TEM-8 Exercise 3PART II    PROOFREADING & ERROR CORRECTION (15 MIN.)Directions: The following passage contains ten errors .Each line contains a maximum of one error. In each case only one word is involved. You should proofread the passage and correct it in the following way:For a wrong word, underline the wrong word and write the correct one in the blank provided at the end of the line.For a missing word, mark the position of the missing word with a "^" sign and write the word you believe to be missing in the blank provided at the end    of the line.For an unnecessary word, cross the unnecessary word with a slash "/" and put the word in the blank provided at the end of the line.EXAMPLEWhen ^ art museum wants a new exhibit,(1) anit (never/) buys things in finished form and hangs(2) neverthem on the wall. When a natural history museum    wants an exhibition, it must often build it.(3)exhibit[A]One important outcome of the work on the expressionof genes in developing embryos is sure to be knowledgethat can help preventing birth defects. Just as promising(1)is the possibility of unraveling the complicated wiring(2)of the brain. A mechanic gets valuable insight how an (3)automobile works by rebuilding car engines; similarly,neuroscientist can learn how the brain functions from(4)the way it is put together. The next step pursuing the (5)goal is to find out how the blueprint genes, the homeoboxgenes, control the expression of other genes that create thevalves and pistons of the working cerebral engine. The protein encoded by the later genes could change the (6)stickiness of the cell surface, the shape of the cell or itsmetabolism to create the characteristics peculiar to, say,neurons or neural-crest cells. Surface proteins may be themechanism, whereby similar programmed cells stick(7)together to form specific structures; they might also sensethe local environment to help the cell decide what is to do.(8)Clarifying those mechanisms will engage the best talents inembryology and molecular biology for some times to come.(9)What is perhaps the most intriguing question of all is if the(10)brain is powerful enough to solve the puzzle of its own creation.[B]Vitamins, like minerals, are chemicals. There is absolutely not difference in the chemical structure(11)of the nature vitamin C and the chemical structure(12)of the synthetic vitamin C. Also, while most sub-stance are harmless at very low level of intake, all(13)substances —— even elements that are essential to life —— can be dangerous if you overdo them. Take water for example. Six or eight glasses a day will keep yourbody in good fluid balance. But you can also be drown(14)in it. Some people argue that individuals vary greatly(15)in their need for nutrients, it cannot necessarily    bestated any given amount is too much; that is all(16)relative. But since there is little solid informationon what is the optimal intake of any essential nutrient inhealthy individuals, it would be impossible to giveguidelines that take these proportional needs into the(17)account. Just as with other drugs, the relation to(18)different vitamin dosages varies, with some peoplebetter able than others to tolerate large amounts. Whilewe do know that very specifically what the toxic level(19)is for vitamin A and D, we are far less sure aboutvitamin E, even though it, too, is fat-soluble, and westill don't understand the water-soluble vitamin, the C(20)and the B groups, which the body can't store.[C]The telephone system is a circuit-switched network.For much of the history of the system, when you placed(21)a call, you were renting a pair of copper wires that rancontinuously from your telephone to the other party'sphone. You had excluding use of those wires during the(22)call; when you hung up, they were rented to someoneelse. Today the translation is more complicated. (your callmay well possess a fiber-optic cable or a satellite withhundreds of other calls), but more conceptually the system(23)still works the same way. When you dial the phone, you geta private connection to one other party.This is an alternative network architecture called(24)packet switching, in which all stations are always connectedto the network, but they receive only the message addressedto them. It is as if your telephone was always turned in to(25)thousands of conversations going on the wire, but you(26)heard only the occasional word intended to you. Most(27)computer networks employ packet switching, becauseit is more efficient than circuit switching when trafficis heavy. It seems reasonable the existing packet-switched(28)network will grow, and new one may be created; they could(29)well absorb traffic that would otherwise go to the telephonesystem and thereby reduce the need for telephone numbers.(30)[D]The German poet and polymath Johann Wolfgang von Goethepondered the question of how organisms develop in his scientificstudies of form and structure immature plants and animals, a field hefound and named morphology. His search for a single basic body plan(31)across all life-forms led him to think about the prevalence of repeating(32)segments in body structures. The spinal columns of fish, reptiles,(33)birds and mammals, for instance, all are made of long strings of(34)repeated vertebrae. Among invertebrates the growth of virtuallyidentical segments is how striking: in earthworms, for example, even(35)internal organs are repeated in serial segments. Likewise, theabdomen of flies and other insects are segmented, as are the(36)successive wormlike articulations in crabs, shrimps and othercrustaceans. To Goethe the evidence suggested that nature takes abuilding-block approach to generate life, repeating a basic element(37)again and again to arrive at a complicated organism. The only glaring(38)hole he could see in the theory was the apparent lack of any sort ofsegmentation in the vertebrate heads. In 1970 he hypothesized that(39)spinal vertebrate is modified during the development to form the(40)skull.[E]Literature is a means by which we know ourselves. By it we (41)meet future selves, and recognize past selves; against it we match ourpresent self. Its primary function is to validate and re-create the selfin all its individuality and distinctness. In doing so, it cements a sense of relationship between the self and the otherness of the book, and allows us a notion of ourselves as sociable. Its shared knowledgeis vicarious experience; by this means we enlarge our understandings(42)of what it means to be human, of the corporate and independent(43)nature of human society. The act of reading the book marks both ourdifference in and our place in the human fabric. The more we read,(44)the more we are. In the act of reading silently we are alone from the(45)book, separate from one's own immediate surroundings. Yet in the (46)act of reading we enter other minds and other places, enlarge our(47)dialogue with the world. Thus paradoxically, while disengaging fromthe immediate we are increasing its scope. In silence, readingactivates a deeply creative function of consciousness. We are deeplycommitted to the narrative which we coexist while engaged in (48)reading. All kinds of present physical discomfortness may be (49)unnoticed while we are reading, and actual time is replaced by narrative time. To imaginatively enter a fictional world by reading it (50)is then both a liberation from self and an expansion of self.[F]Because the air in the country is really clean, we ought to livethere much as is possible. Since, however, a great deal of the world's(51)work must be done indoor in cities, it is important that we take every(52)precaution to ventilate our houses properly. Some people havethought that night air is injurious. But careful study shows that nightair is identical with that which we breath during the day. In fact the (53)proper ventilation of a bedroom is one of the first necessity for good(54)health. Since the exhaled air is usually warmer and lighter than theinhaled air, it rises to the top of the room. Therefore it is better toopen a window both at the top to let the warm up air out and also at(55)the bottom to admit the fresh air in. Of course, this does not mean(56)that one should sleep in a strong draft. In many places it is feasible to sleep out-of-the-doors on a sleeping porch and so to secure perfect(57)ventilation.In recent years we have seen steady progress made in the developmentof equipments to supply proper conditioned air not only in large(58)auditoriums, class-rooms, and factories, but also in railroad trainsand in private homes. This equipment cleans the air off dust, keeps(59)the temperature comfortable, holds the humidity at the right point,and keeps the air in the motion. Such a condition is conductive to(60)efficiency as well as good health.[G]I think it is true to saying that, in general, language teachers(61)have paid little attention to the way sentences are used in combinationto form stretches of disconnected discourse. They have tended to take(62)their cue from the grammarian and have concentrated to the teaching(63)of sentences as self-contained units. It is true that these are oftenrepresented in "contexts" and strung together in dialogues and (64)reading passages, but these are essentially settings to make theformal properties of the sentences stand out more clearly, propertieswhich are then established in the learner's brain by means of practice(65)drill and exercises. Basically, the language teaching unit is the (66)sentence as a formal linguistic object. The language teacher's view ofwhat that constitutes knowledge of a language is essentially the same(67)as Chomsky's knowledge of the syntactic structure of sentences,and of the transformational relations which hold them. Sentences areseen as paradigmatically rather than syntagmatically related. Such a knowledge provides the basis for actual use of language by the (68)speaker-hearer'. The assumption that the language appears to make(69)is that once this basis is provided, then the learner will have no difficulty in the dealing with the actual use of language.(70)[H]The changes in language will continue forever, but no one knows sure(71)who does the changing. One possibility is that children areresponsible. A professor of linguistic at the University of Hawaii,(72)explores this in one of his recent books. Sometimes around 1880, a(73)language catastrophe occurred in Hawaii when thousands of emigrant(74)workers were brought to the islands to work for the new sugarindustry. These people speaking different languages were unable to communicate with each other or with the native Hawaiians or the dominantEnglish-speaking owners of the plantations. So they first spoke in Pidgin English -- the sort of thing such mixed language(75)populations have always done. A pidgin is not really a language atall. It is more like a set of verbal signals used to name objects and(76)without the grammatical rules needed for expressing thought andideas. And then, within a single generation, the whole mass of mixedpeople began speaking a totally new tongue: Hawaiian Creole. The(77)new speech was contained ready-made words borrowed from all the(78)original tongues, but beard little or no resemblance to the (79)predecessors in the rules used for stringing the words together.Although generally regarded as primitive language, Hawaiian Creole(80)had a highly sophisticated grammar.[I]The cinema has learned a great deal from the theatre aboutpresentation. Gone are the boys when crowds were packed on woodenbenches in tumble-down buildings to gape the antics of silent, jerking(81)figures on the screen, where some poor pianist made frantic efforts to(82)translate the drama into music. These days it is quite easier to find a(83)cinema that surpasses a theatre in luxury. Even in small villages,cinemas are spacious, well-lit and well-ventilated places where onecan sit for comfort. The projectionist has been trained to give the(84)audience time to prepare themselves for the film they are to see. Talkdrops to a whisper and then fades out together. As soon as the (85)cinema is in darkness, spotlights are focused on the curtains whichare drawn slowly apart, often to the accompany of music, to reveal(86)the title of the film. Everything has carefully contrived so that the(87)spectator will never actually see the naked screen which will remindhim all too sharply that what he is about to see is nothing merely(88)shadows flickering on a white board. However much the cinema triesto simulate the conditions in a theatre, it never fully succeeds.Nothing can equal to the awe and sense of hushed expectation which(89)is felt by a theatre audience as the curtain is slowly risen.(90)

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