Bomb found in London (WW 2)

Police have evacuated a number of streets in central London after an unexploded

World War II bomb was discovered. The device was found near Soho's Dean Street
by construction workers and police were called at 1:42 p.m. local time on Monday,
the Metropolitan Police said. Thousands of workers were told to leave their buildings
and police expanded a cordon across a number of streets in the busy neighborhood.
Dozens of police officers were limiting access to the area. Police are evacuating a
large part of Soho after an unexploded WW2 bomb was found just off Dean Street.
Cordon is being expanded and several streets are closed off. Dozens of police around
and thousands of people being told to leave work. Umika Verma, a public relations
officer, told CNN the incident occurred by the Soho Hotel, opposite her office.
"Police said to our receptionist that everyone has to get out," she said. “We came out
of the office and were told to move. No time limit at all was given -- it was just 'get
out of the office' immediately. Within five minutes we all had to go." Soho is a lively
part of the British capital, housing a number of businesses, restaurants, and bars.
Around two hours after the device was found, police were telling workers at several
of the neighborhood's shops and offices to leave work and move away from the area.
They also blocked off a number of streets not initially included in the cordoned-off
zone.

Test I. Answer these questions (choose the best answer)

1. Who found the bomb?

a. Tourists b. The police c. Construction workers

2. Who decided that people should evacuate the area?

a. The police b. Construction workers c. Umika Verma

3. The bomb was found in an area where there are bars and restaurants.
a. False b. The article doesn't say c. True
4. How much time were people given to evacuate?
a. A couple of hours b. Several minutes c. Several hours

5. Which of the following is NOT true?

a. Police blocked off streets in the area.
b. Fewer than 1000 workers were asked to leave their buildings.
c. Workers were asked to leave a couple of hours after the bomb was found.

Test II. Questions 6 through 12 refer to the following passage:

In the 16th century, an age of great marine and terrestrial exploration, Ferdinand
Magellan led the first expedition to sail around the world. As a young Portuguese
noble, he served the king of Portugal, but he became involved in the quagmire of
political intrigue at court and lost the king’s favor. After he was dismissed from
service by the king of Portugal, he offered to serve the future Emperor Charles V of
Spain.
A papal decree of 1493 had assigned all land in the New World west of 50 degrees
W longitude to Spain and all the land east of that line to Portugal. Magellan offered
to prove that the East Indies fell under Spanish authority. On September 20, 1519,
Magellan set sail from Spain with five ships. More than a year later, one of these
ships was exploring the topography of South America in search of a water route
across the continent. This ship sank, but the remaining four ships searched along the
southern peninsula of South America. Finally, they found the passage they sought
near 50 degrees S latitude. Magellan named this passage the Strait of All Saints, but
today it is known as the Strait of Magellan.
One ship deserted while in this passage and returned to Spain, so fewer sailors were
privileged to gaze at that first panorama of the Pacific Ocean. Those who remained
crossed the meridian now known as the International Date Line in the early spring
of 1521 after 98 days on the Pacific Ocean. During those long days at sea, many of
Magellan’s men died of starvation and disease.
Later, Magellan became involved in an insular conflict in the Philippines and was
killed in a tribal battle. Only one ship and 17 sailors under the command of the
Basque navigator Elcano survived to complete the westward journey to Spain and
thus prove once and for all that the world is round, with no precipice at the edge.

Questions:

6. How and where was Magellan killed?

7. When did Magellan set sail with five ships?

8. What was they proving?

9. Whose command was it to complete the westward journey to Spain?

10. How did Magellan lost the king's favor?

11. After how many days did Magellan's men died on Pacific Ocean?

12. The passage they sought near 50 S latitude is named?

Test III. Passage for questions 13 to 15:

The painter Roy Lichtenstein helped to define pop art—the movement that
incorporated commonplace objects and commercial-art techniques into paintings—
by paraphrasing the style of comic books in his work. His merger of a popular genre
with the forms and intentions of fine art generated a complex result: while poking
fun at the pretensions of the art world, Lichtenstein’s work also managed to convey
a seriousness of theme that enabled it to transcend mere parody. That Lichtenstein’s
images were fine art was at first difficult to see, because, with their word balloons
and highly stylized figures, they looked like nothing more than the comic book
panels from which they were copied. Standard art history holds that pop art emerged
as an impersonal alternative to the histrionics of abstract expressionism, a movement
in which painters conveyed their private attitudes and emotions using
nonrepresentational techniques. The truth is that by the time pop art first appeared
in the early 1960s, abstract expressionism had already lost much of its force. Pop art
painters weren’t quarreling with the powerful early abstract expressionist work of
the late 1940s but with a second generation of abstract expressionists whose work
seemed airy, high-minded, and overly lyrical. Pop art paintings were full of simple
black lines and large areas of primary color.
Lichtenstein’s work was part of a general rebellion against the fading emotional
power of abstract expressionism, rather than an aloof attempt to ignore it. But if
rebellion against previous art by means of the careful imitation of a popular genre
were all that characterized Lichtenstein’s work, it would possess only the reflective
power that parodies have in relation to their subjects. Beneath its cartoonish
methods, his work displayed an impulse toward realism, an urge to say that what
was missing from contemporary painting was the depiction of contemporary life.
The stilted romances and war stories portrayed in the comic books on which he based
his canvases, the stylized automobiles, hot dogs, and table lamps that appeared in
his pictures, were reflections of the culture Lichtenstein inhabited. But, in contrast
to some pop art, Lichtenstein’s work exuded not a jaded cynicism about consumer
culture, but a kind of deliberate naiveté, intended as a response to the excess of
sophistication he observed not only in the later abstract expressionists but in some
other pop artists. With the comics—typically the domain of youth and innocence—
as his reference point, a nostalgia fills his paintings that gives them, for all their
surface bravado, an inner sweetness. His persistent use of comic-art conventions
demonstrates a faith in reconciliation, not only between cartoons and fine art, but
between parody and true feeling.
Questions:

13. Which one of the following best captures the author’s attitude toward
Lichtenstein’s work?
A. enthusiasm for its more rebellious aspects
B. respect for its successful parody of youth and innocence
C. pleasure in its blatant rejection of abstract expressionism
D. admiration for its subtle critique of contemporary culture
E. appreciation for its ability to incorporate both realism and naiveté

14. The author most likely lists some of the themes and objects influencing and
appearing in Lichtenstein’s paintings (middle of the last paragraph) primarily to
A. show that the paintings depict aspects of contemporary life
B. support the claim that Lichtenstein’s work was parodic in intent
C. contrast Lichtenstein’s approach to art with that of abstract expressionism
D. suggest the emotions that lie at the heart of Lichtenstein’s work E. endorse
Lichtenstein’s attitude toward consumer culture

15. The primary purpose of the passage is most likely to

A. express curiosity about an artist’s work
B. clarify the motivation behind an artist’s work
C. contrast two opposing theories about an artist’s work
D. describe the evolution of an artist’s work E. refute a previous overestimation of
an artist’s work