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Comprehension

The passage below is accompanied by a set of questions. Choose the best answer to each question.

The Chinese have two different concepts of a copy. Fangzhipin . . . are imitations where the difference from the original is obvious. These are small models or copies that can be purchased in a museum shop, for example. The second concept for a copy is fuzhipin . . . They are exact reproductions of the original, which, for the Chinese, are of equal value to the original. It has absolutely no negative connotations. The discrepancy with regard to the understanding of what a copy is has often led to misunderstandings and arguments between China and Western museums. The Chinese often send copies abroad instead of originals, in the firm belief that they are not essentially different from the originals. The rejection that then comes from the Western museums is perceived by the Chinese as an insult. . . .

The Far Eastern notion of identity is also very confusing to the Western observer. The Ise Grand Shrine [in Japan] is 1,300 years old for the millions of Japanese people who go there on pilgrimage every year. But in reality this temple complex is completely rebuilt from scratch every 20 years. . . .

The cathedral of Freiburg Minster in southwest Germany is covered in scaffolding almost all year round. The sandstone from which it is built is a very soft, porous material that does not withstand natural erosion by rain and wind. After a while, it crumbles. As a result, the cathedral is continually being examined for damage, and eroded stones are replaced. And in the cathedral’s dedicated workshop, copies of the damaged sandstone figures are constantly being produced. Of course, attempts are made to preserve the stones from the Middle Ages for as long as possible. But at some point they, too, are removed and replaced with new stones.

Fundamentally, this is the same operation as with the Japanese shrine, except in this case the production of a replica takes place very slowly and over long periods of time. . . . In the field of art as well, the idea of an unassailable original developed historically in the Western world. Back in the 17th century [in the West], excavated artworks from antiquity were treated quite differently from today. They were not restored in a way that was faithful to the original. Instead, there was massive intervention in these works, changing their appearance. . . .

It is probably this intellectual position that explains why Asians have far fewer scruples about cloning than Europeans. The South Korean cloning researcher Hwang Woo-suk, who attracted worldwide attention with his cloning experiments in 2004, is a Buddhist. He found a great deal of support and followers among Buddhists, while Christians called for a ban on human cloning. . . . Hwang legitimised his cloning experiments with his religious affiliation: ‘I am Buddhist, and I have no philosophical problem with cloning. And as you know, the basis of Buddhism is that life is recycled through reincarnation. In some ways, I think, therapeutic cloning restarts the circle of life.’


Question 1
The correct answer is

Pablo Picasso’s painting of Vincent van Gogh’s original painting, identical in every respect.

For the Chinese, a fuzhipin is an exact reproduction of the original and is of equal value to it, while a fangzhipin is an obvious imitation such as a small model.

A painting of the original that is identical in every respect is an exact reproduction, so a Chinese museum would not value it less than the original.

A miniaturised painting is a model-like imitation, a copy bearing a different signature is visibly different, and a photograph is not a reproduction in the same medium, so each could be seen as having less value.

Hence, Pablo Picasso’s painting of Vincent van Gogh’s original painting, identical in every respect.

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Question 2
The correct answer is

it discourages them from carrying out human cloning.

The Western value of an unassailable original explains the rejection of Chinese copies by Western museums, so it discourages displaying copies. It also explains why ancient art is now restored faithfully rather than altered, so it discourages intervention.

The Freiburg workshop, which constantly produces copies of damaged figures, shows the value giving steady work to certain craftsmen.

The passage links the opposition to cloning to the religious views of Christians, contrasted with the Buddhist outlook of Hwang. It never says the value of the original is what discourages cloning, so that is the exception.

Hence, it discourages them from carrying out human cloning.

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Question 3
The correct answer is

A 17th century French artist who adhered to a Christian worldview would need to be completely true to the original intent of a painting when restoring it.

The passage says that in the 17th century West, excavated artworks “were not restored in a way that was faithful to the original”; instead there was “massive intervention in these works”. The idea of an unassailable original developed only later.

So a 17th century artist in the West, whatever his religious worldview, would not have felt bound to stay completely true to the original intent of a painting. That scenario runs against the passage.

The British painter adding personal touches fits the 17th century practice, the Buddhist monk valuing the rebuilt shrine fits the Ise example, and the Christian scientist opposing cloning fits the contrast drawn in the last paragraph.

Hence, A 17th century French artist who adhered to a Christian worldview would need to be completely true to the original intent of a painting when restoring it.

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Question 4
The correct answer is

Both are continually undergoing restoration.

The question asks for the statement that does not express a real similarity between the two structures.

The Freiburg cathedral is “continually being examined for damage” and repaired, but the Ise shrine is rebuilt from scratch every 20 years, which is periodic rather than continuous restoration. So continual restoration is not a shared feature.

Both are places of worship, both are eventually replaced entirely (the passage calls it “the same operation”), and both are regarded as very old structures, so the other statements do describe similarities.

Hence, Both are continually undergoing restoration.

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Important Questions from Non Grammar

  1. In formulating Principle VI (a), the ILC clarified the term "waging of a war of aggression" because:
  2. The author attributes the growing public frustration with the UN primarily to which pair of continuous failures?
  3. A primary point of divergence between the US Conservative position and the Secretary-General's Conservative position on security matters, according to the summary is:
  4. According to the critique's conclusion, the immediate, insurmountable barrier preventing the implementation of any reform, major or minor, is:
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