A、antecedent
B、referential
C、signified
D、precedent
A) We are surrounded by so much paper and card that it is easy to forget just how complex it is. There are many varieties and grades of paper materials, and whilst it is fairly easy to spot the varieties, it is far more difficult to spot the grades.
B) It needs to be understood that most paper and card is manufactured for a specific purpose, so that whilst the corn-flake packet may look smart, it is clearly not something destined for the archives. It is made to look good, but only needs a limited life span. It is also much cheaper to manufacture than high grade card.
C) Paper can be made from an almost endless variety of cellulose-based material which will include many woods, cottons and grasses or which papyrus is an example and from where we get the word "paper". Many of these are very specialized, but the preponderance of paper making has been from soft wood and cotton or rags, with the bulk being wood-based.
Paper from Wood
D) In order to make wood into paper it needs to be broken down into fine strands. Firstly by powerful machinery and then boiled with strong alkalies such as caustic soda, until a fine pulp of cellulose fibers is produced. It is from this pulp that the final product is made, relying on the bonding together of the cellulose into layers. That, in a very small nutshell, is the essence of paper making from wood. However, the reality is rather more complicated. In order to give us our white paper and card, the makers will add bleach and other materials such as china clay and additional chemicals.
E) A further problem with wood is that it contains a material that is not cellulose. Something called lignin. This is essential for the tree since it holds the cellulose fibres together, but if it is incorporated into the manufactured paper it presents archivists with a problem. Lignin eventually breaks down and releases acid products into the paper. This will weaken the bond between the cellulose fibers and the paper will become brittle and look rather brown and careworn. We have all seen this in old newspapers and cheap paperback books. It has been estimated that most paper back books will have a life of not greater than fifty years. Not what we need for our archives.
F) Since the lignin can be removed from the paper pulp during manufacture, the obvious question is "why is it left in the paper?" The answer lies in the fact that lignin makes up a considerable part of the tree. By leaving the lignin in the pulp a papermaker can increase his paper yield from a tree to some 95%. Removing it means a yield of only 35%. It is clearly uneconomic to remove the lignin for many paper and card applications.
G) It also means, of course, that lignin-free paper is going to be more expensive, but that is nevertheless what the archivist must look for in his supplies. There is no point whatsoever in carefully placing our valuable artifacts in paper or card that is going to hasten
their demise. Acid is particularly harmful to photographic materials, causing them to fade and is some cases simply vanish!
H) So, how do we tell a piece of suitable paper or card from one that is unsuitable? You cannot do it by simply looking, and rather disappointingly, you cannot always rely on the label. "Acid-free" might be true inasmuch as a test on the paper may indicate that it is a neutral material at this time. But lignin can take years before it starts the inevitable process of breaking down, and in the right conditions it will speed up enormously.
I) Added to this, as I have indicated earlier, paper may also contain other materials added during manufacture such as bleach, china clay, chemical whiteners and size. This looks like a bleak picture, and it would be but for the fact that there are suppliers who will guarantee the material that they sell. If you want to be absolutely sure that you are storing in, or printing on, the correct material then this is probably the only way.
J) Incidentally, acids can migrate from material to material. Lining old shoe boxes with good quality acid-free paper will do little to guard the contents. The acid will get there in the end.
Paper from Rag
K) Paper is also commonly made from cotton and rag waste. This has the advantage of being lignin-free, but because there is much less cotton and rag than trees, it also tends to be much more expensive than wood pulp paper. You will still need to purchase from a reliable source though, since even rag paper and card can contain undesirable additives.
L) A reliable source for quality rag papers is a recognized art stockiest. Many water color artists insist on using only fine quality rag paper and board.
M) The main lesson to learn from this information is that you cannot rely on purchasing archival materials from the high street. The only safe solution is to purchase from specialist suppliers. It may cost rather more, but in the end you will know that your important and valuable data and images have the best home possible.
1. The corn-flake packet is cheaper than high grade card.
2. There are a lot of materials which can be used for making paper, but the superiority ones are soft wood, cotton and rags.
3. During the whole manufacturing process, the final product is made from a pulp of cellulose fibres.
4. In order to make white paper and card, the makers will add bleach.
5. Liguin is essential for the tree but it will make paper easy to break.
6. Many paper producers will preserve lignin during manufacture, because leaving the lignin will make more paper from a tree.
7. Acid is particularly harmful to photographic materials.
8. If the lignin is removed from the paper, the paper will be more expensive.
9. Although free of lignin, paper made from cotton and rag waste can also cost more money than wood pulp paper because there is much less cotton and rag than trees.
10. What we can learn from "Paper from Rag" is that you had better buy archival materials from specialist suppliers.
•For each question 13-18, mark one letter (A, B, C or D) on your Answer Sheet, for the answer you choose.
Morning, noon and night
The long-hours culture at work
Working an eight-hour day is a luxury for most professional people. Nowadays, the only way to guarantee an eight-hour working day is to have the kind of job where you clock on and off. Those professionals who have managed to limit their hours to what was, 20 years ago, the average do not wish to identify themselves. 'I can quite easily achieve my work within a normal day, but I don't like to draw attention to it,' says one sales manager. 'People looked at me when I left at 5 o'clock. Now, I put paperwork in my bag. People assume I'm doing extra hours at home.'
But more typical is Mark, who works as an account manager. He says, 'My contract says I work from 9 until 5 with extra hours as necessary. It sounds as if the extra hours are exceptional. In fact, my job would be enough not only for me, but also for someone else part-time. The idea of an eight-hour day makes me laugh!' He says he has thought about going freelance but realises that this doesn't guarantee better working hours.
Professor Cary Cooper, occupational psychologist at the University of Manchester, is the author of the annual Quality of Working Life survey. The most recent survey found that 77% of managers in Britain work more than their contracted hours, and that this is having a damaging effect on their health, relationships and productivity. Professor Cooper is critical of the long-hours culture. He says that while bosses believe long hours lead to greater efficiency, there is no evidence to support this. 'In fact, the evidence shows that long hours make you iii.'
There are, he says, steps that can be taken. One is to accept that the in-tray will never be empty. 'There are always things to do. You just have to make the rule that on certain days you go home early.' Prioritising work and doing essential tasks first helps, he says. He also thinks it's time to criticise bad employers and unreasonable terms of employment. 'By all means, show commitment where necessary but when expectations are too high, people have to begin saying openly that they have a life outside of work.'
Personal development coach Mo Shapiro agrees that communication is important. Staff need to talk to managers about the working practices within a company. Both parties should feel that the expectations are realistic and allow them to have responsibilities and interests outside work. She recognises, however, that in many organisations the response might well be, 'If you want more interests outside work, then find another job'.
She believes that senior staff have a duty to set an example. 'I recently worked for a firm of solicitors where the partners started at 7.30am. What kind of message is that to send to the staff?' She believes there is no shame in working sensible hours - in fact quite the reverse. 'Some people might be in at 7.30 but will be doing very little. You can work really hard from 9 to 5 and achieve the same. If you find it difficult to achieve an eight-hour day, there is, as a last resort, the old trick of leaving your jacket on your chair and your computer switched on, even after you have left the building.'
What does the writer say in the first paragraph about people who work an eight-hour day?
A.They are reluctant to admit to this,
B.They are disliked by their colleagues.
C.They are limited to certain professions.
D.They often catch up on work in the evenings.
A.humans have a natural, innate ability to acquire and create language
B.focusing on how to use a language is the fastest way to communicate
C.language learners learn primarily from their peers, who are also learners.
D.because human languages are changing constantly, so they are flui
D.
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