violin-making schools in a number of countries. But many prefer Italy especially in Cremona, home of the most fabled of hte 16th - 18th-century violin-makers: the Amati, Guameri and Stradivari families. Also home of the Scuola Internationale di Liuteria.
From Paragraph 3
3. What does the word "renaissance" imply aobut stringed-instrument-making? [1m]
Paragraph 4
The school was founded in 1937. Since then it has produced nearly 800 graduates. Soem 300 were Italian, but most have been foreign. Some take the tradition home. But many subsequently set up shop in Cremona itself. The city has around 150 luthiers, all hoping to benefit from the city's association with the grandest names in violin-making and from the cluster effect. Good violin-makers can earn a decent living. Still, most makers are not in it for the money but because they are passionate about violins.
From paragraph 4
4. Why would graduates choose to remain in Cremona after graduation? [2m]
Paragraph 5
Peter Beare has made an instrument for Nigel Kennedy, among others. Many famous performers play modern violins alongside their old masters, not only because they are often more resistant to the rigours of air travel, but also because they may be more suitable for certain genres of music. Sometimes the musicians actually prefer them. The cellist Jacqueline du Pre played two Strads and an instrument by Matteo Goffriller, who worked in Venice 300 years ago, but towards the end of her career switched to a modern cello made in Philadelphia.
From paragraph 5
5. In your own words, explain why many performers play modern violins alongside their old violins. [2m]
Paragraph 6
The highest price yet paid for a contemporary violin, at an auction in 2003, was $130000. Even so, that record price probably had much to do with the previous owner who was none other than Issac Stern. That sort of money will go nowhere fi you want to buy a fine old violin.
Paragraph 7
That makes life particularly hard for young ambitious upstarts who harbour hopes of owning one vintage violin. Alternatively they could go to a well-established violin-maker and get a beautifully hand-crafted insrument specially made for them at a price they can afford. It will sound splendid, and few in the audience will know the difference. But most of the truly career-minded will try for an old master, by hook or by crook. Why?
Paragraph 8
An element of self-reinforcing snobbery is at work. If everyone thinks that old instruments are best, then a self-respecting virtuoso will want to play one because it is expected of him. Old instruments often have a history that addes to their allure. Stradivari became wealthy by making violins for the rich and powerful. His instruments were highly esteemed, played by teh virtuosi of their day, perhaps heard by famous composers. Only a curmudgeon could deny the romance of it all.
From paragraph 8
6. In what way was the desire to own an old violin "self-reinforcing snobbery"? [2m]
Paragraph 9
The difference may not be merely psychological. Even enthusiasts for modern instruments often concede that the finest of hte old are better than the best of the new. That may have something to do with age itself. Among the music instruments, only violins, violas and cellos last hundreds of years if well looked after. They are working antiques: desirable, collectable and most still played every day. Several hundred years off the treee has made the wood dry and light, and constant use may have changed its qualities. Perhaps in another century the finest instruments made today will also have become even better. But the best of the old Italian masters will probably still outdazzle them.
*The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.
From paragraph 9
7a. Does the author believe that old violins are better than new ones? Write down the phrase that supports your answer. [2m]
7b. Which tow consecutive words tell you that the violin is more than just an instrument? [1m]
Passage B
Paragraph 1
Some sell for more than $3.5 million. Only seven hundred of them exist, and they are stored in vaults, frequently stolen and often replicated but never replaced. The object in question? Stradivarius violins, constructed by famed violin-maker Antonio Stradivari. Treasured for its sublime acoustic properties, these exquisite instruments have spawned dozens of theories, many of them grounded in folkore, attempting to explain their legendary tone. What, exactly, is it that makes "a Strad a Strad"?
From Paragraph 1
8a. Quote the phrase that tells you Stradivarius violins are unique. [1m]
8b. "grounded in folklore" What does this suggest about the theories about Stradivarius violins? [1m]
Paragraph 2
One of the explanations offered was the exact size of the violins and ratio of the parts of the violin to each other. It was proposed that perhaps the magic lay in some perfect ratio of measurements in the peices of the violin, but instrument makers have disassembled their violins, calibrated every dimension of the pieces and replicated the measurements perfectly in new instruments, but failed to duplicate the Stradivarius magic.
Paragraph 3
Some experts suggested the varnish as a possible reason. Varnish is the stuff of legends. Many violin-makers are known to make their own and guard the recipe jealously. The varnish used on Strads could possibly contain secret lost ingredients and Stradivari took its recipe to his grave. However there were many who argued that the recipe for the varnish Stradivari used was common knowledge among violin-makers when he lived.
Paragraph 4
Perhaps the wood makes the difference. There are many competing hypotheses that sought to explain the heavenly sounds of Strads. Some people even believe Stradivari used the wood of ancient castles and cathedrals. According to them, Stradivari selected his maple and spruce from local or foreign forests and he treated it in a special, secret way. This of course we know now is not true as equally fine wood is available now, easily obtainable, and the old methods for treating it can be duplicated.
From Paragraph 4
9. The writer describes the sound produced by Strads as "heavenly". Write down the phrase used in the following paragraph that continues this idea. [1m]
Paragraph 5
According to some other experts, it could be the impossible-to-duplicate effects of aging on that marvelous wood, varnish and filter, not to mention two centuries of playing. This to them is what gives Stradivari instruments their extraordinary, unique sound; a sound that causes listeners such as poet Daniel Mark Epstein to envision "little cherubs with halos" fluttering about a Strad while it is being played. However critics were quick to point out that there are old violins that do not sound good.
Paragraph 6
"There's no objective answer," said James Lyon, a professor of music. When Stradivari was crafting violins, most musicians performed in churches and courts. Rulers and the wealthy sponsored artists to enhance their prestige. This might have added much glamour to Stradivarius violins whcih were a popular choice of the musicians.
From paragraph 6
10. In your own words, explain why would rulers and the wealthy sponsor artists. [1m]
Paragraph 7
Some chemical analyses suggest that the smooth, mellifluous tones may have resulted, in part, from an application of an oxidizing mineral such as borax, often used in Stradivari's day to prevent woodworm infestation. Dendrochronology, the study of annual growth rings in trees suggests that the wood Stradivari used grew largely during the Little Ice Age that prevailed in Europe from the mid-1400s tothe mid-1800s. Long winters and cool summers produced very dense wood with outstanding resonance qualities. The dense wood also helps the instruments stand up over hundreds of years of use.
Paragraph 8
Whatever theories that had been put forward, the mystique remains, however. Asked if putting aside teh monetary value of the instrument, he would like to have a Stradivarius to play, Lyon said, "Yes, I can't imagine anyone who wouldn't. Partly it's the history and mystique that go with them."
From paragraph 8
11. Other than the obvious monetary value, explain why Lyon would like to have a Stradivarius to play with. You must explain in your own words. [2m]
From Passage A and Passage B:
12. For each of the following words or phrases, give one word or short phrase (of not more than seven words) which has the same meaning that the word or phrase has in the passage.[5m]
From Passage A:
[a] fabled
[b] allure
From Passage B:
[c] calibrated
[d] recipe
[e] hypotheses
From Passage B
13. Using your own words as far as possible, summarise the different reasons that try to explain what makes Stradivarius violins so special including counter-arguments against the reasons.
USE THE MATERIAL IN PASSAGE A
Your summary, which must be in continuous writing (not note form), must not be more than 150 words (not counting the words given to help you to begin).
Many people have tried to explain what makes Stradivarius violins... [25m]
Paragraph 1
The rapturous reception was not only indicative of the virtuosic performance by the trio, but also an affirmation to the divine sounds made possible by the instruments. Not a surprise. The cello, played by Tanja Tetzlaff, was a wonderfully mellow 1776 Guadagnini. The violin, played by her brother, Christian Tetzlaff, complemented it beautifully, but is provenance was more unexpected. It was made by a modern German luthier, Peter Greiner.
Tanja Tetzlaff
From Passage A:
From Paragraph 1
1a. Which one word tells us that the performance was very well received? [1m]
1b. Why was the provenance "more unexpected"? [1m]
Paragraph 2
Mr. Tetzlaff plays not just one but two Greiner violins. Most string virtuosi perform on instruments made by Italian masters a few hundred years ago, and preferably by Antonio Stradivari, the greatest of them all. Mr. Telzlaff has previously played two Stradivaris. Now he plays with his Greiner more. He thinks that the best modern violin-makers offer outstanding quality in terms of performance but at a fraction of the astronomical costs.
From Paragraph 2
2. In your own words, explain what are the advantages of modern violins. [2m]
Paragraph 3
The past two decades have seen a renaissance of string-instrument-making by luthiers across the world. They can learn their trade at renowned violin-making schools in a number of countries. But many prefer Italy especially in Cremona, home of the most fabled of hte 16th - 18th-century violin-makers: the Amati, Guameri and Stradivari families. Also home of the Scuola Internationale di Liuteria.
Art of violin-making
From Paragraph 3
3. What does the word "renaissance" imply aobut stringed-instrument-making? [1m]
Paragraph 4
The school was founded in 1937. Since then it has produced nearly 800 graduates. Soem 300 were Italian, but most have been foreign. Some take the tradition home. But many subsequently set up shop in Cremona itself. The city has around 150 luthiers, all hoping to benefit from the city's association with the grandest names in violin-making and from the cluster effect. Good violin-makers can earn a decent living. Still, most makers are not in it for the money but because they are passionate about violins.
From paragraph 4
4. Why would graduates choose to remain in Cremona after graduation? [2m]
Paragraph 5
Peter Beare has made an instrument for Nigel Kennedy, among others. Many famous performers play modern violins alongside their old masters, not only because they are often more resistant to the rigours of air travel, but also because they may be more suitable for certain genres of music. Sometimes the musicians actually prefer them. The cellist Jacqueline du Pre played two Strads and an instrument by Matteo Goffriller, who worked in Venice 300 years ago, but towards the end of her career switched to a modern cello made in Philadelphia.
From paragraph 5
5. In your own words, explain why many performers play modern violins alongside their old violins. [2m]
Paragraph 6
The highest price yet paid for a contemporary violin, at an auction in 2003, was $130000. Even so, that record price probably had much to do with the previous owner who was none other than Issac Stern. That sort of money will go nowhere fi you want to buy a fine old violin.
Paragraph 7
That makes life particularly hard for young ambitious upstarts who harbour hopes of owning one vintage violin. Alternatively they could go to a well-established violin-maker and get a beautifully hand-crafted insrument specially made for them at a price they can afford. It will sound splendid, and few in the audience will know the difference. But most of the truly career-minded will try for an old master, by hook or by crook. Why?
Paragraph 8
An element of self-reinforcing snobbery is at work. If everyone thinks that old instruments are best, then a self-respecting virtuoso will want to play one because it is expected of him. Old instruments often have a history that addes to their allure. Stradivari became wealthy by making violins for the rich and powerful. His instruments were highly esteemed, played by teh virtuosi of their day, perhaps heard by famous composers. Only a curmudgeon could deny the romance of it all.
From paragraph 8
6. In what way was the desire to own an old violin "self-reinforcing snobbery"? [2m]
Paragraph 9
The difference may not be merely psychological. Even enthusiasts for modern instruments often concede that the finest of hte old are better than the best of the new. That may have something to do with age itself. Among the music instruments, only violins, violas and cellos last hundreds of years if well looked after. They are working antiques: desirable, collectable and most still played every day. Several hundred years off the treee has made the wood dry and light, and constant use may have changed its qualities. Perhaps in another century the finest instruments made today will also have become even better. But the best of the old Italian masters will probably still outdazzle them.
*The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.
From paragraph 9
7a. Does the author believe that old violins are better than new ones? Write down the phrase that supports your answer. [2m]
7b. Which tow consecutive words tell you that the violin is more than just an instrument? [1m]
Passage B
Paragraph 1
Some sell for more than $3.5 million. Only seven hundred of them exist, and they are stored in vaults, frequently stolen and often replicated but never replaced. The object in question? Stradivarius violins, constructed by famed violin-maker Antonio Stradivari. Treasured for its sublime acoustic properties, these exquisite instruments have spawned dozens of theories, many of them grounded in folkore, attempting to explain their legendary tone. What, exactly, is it that makes "a Strad a Strad"?
From Paragraph 1
8a. Quote the phrase that tells you Stradivarius violins are unique. [1m]
8b. "grounded in folklore" What does this suggest about the theories about Stradivarius violins? [1m]
Paragraph 2
One of the explanations offered was the exact size of the violins and ratio of the parts of the violin to each other. It was proposed that perhaps the magic lay in some perfect ratio of measurements in the peices of the violin, but instrument makers have disassembled their violins, calibrated every dimension of the pieces and replicated the measurements perfectly in new instruments, but failed to duplicate the Stradivarius magic.
Paragraph 3
Some experts suggested the varnish as a possible reason. Varnish is the stuff of legends. Many violin-makers are known to make their own and guard the recipe jealously. The varnish used on Strads could possibly contain secret lost ingredients and Stradivari took its recipe to his grave. However there were many who argued that the recipe for the varnish Stradivari used was common knowledge among violin-makers when he lived.
Paragraph 4
Perhaps the wood makes the difference. There are many competing hypotheses that sought to explain the heavenly sounds of Strads. Some people even believe Stradivari used the wood of ancient castles and cathedrals. According to them, Stradivari selected his maple and spruce from local or foreign forests and he treated it in a special, secret way. This of course we know now is not true as equally fine wood is available now, easily obtainable, and the old methods for treating it can be duplicated.
From Paragraph 4
9. The writer describes the sound produced by Strads as "heavenly". Write down the phrase used in the following paragraph that continues this idea. [1m]
Paragraph 5
According to some other experts, it could be the impossible-to-duplicate effects of aging on that marvelous wood, varnish and filter, not to mention two centuries of playing. This to them is what gives Stradivari instruments their extraordinary, unique sound; a sound that causes listeners such as poet Daniel Mark Epstein to envision "little cherubs with halos" fluttering about a Strad while it is being played. However critics were quick to point out that there are old violins that do not sound good.
Paragraph 6
"There's no objective answer," said James Lyon, a professor of music. When Stradivari was crafting violins, most musicians performed in churches and courts. Rulers and the wealthy sponsored artists to enhance their prestige. This might have added much glamour to Stradivarius violins whcih were a popular choice of the musicians.
From paragraph 6
10. In your own words, explain why would rulers and the wealthy sponsor artists. [1m]
Paragraph 7
Some chemical analyses suggest that the smooth, mellifluous tones may have resulted, in part, from an application of an oxidizing mineral such as borax, often used in Stradivari's day to prevent woodworm infestation. Dendrochronology, the study of annual growth rings in trees suggests that the wood Stradivari used grew largely during the Little Ice Age that prevailed in Europe from the mid-1400s tothe mid-1800s. Long winters and cool summers produced very dense wood with outstanding resonance qualities. The dense wood also helps the instruments stand up over hundreds of years of use.
Paragraph 8
Whatever theories that had been put forward, the mystique remains, however. Asked if putting aside teh monetary value of the instrument, he would like to have a Stradivarius to play, Lyon said, "Yes, I can't imagine anyone who wouldn't. Partly it's the history and mystique that go with them."
From paragraph 8
11. Other than the obvious monetary value, explain why Lyon would like to have a Stradivarius to play with. You must explain in your own words. [2m]
From Passage A and Passage B:
12. For each of the following words or phrases, give one word or short phrase (of not more than seven words) which has the same meaning that the word or phrase has in the passage.[5m]
From Passage A:
[a] fabled
[b] allure
From Passage B:
[c] calibrated
[d] recipe
[e] hypotheses
From Passage B
13. Using your own words as far as possible, summarise the different reasons that try to explain what makes Stradivarius violins so special including counter-arguments against the reasons.
USE THE MATERIAL IN PASSAGE A
Your summary, which must be in continuous writing (not note form), must not be more than 150 words (not counting the words given to help you to begin).
Many people have tried to explain what makes Stradivarius violins... [25m]
What does a "cradle snatcher" do?
A cradle snatcher - somebody / human [+] / informal expression
"Cradle snatcher" means "someone who marries or has an affair with a much younger person".
"Cradle snatcher" means "someone who marries or has an affair with a much younger person".
PEI CAI SEC 4E5N MYE 2010 Paper 2
Passage A
Paragraph 1
On 1 September 1939, Hitler's troops crossed the Polish frontier and the people of Warsaw, the Polish capital, started to dig trenches for protection against air-raids. The bombs began to fall almost immediately , but the citizens of Warsaw could hardly have anticipated that, within a week, the German armies would be at the gates of the city. By 20 September, Warsaw was completely surrounded and heavy artillery joined the bombers in pounding the city and demoralising its people. With stocks of food rapidly dwindling and water, gas and electricity supplies severely disrupted, the inhabitants could not hold out for very long, and on 28 September, an armistice was declared. Warsaw had fallen.
Adolf Hitler
Flag of the Third Reich
The fall of Warsaw
The Third Reich's Invasion of Poland
From Passage A
From Paragraph 1
1. In September 1939, Warsaw was attacked and captured by the Nazis. What were the two methods used by the Nazis to achieve this? [2m]
2. Give two reasons why the people of Warsaw surrendered. [2m]
Paragraph 2
The capital waited silently for its conquerors to enter. None feared what might follow more than the large Jewish population of the city. They had already heard terrible reports about what happened to Jews in Germany, in Austria and in Hitler's most recent conquest, Czechoslovakia. Although some tried to dismiss these reports as exaggerated, or as mere rumours, nevertheless, there was dread in their hearts.
From Paragraph 2
3. Why were the Jews fearful of hte German's arrival? [1m]
Paragraph 3
They had not long to wait before their fears were confirmed. The German army began to distribute bread and soup to the starving population - but a Jew, after queuing for hours, would often be roughly pushed aside when it came to his turn. Jewish apartments were commandeered without any warning. Bearded Jews were sometimes chased by Nazi soldiers or officials, who cut off their beards adn humiliated them in public. Young Jews were seized on the streets and taken off to do forced labour, without any explanation given. The signs were clear. While all the inhabitants of Warsaw were treated with contempt by the Germans, the Jews, in particular, were to be singled out for active persecution.
From Paragraph 3
4. Explain the phrase "their fears were confirmed". [2m]
Paragraph 4
Another alarming development was the creation of a "ghetto", or enclosed Jewish quarter. The Germans compelled the Jews to move into a severely restricted area out of which all non-Jews were moved. By November 1940, about 500000 Jews were squeezed into a district whcih had held some 145000 before the war. High walls sealed off most of the streets and guards were posted. The feared ghetto had become a reality. Rations were cut to 850 calories a day (less than half the number needed to keep an adult in reasonable health). Starvation followed for many and epidemics like typhus and cholera would carry off many more.
Paragraph 5
Not before too long, however, the Germans grew impatient. Too many Jews were still staying alive for too long. Rosenberg, a leading Nazi, had said, "The Jews are awaiting the end of the war, but they will not live to see it. They will pass from the earth before it comes." It was becoming clear to the occupying power that if these words were to apply to the Jews of Warsaw, a new strategy would have to be devised.
From Paragraph 5
5. "...a new strategy would have to be devised". What was the old strategy? [1m]
Paragraph 6
The new new strategy began to take shape in the spring and summer of 1942. In part, it took the form of terror killing. Every night, men and women were removed from their homes and shot, without any kind of trial, or even a reason being given. There was no way of predicting, therefore, who the next victims might be. Even on the streets, in daylight, Jews were beaten, robbed and murdered by teh Nazi soldiers. At the beginning of July, 110 Jews, including ten Jewish policemen, were led to an old cemetery at Praga, made to dig their own graves, and then shot. THe charge against them? Jews had recently been showing opposition to orders, while the Jewish police had not acted forcefully against smugglers and had accepted bribes.
Paragraph 7
The next phrase of the strategy was expulsion. Word filtered through the Jewish community (what was left of it) that they were going to the concentration camps. The first to be rounded up and taken away were the refugees from other cities, the prisoners, the hospital patients and the street beggars. Then began the process of supplying six thousand Jews a day for transportation. This task was first left to the Jewish police, who performed it with considerable energy and cruelty, often exceeding their target by as many as four thousand, perhaps in the mistaken belief that their zeal would earn them a reprieve from the Nazis.
From Paragraph 7
6. "...their zeal would earn them a reprieve from the Nazis". What do the underlined words in italics tell you about the Jewish police? [2m]
Paragraph 8
The police would blockade a number of houses and make the rounds of every apartment. Those without the necessary documents or insufficient money for bribes would be told to make a bundle of possessions weighing no more than fifteen kilos, and be ordered on to the waiting lorries. Meantime, in the general confusion and panic, others would hide in the cellars or try to escape by jumping from rooftop to rooftop. But they were only delaying the evil day. Perhaps the saddest of cases of all were those who gave themselves up voluntarily because they felt that death was preferable.
From Paragraph 8
7. "But they were only delaying the evil day". What did the "evil day" refer to? [1m]
PASSAGE B
Paragraph 1
To begin with, it was not the hapless victims of the Nazis who named their incomprehensible and totally unmasterable fate the "holocaust". It was the Americans who applied this artificial and highly technical term to the Nazi extermination of the European Jews. The event, if named as "mass murder" would evoke the most immediate, most powerful revulsion; yet, when it is designated a rare technical term, it has the effect of distancing the intellectual from the emotional. Thus, talking about the "holocaust" permits us to manage it intellectually where the raw facts, when given their ordinary names, would overwhelm us emotionally, because it was catastrophe beyond comprehension, beyond the limits of our imagination.
From Passage A
From Paragraph 1
8. In your own words, explain why the author said that using the term "holocaust" has the effect of distancing the intellectual from the emotional? [2m]
Paragraph 2
Even the Nazis - usually given to grossness in language and action - shied away from facing openly what they were up to and called this vile mass murder "the final solution of the Jewish problem". After all, solving a problem is an honourable enterprise, as long as we are not forced to recognise that the solution we are about to embark on consists of the completely unprovoked, vicious murder of millions of helpless men, women and children.
From Paragraph 2
9. How did calling the murder of the Jews "the final solution" make the Nazis feel less guilty? Explain in your own words. [1m]
10. Which word suggests that the author feels that the Jews were not a problem and the Nazis were to blame fully for the killing of the Jews? [1m]
Paragraph 3
Thus, artificially created technical terms fail to connect with our strongest feelings. The horror of murder is part of our most common heritage. From earliest infancy on, it arouses violent abhorrence in us. Therefore, in whatever form it appears, we should give such an act its true designation and not hide it behind polite terms created out of classical words.
Paragraph 4
The correct definition of "holocaust" is "burnt offering". By using the term "holocaust", false associations are established between the most vicious of mass murders and ancient rituals of a deeply religious nature. Calling the most callous, most brutal, most horrid, most heinous mass murder a burnt offering is a sacrilege.
From Paragraph 4
11. What does the author mean when she says that "calling the most brutal, most horrid mass murder a burnt offering is a sacrilege"? [2m]
12. Give two reasons for the Nazis' slaughter of the Jews. [2m]
13. "...their humanity destroyed". What do you think the author means by this description? [1m]
Paragraph 5
Millions of Jews were systematically slaughtered, as were untold ohter "undesirables", not for any conviction of theirs, but only because they stood in the way of the realisation of an illusion, in consequences of the Nazis' delusional belief about what was required to protect the purity of their assumed superior racial endowment, and what they thought necessary to guarantee them the living space they needed and were entitled to.
Paragraph 6
Millions - men, women and children -were processed after they had been utterly brutalised, their humanity destroyed, their clothes torn from their bodies. Naked, tehy were sorted into those who were destined to be murdered immediately, and those others who had a short-term usefulness as slave labour. But after a brief interval, they, too, were to be herded into the same gas chambers into which the others were immediately piled, there to be asphyxiated so that, in their last moments, they could not prevent themselves from fighting each other in vain for a last breath of air.
From Passages A and B
14. For each of the following, give one word or short phrase (of not more then seven wrods) which has the same meaning that the wrod or phrase has in the passage. [5m]
From Passage A
[a] contempt
[b] filtered
From Passage B
[c] hapless
[d] herded
[e] asphyxiated
From Passage A
15. Using your won words as far as possible, summarise the treatment of the Nazi soldiers towards the Jews in Warsaw and the results of the treatment.
USE ONLY THE MATERIAL FROM PARAGRAPHS 3 TO 8.
Your summary, which must be in continuous writing (not note form), must not be more than 150 words (not counting the words given to help you begin).
Begin your summary as follows:
The Jews suffered greatly under the Nazi soldiers... [25m]
Paragraph 1
On 1 September 1939, Hitler's troops crossed the Polish frontier and the people of Warsaw, the Polish capital, started to dig trenches for protection against air-raids. The bombs began to fall almost immediately , but the citizens of Warsaw could hardly have anticipated that, within a week, the German armies would be at the gates of the city. By 20 September, Warsaw was completely surrounded and heavy artillery joined the bombers in pounding the city and demoralising its people. With stocks of food rapidly dwindling and water, gas and electricity supplies severely disrupted, the inhabitants could not hold out for very long, and on 28 September, an armistice was declared. Warsaw had fallen.
From Passage A
From Paragraph 1
1. In September 1939, Warsaw was attacked and captured by the Nazis. What were the two methods used by the Nazis to achieve this? [2m]
2. Give two reasons why the people of Warsaw surrendered. [2m]
Paragraph 2
The capital waited silently for its conquerors to enter. None feared what might follow more than the large Jewish population of the city. They had already heard terrible reports about what happened to Jews in Germany, in Austria and in Hitler's most recent conquest, Czechoslovakia. Although some tried to dismiss these reports as exaggerated, or as mere rumours, nevertheless, there was dread in their hearts.
From Paragraph 2
3. Why were the Jews fearful of hte German's arrival? [1m]
Paragraph 3
They had not long to wait before their fears were confirmed. The German army began to distribute bread and soup to the starving population - but a Jew, after queuing for hours, would often be roughly pushed aside when it came to his turn. Jewish apartments were commandeered without any warning. Bearded Jews were sometimes chased by Nazi soldiers or officials, who cut off their beards adn humiliated them in public. Young Jews were seized on the streets and taken off to do forced labour, without any explanation given. The signs were clear. While all the inhabitants of Warsaw were treated with contempt by the Germans, the Jews, in particular, were to be singled out for active persecution.
From Paragraph 3
4. Explain the phrase "their fears were confirmed". [2m]
Paragraph 4
Another alarming development was the creation of a "ghetto", or enclosed Jewish quarter. The Germans compelled the Jews to move into a severely restricted area out of which all non-Jews were moved. By November 1940, about 500000 Jews were squeezed into a district whcih had held some 145000 before the war. High walls sealed off most of the streets and guards were posted. The feared ghetto had become a reality. Rations were cut to 850 calories a day (less than half the number needed to keep an adult in reasonable health). Starvation followed for many and epidemics like typhus and cholera would carry off many more.
Paragraph 5
Not before too long, however, the Germans grew impatient. Too many Jews were still staying alive for too long. Rosenberg, a leading Nazi, had said, "The Jews are awaiting the end of the war, but they will not live to see it. They will pass from the earth before it comes." It was becoming clear to the occupying power that if these words were to apply to the Jews of Warsaw, a new strategy would have to be devised.
From Paragraph 5
5. "...a new strategy would have to be devised". What was the old strategy? [1m]
Paragraph 6
The new new strategy began to take shape in the spring and summer of 1942. In part, it took the form of terror killing. Every night, men and women were removed from their homes and shot, without any kind of trial, or even a reason being given. There was no way of predicting, therefore, who the next victims might be. Even on the streets, in daylight, Jews were beaten, robbed and murdered by teh Nazi soldiers. At the beginning of July, 110 Jews, including ten Jewish policemen, were led to an old cemetery at Praga, made to dig their own graves, and then shot. THe charge against them? Jews had recently been showing opposition to orders, while the Jewish police had not acted forcefully against smugglers and had accepted bribes.
Paragraph 7
The next phrase of the strategy was expulsion. Word filtered through the Jewish community (what was left of it) that they were going to the concentration camps. The first to be rounded up and taken away were the refugees from other cities, the prisoners, the hospital patients and the street beggars. Then began the process of supplying six thousand Jews a day for transportation. This task was first left to the Jewish police, who performed it with considerable energy and cruelty, often exceeding their target by as many as four thousand, perhaps in the mistaken belief that their zeal would earn them a reprieve from the Nazis.
From Paragraph 7
6. "...their zeal would earn them a reprieve from the Nazis". What do the underlined words in italics tell you about the Jewish police? [2m]
Paragraph 8
The police would blockade a number of houses and make the rounds of every apartment. Those without the necessary documents or insufficient money for bribes would be told to make a bundle of possessions weighing no more than fifteen kilos, and be ordered on to the waiting lorries. Meantime, in the general confusion and panic, others would hide in the cellars or try to escape by jumping from rooftop to rooftop. But they were only delaying the evil day. Perhaps the saddest of cases of all were those who gave themselves up voluntarily because they felt that death was preferable.
From Paragraph 8
7. "But they were only delaying the evil day". What did the "evil day" refer to? [1m]
PASSAGE B
Paragraph 1
To begin with, it was not the hapless victims of the Nazis who named their incomprehensible and totally unmasterable fate the "holocaust". It was the Americans who applied this artificial and highly technical term to the Nazi extermination of the European Jews. The event, if named as "mass murder" would evoke the most immediate, most powerful revulsion; yet, when it is designated a rare technical term, it has the effect of distancing the intellectual from the emotional. Thus, talking about the "holocaust" permits us to manage it intellectually where the raw facts, when given their ordinary names, would overwhelm us emotionally, because it was catastrophe beyond comprehension, beyond the limits of our imagination.
From Passage A
From Paragraph 1
8. In your own words, explain why the author said that using the term "holocaust" has the effect of distancing the intellectual from the emotional? [2m]
Paragraph 2
Even the Nazis - usually given to grossness in language and action - shied away from facing openly what they were up to and called this vile mass murder "the final solution of the Jewish problem". After all, solving a problem is an honourable enterprise, as long as we are not forced to recognise that the solution we are about to embark on consists of the completely unprovoked, vicious murder of millions of helpless men, women and children.
From Paragraph 2
9. How did calling the murder of the Jews "the final solution" make the Nazis feel less guilty? Explain in your own words. [1m]
10. Which word suggests that the author feels that the Jews were not a problem and the Nazis were to blame fully for the killing of the Jews? [1m]
Paragraph 3
Thus, artificially created technical terms fail to connect with our strongest feelings. The horror of murder is part of our most common heritage. From earliest infancy on, it arouses violent abhorrence in us. Therefore, in whatever form it appears, we should give such an act its true designation and not hide it behind polite terms created out of classical words.
Paragraph 4
The correct definition of "holocaust" is "burnt offering". By using the term "holocaust", false associations are established between the most vicious of mass murders and ancient rituals of a deeply religious nature. Calling the most callous, most brutal, most horrid, most heinous mass murder a burnt offering is a sacrilege.
From Paragraph 4
11. What does the author mean when she says that "calling the most brutal, most horrid mass murder a burnt offering is a sacrilege"? [2m]
12. Give two reasons for the Nazis' slaughter of the Jews. [2m]
13. "...their humanity destroyed". What do you think the author means by this description? [1m]
Paragraph 5
Millions of Jews were systematically slaughtered, as were untold ohter "undesirables", not for any conviction of theirs, but only because they stood in the way of the realisation of an illusion, in consequences of the Nazis' delusional belief about what was required to protect the purity of their assumed superior racial endowment, and what they thought necessary to guarantee them the living space they needed and were entitled to.
Paragraph 6
Millions - men, women and children -were processed after they had been utterly brutalised, their humanity destroyed, their clothes torn from their bodies. Naked, tehy were sorted into those who were destined to be murdered immediately, and those others who had a short-term usefulness as slave labour. But after a brief interval, they, too, were to be herded into the same gas chambers into which the others were immediately piled, there to be asphyxiated so that, in their last moments, they could not prevent themselves from fighting each other in vain for a last breath of air.
From Passages A and B
14. For each of the following, give one word or short phrase (of not more then seven wrods) which has the same meaning that the wrod or phrase has in the passage. [5m]
From Passage A
[a] contempt
[b] filtered
From Passage B
[c] hapless
[d] herded
[e] asphyxiated
From Passage A
15. Using your won words as far as possible, summarise the treatment of the Nazi soldiers towards the Jews in Warsaw and the results of the treatment.
USE ONLY THE MATERIAL FROM PARAGRAPHS 3 TO 8.
Your summary, which must be in continuous writing (not note form), must not be more than 150 words (not counting the words given to help you begin).
Begin your summary as follows:
The Jews suffered greatly under the Nazi soldiers... [25m]
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