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The passage below consists of four paragraphs marked A, B, C and D. For questions 73-82, read the passage and do the task that follows.
THE SOCIAL PHENOMENON THAT IS FASHION
A. Each day as we prepare to meet our world we perform a very popular ritual: getting dressed. This may mean only adding a daub of war paint or freshening a grass girdle. Or it may be the painstaking ceremonious robing of a monarch. For most of us, however, it means the exchange of nightwear for day clothes. Although nakedness does still exist in some isolated communities, there appears to be no society that is entirely composed of totally unadorned human beings. The desire to alter or to add to the original natural state is so prevalent in the human species that we must assume it has become an inborn human trait. When did it begin? It certainly precedes recorded history. Bodily covering was probably the first man-made shelter and the human skin the earliest canvas. Standing erect with his arms and hands free to function creatively, man must have soon discovered that his anatomical frame could accommodate a wide variety of physical self- improvements. His shoulders could support a mantle to protect him from the elements. To stand out above his peers and indicate his superior position, he found his head could be an excellent foundation for adding stature and importance. Intertwined with these motivating factors and building on them was the human instinct for creative expression, an outlet for the aesthetic spirit.
B. Changes in needs and outlooks often blur the purposes that originally gave articles of human raiment a raison d'être. Vestiges are relegated to tradition; others undergo a kind of mutation. The sheltering mantle, for example, can become a magnificent but cumbersome robe of state. Amulets, their symbolism lost or forgotten, become objects of decoration to show off the wearer's wealth. Man is a gregarious creature. And although innovations and changes may be initiated by individuals, the inspiration that triggers them grows out of the innovator’s environment, and their acceptance or rejection is determined by his society. Nothing so graphically reflects social and cultural patterns as the manner in which individuals within a society alter their original appearance.
C. Fashion can be a powerful force. Societies evolve for themselves a set of rules, and most people, consciously or subconsciously, do their best to conform. The nonconformists, those who do not wish to join in this game, must either sever their relationship and go it alone or suffer the consequences. These regulations are hardly capricious. Their roots are in the foundation of a society which, although composed of individuals, develops an identity of its own and an instinct for self-preservation. A homogeneity in dress is a manifest catalyst, a visible unifier of a social group. Because this is so, costume if read properly can give us an insight not only into the class structure of a social organization but also into its religion and aesthetics, its fears, hopes and goals. Today our clothes continue to reflect our anxieties and how we try to cope with them. Our society is rapidly becoming global. The recent worldwide rage for jeans is an example of this new universality and the wholesale movement to break down past barriers - geographical and social.
D. “Fashion is the mirror of history,” King Louis XIV of France correctly observed. But if one were to transpose a fashion into another era, it would be unlikely to make sense. How, for example, could an Amazonian Indian or a Roman senator rationalize a hoop skirt, a starched ruff, or a powdered wig? Yet course of social mores, moral codes, the march of science and the progress of the arts. This would explain why the genealogy of clothes receives the rapt attention of the psychologist, sociologist, economist, anthropologist and art historian, each posing the same question: Why do people wear what they wear? Why, indeed, have human beings chosen to transform themselves so astonishingly? For the sake of the flesh or the spirit? For themselves and their own inquisitive nature or for the eyes of beholders? What has driven them? Ambition? Fear? Humility? There is and can be no single adequate response.
In which paragraph is each of the following mentioned?
73 - explains why non-mainstream fashion risks the possibility of social disapproval?
74 - makes the point that fashion cannot be taken out of its historical context?
75 - suggests a temporal link between wearing clothes and painting the body?
76 - explains that certain clothes eventually become recognised as merely of historical interest?
77 - suggests that someone might dress in a particular way in order not to attract attention?
78 - suggests that clothes could be used to assert social standing?
79 - mentions a fashion item which reflects a trend in society?
80 - mentions clothes being put on in a very elaborate manner?
81 - mentions satisfying one's own curiosity as a possible motive for dressing in unusual ways?
82 - offers an explanation for the way in which dress codes originate?
B. Changes in needs and outlooks often blur the purposes that originally gave articles of human raiment a raison d'être. Vestiges are relegated to tradition; others undergo a kind of mutation. The sheltering mantle, for example, can become a magnificent but cumbersome robe of state. Amulets, their symbolism lost or forgotten, become objects of decoration to show off the wearer's wealth. Man is a gregarious creature. And although innovations and changes may be initiated by individuals, the inspiration that triggers them grows out of the innovator’s environment, and their acceptance or rejection is determined by his society. Nothing so graphically reflects social and cultural patterns as the manner in which individuals within a society alter their original appearance.
C. Fashion can be a powerful force. Societies evolve for themselves a set of rules, and most people, consciously or subconsciously, do their best to conform. The nonconformists, those who do not wish to join in this game, must either sever their relationship and go it alone or suffer the consequences. These regulations are hardly capricious. Their roots are in the foundation of a society which, although composed of individuals, develops an identity of its own and an instinct for self-preservation. A homogeneity in dress is a manifest catalyst, a visible unifier of a social group. Because this is so, costume if read properly can give us an insight not only into the class structure of a social organization but also into its religion and aesthetics, its fears, hopes and goals. Today our clothes continue to reflect our anxieties and how we try to cope with them. Our society is rapidly becoming global. The recent worldwide rage for jeans is an example of this new universality and the wholesale movement to break down past barriers - geographical and social.
D. “Fashion is the mirror of history,” King Louis XIV of France correctly observed. But if one were to transpose a fashion into another era, it would be unlikely to make sense. How, for example, could an Amazonian Indian or a Roman senator rationalize a hoop skirt, a starched ruff, or a powdered wig? Yet course of social mores, moral codes, the march of science and the progress of the arts. This would explain why the genealogy of clothes receives the rapt attention of the psychologist, sociologist, economist, anthropologist and art historian, each posing the same question: Why do people wear what they wear? Why, indeed, have human beings chosen to transform themselves so astonishingly? For the sake of the flesh or the spirit? For themselves and their own inquisitive nature or for the eyes of beholders? What has driven them? Ambition? Fear? Humility? There is and can be no single adequate response.
In which paragraph is each of the following mentioned?
73 - explains why non-mainstream fashion risks the possibility of social disapproval?
74 - makes the point that fashion cannot be taken out of its historical context?
75 - suggests a temporal link between wearing clothes and painting the body?
76 - explains that certain clothes eventually become recognised as merely of historical interest?
77 - suggests that someone might dress in a particular way in order not to attract attention?
78 - suggests that clothes could be used to assert social standing?
79 - mentions a fashion item which reflects a trend in society?
80 - mentions clothes being put on in a very elaborate manner?
81 - mentions satisfying one's own curiosity as a possible motive for dressing in unusual ways?
82 - offers an explanation for the way in which dress codes originate?
