What Is the New Dress Code Policy?
MEMORANDUM
TO:All Employees FROM:Helen Suskind, Director,
Human Resources Department
DATE:March 22, 2005 RE: Implementation of New Dress Code
A new dress code for all employees will take effect on September 1. All employees will be required to wear professional business attire while in the office. In this context, professional business attire excludes T-shirts, sleeveless shirts, shorts,
jeans, athletic attire, miniskirts, sandals, flip-flops, and sneakers. The attached sheet provides a complete list of attire that is inappropriate for the office. Please be sure to review this list carefully.
Violations of the new dress code will be handled as follows:
If you have any questions about the parameters of the dress code, please contact Martin Lamb in Human Resources immediately to schedule an appointment.
It is important that all employees understand the seriousness of this policy. Management based its decision to implement this code upon evidence that the lack of a dress code leads to a decrease in productivity. Our new dress code will help
maintain the reputation and integrity of our company by keeping us aware of the need for professionalism. Thank you for your cooperation.
An employee who violates the dress code for the third time will
A. receive a verbal warning.
B. receive a written warning.
C. be put on probation.
D. be dismissed.
E. meet with Martin Lamb.
What Is the New Dress Code Policy?
MEMORANDUM
TO:All Employees FROM:Helen Suskind, Director,
Human Resources Department
DATE:March 22, 2005 RE: Implementation of New Dress Code
A new dress code for all employees will take effect on September 1. All employees will be required to wear professional business attire while in the office. In this context, professional business attire excludes T-shirts, sleeveless shirts, shorts,
jeans, athletic attire, miniskirts, sandals, flip-flops, and sneakers. The attached sheet provides a complete list of attire that is inappropriate for the office. Please be sure to review this list carefully.
Violations of the new dress code will be handled as follows:
If you have any questions about the parameters of the dress code, please contact Martin Lamb in Human Resources immediately to schedule an appointment.
It is important that all employees understand the seriousness of this policy. Management based its decision to implement this code upon evidence that the lack of a dress code leads to a decrease in productivity. Our new dress code will help
maintain the reputation and integrity of our company by keeping us aware of the need for professionalism. Thank you for your cooperation.
According to the new policy, employees
A. can wear sandals but not flip-flops.
B. can wear short-sleeved shirts but not T-shirts.
C. must wear suits or dresses.
D. can wear shorts on very hot days.
E. cannot wear hats in the office.
Why Is the Man Screaming?
Edvard Munch's 1893 painting "The Scream" is a powerful work of art that has true aesthetic value. In its raw depiction of the unavoidable human emotions of alienation, anxiety and fear, "The Scream" invites meaningful introspection as the
viewer internalizes its message of the vulnerability of the human psyche.
"The Scream" is a very dynamic and yet frightening painting. The blood-red sky and eerie water/air seem to be moving and twirling, even enveloping the screaming mans mind as he stands on a bridge completely disregarded by passers-by
who do not share in his horror. Viewers of the painting cannot help but ask:
Why is the man screaming? And why is he alone in is scream? What is he afraid of? Or, what has he realized or seen that is making him scream?
Why arent the others as affected as he? The threat must be internal, yet the brushstrokes, colors and perspective seem to indicate that the horror is also bound to something in nature, something outside of the man. In any case, the agony
and alienation are inescapable. Something horrible has happened or been realized by the man who cannot contain his horror, but has not affected the others on the bridge.
That the people in the background are calm and do not share this horror conveys a truth regarding the ownership of our own feelings. We are often alone in our feelings, as can be especially noticed when we are in pain. The horror is the
mans own; he must carry it himself. In this expressionist piece, the black, red, and orange colors are both bold and dark, illuminating and haunting at the same time. Remarkably, the light from the blood-reds and vibrant oranges in the distant
sky seem to be somewhat detached from the figure in the forefront, failing to reach his persona, suggesting that there is little to illuminate his (and the viewers) fears.
The mans face is nondescript; in fact, it almost looks more like a skull than a living mans face, hollow with two simple dots to indicate the nostrils, no hair, no wrinkles of the skin. This could be any man or woman, left to deal with his or her
own horrors.
Based on the review, we can infer that Munch left the face of the screamer "nondescript" because
A. he wanted to show that we are all the screamer.
B. he did not like to paint detailed portraits of people, especially their faces.
C. he couldn't decide how to make the person look.
D. he wanted the person to look childlike and innocent.
E. he wanted the hollow face to contrast with the swirling sky.
Why Is the Man Screaming?
Edvard Munch's 1893 painting "The Scream" is a powerful work of art that has true aesthetic value. In its raw depiction of the unavoidable human emotions of alienation, anxiety and fear, "The Scream" invites meaningful introspection as the
viewer internalizes its message of the vulnerability of the human psyche.
"The Scream" is a very dynamic and yet frightening painting. The blood-red sky and eerie water/air seem to be moving and twirling, even enveloping the screaming mans mind as he stands on a bridge completely disregarded by passers-by
who do not share in his horror. Viewers of the painting cannot help but ask:
Why is the man screaming? And why is he alone in is scream? What is he afraid of? Or, what has he realized or seen that is making him scream?
Why arent the others as affected as he? The threat must be internal, yet the brushstrokes, colors and perspective seem to indicate that the horror is also bound to something in nature, something outside of the man. In any case, the agony
and alienation are inescapable. Something horrible has happened or been realized by the man who cannot contain his horror, but has not affected the others on the bridge.
That the people in the background are calm and do not share this horror conveys a truth regarding the ownership of our own feelings. We are often alone in our feelings, as can be especially noticed when we are in pain. The horror is the
mans own; he must carry it himself. In this expressionist piece, the black, red, and orange colors are both bold and dark, illuminating and haunting at the same time. Remarkably, the light from the blood-reds and vibrant oranges in the distant
sky seem to be somewhat detached from the figure in the forefront, failing to reach his persona, suggesting that there is little to illuminate his (and the viewers) fears.
The mans face is nondescript; in fact, it almost looks more like a skull than a living mans face, hollow with two simple dots to indicate the nostrils, no hair, no wrinkles of the skin. This could be any man or woman, left to deal with his or her
own horrors.
According to the author, what is the main effect of viewing this painting?
A. We feel sorry for the screamer.
B. We feel haunted by his agony and horror.
C. We feel relieved that we are not on the bridge.
D. We feel a sense of calm and quiet.
E. We feel like screaming.
Why Is the Man Screaming?
Edvard Munch's 1893 painting "The Scream" is a powerful work of art that has true aesthetic value. In its raw depiction of the unavoidable human emotions of alienation, anxiety and fear, "The Scream" invites meaningful introspection as the
viewer internalizes its message of the vulnerability of the human psyche.
"The Scream" is a very dynamic and yet frightening painting. The blood-red sky and eerie water/air seem to be moving and twirling, even enveloping the screaming mans mind as he stands on a bridge completely disregarded by passers-by
who do not share in his horror. Viewers of the painting cannot help but ask:
Why is the man screaming? And why is he alone in is scream? What is he afraid of? Or, what has he realized or seen that is making him scream?
Why arent the others as affected as he? The threat must be internal, yet the brushstrokes, colors and perspective seem to indicate that the horror is also bound to something in nature, something outside of the man. In any case, the agony
and alienation are inescapable. Something horrible has happened or been realized by the man who cannot contain his horror, but has not affected the others on the bridge.
That the people in the background are calm and do not share this horror conveys a truth regarding the ownership of our own feelings. We are often alone in our feelings, as can be especially noticed when we are in pain. The horror is the
mans own; he must carry it himself. In this expressionist piece, the black, red, and orange colors are both bold and dark, illuminating and haunting at the same time. Remarkably, the light from the blood-reds and vibrant oranges in the distant
sky seem to be somewhat detached from the figure in the forefront, failing to reach his persona, suggesting that there is little to illuminate his (and the viewers) fears.
The mans face is nondescript; in fact, it almost looks more like a skull than a living mans face, hollow with two simple dots to indicate the nostrils, no hair, no wrinkles of the skin. This could be any man or woman, left to deal with his or her
own horrors.
According to the author, what might be making the man scream?
A. He has seen something horrible.
B. He has realized something horrible about himself.
C. He has realized that he is alone.
D. all of the above
E. None of the above; we have no idea what is making him scream.
Why Is the Man Screaming?
Edvard Munch's 1893 painting "The Scream" is a powerful work of art that has true aesthetic value. In its raw depiction of the unavoidable human emotions of alienation, anxiety and fear, "The Scream" invites meaningful introspection as the
viewer internalizes its message of the vulnerability of the human psyche.
"The Scream" is a very dynamic and yet frightening painting. The blood-red sky and eerie water/air seem to be moving and twirling, even enveloping the screaming mans mind as he stands on a bridge completely disregarded by passers-by
who do not share in his horror. Viewers of the painting cannot help but ask:
Why is the man screaming? And why is he alone in is scream? What is he afraid of? Or, what has he realized or seen that is making him scream?
Why arent the others as affected as he? The threat must be internal, yet the brushstrokes, colors and perspective seem to indicate that the horror is also bound to something in nature, something outside of the man. In any case, the agony
and alienation are inescapable. Something horrible has happened or been realized by the man who cannot contain his horror, but has not affected the others on the bridge.
That the people in the background are calm and do not share this horror conveys a truth regarding the ownership of our own feelings. We are often alone in our feelings, as can be especially noticed when we are in pain. The horror is the
mans own; he must carry it himself. In this expressionist piece, the black, red, and orange colors are both bold and dark, illuminating and haunting at the same time. Remarkably, the light from the blood-reds and vibrant oranges in the distant
sky seem to be somewhat detached from the figure in the forefront, failing to reach his persona, suggesting that there is little to illuminate his (and the viewers) fears.
The mans face is nondescript; in fact, it almost looks more like a skull than a living mans face, hollow with two simple dots to indicate the nostrils, no hair, no wrinkles of the skin. This could be any man or woman, left to deal with his or her
own horrors.
Which of the following best describes what is depicted in the painting?
A. a man screaming as he falls through the sky
B. a man standing alone on a bridge and screaming
C. several people on a bridge, with the man in the forefront screaming
D. several people on a bridge, all of them screaming
E. something horrible happening to people on a bridge
Whats Wrong with Biff and Happy?
[Biff is talking with his brother, Happy. They are together with their parents in the home where they grew up.]
BIFF: [with rising agitation] Hap, Ive had twenty or thirty different kinds of jobs since I left home before the war, and it always turns out the same. I just realized it lately. In Nebraska, when I herded cattle, and the Dakotas, and Arizona, and
now in Texas. Its why I came home now, I guess, because I realized it.
This farm I work on, its spring there now, see? And theyve got about fifteen new colts. Theres nothing more inspiring or beautiful than the sight of a mare and a new colt. And its cool there now, see? Texas is cool now, and its spring. And
whenever spring comes to where I am, I suddenly get the feeling, my God, Im not gettin anywhere! What the hell am I doing, playing around with horses, twenty-eight dollars a week! Im thirty-four years old, I oughta be makinmy future.
Thats when I come running home. And now, I get here, and I dont know what to do with myself. [After a pause] Ive always made a point of not wasting my life, and every time I come back here I know that all Ive done is to waste my life.
HAPPY: Youre a poet, you know that, Biff?
Youre a youre an idealist! BIFF: No, Im mixed up very bad. Maybe I oughta get married. Maybe I oughta get stuck into something. Maybe thats my trouble.
Im like a boy. Im not married, Im not in business, I just Im like a boy. Are you content, Hap? Youre a success, arent you? Are you content?
HAPPY: Hell, no!
BIFF: Why? Youre making money, arent you?
HAPPY: [moving about with energy, expressiveness] All I can do now is wait for the merchandise manager to die. And suppose I get to be merchandise manager?
Hes a good friend of mine, and he just built a terrific estate on Long Island. And he lived there about two months and sold it, and now hes building another one.
He cant enjoy it once its finished. And I know thats just what I would do. I dont know what the hell Im workin for. Sometimes I sit in my apartment all alone.
And I think of the rent Im paying. And its crazy. But then, its what I always wanted. My own apartment, a car, and plenty of women. And still, goddammit, Im lonely.
Arthur Miller, from Death of a Salesman (1949)
Based on this excerpt, which of the following can we conclude about Happys name?
A. It is ironic.
B. It is appropriate.
C. It is a nickname.
D. It is not his real name.
E. It is symbolic.
Whats Wrong with Biff and Happy?
[Biff is talking with his brother, Happy. They are together with their parents in the home where they grew up.]
BIFF: [with rising agitation] Hap, Ive had twenty or thirty different kinds of jobs since I left home before the war, and it always turns out the same. I just realized it lately. In Nebraska, when I herded cattle, and the Dakotas, and Arizona, and
now in Texas. Its why I came home now, I guess, because I realized it.
This farm I work on, its spring there now, see? And theyve got about fifteen new colts. Theres nothing more inspiring orbeautiful than the sight of a mare and a new colt. And its cool there now, see? Texas is cool now, and its spring. And
whenever spring comes to where I am, I suddenly get the feeling, my God, Im not gettin anywhere! What the hell am I doing, playing around with horses, twenty-eight dollars a week! Im thirty-four years old, I oughta be makinmy future.
Thats when I come running home. And now, I get here, and I dont know what to do with myself. [After a pause] Ive always made a point of not wasting my life, and every time I come back here I know that all Ive done is to waste my life.
HAPPY: Youre a poet, you know that, Biff?
Youre a youre an idealist!
BIFF: No, Im mixed up very bad. Maybe I oughta get married.Maybe I oughta get stuck into something. Maybe thats my trouble. Im like a boy. Im not married,
Im not in business, I just Im like a boy. Are you content, Hap? Youre a success, arent you? Are you content?
HAPPY: Hell, no!
BIFF:Why? Youre making money, arent you?
HAPPY: [moving about with energy, expressiveness] All I can do now is wait for the merchandise manager to die. And suppose I get to be merchandise manager?
Hes a good friend of mine, and he just built a terrific estate on Long Island. And he lived there about two months and sold it, and now hes building another one.
He cant enjoy it once its finished. And I know thats just what I would do. I dont know what the hell Im workin for. Sometimes I sit in my apartment all alone.
And I think of the rent Im paying. And its crazy. But then, its what I always wanted. My own apartment, a car, and plenty of women. And still, goddammit, Im lonely.
Arthur Miller, from Death of a Salesman (1949)
Why isnt the merchandise manager happy?
A. He doesn't have enough money.
B. He knows Happy is after his job.
C. The more he has, the more he wants.
D. He is lonely.
E. He didn't like the way his estate was built.
Whats Wrong with Biff and Happy?
[Biff is talking with his brother, Happy. They are together with their parents in the home where they grew up.]
BIFF: [with rising agitation] Hap, Ive had twenty or thirty different kinds of jobs since I left home before the war, and it always turns out the same. I just realized it lately. In Nebraska, when I herded cattle, and the Dakotas, and Arizona, and
now in Texas. Its why I came home now, I guess, because I realized it.
This farm I work on, its spring there now, see? And theyve got about fifteen new colts. Theres nothing more inspiring or beautiful than the sight of a mare and a new colt. And its cool there now, see? Texas is cool now, and its spring. And
whenever spring comes to where I am, I suddenly get the feeling, my God, Im not gettin anywhere! What the hell am I doing, playing around with horses, twenty-eight dollars a week! Im thirty-four years old, I oughta be makinmy future.
Thats when I come running home. And now, I get here, and I dont know what to do with myself. [After a pause] Ive always made a point of not wasting my life, and every time I come back here I know that all Ive done is to waste my life.
HAPPY: Youre a poet, you know that, Biff?
Youre a youre an idealist!
BIFF: No, Im mixed up very bad. Maybe I oughta get married. Maybe I oughta get stuck into something. Maybe thats my trouble. Im like a boy. Im not married,
Im not in business, I justIm like a boy. Are you content, Hap? Youre a success, arent you? Are you content?
HAPPY: Hell, no!
BIFF: Why? Youre making money, arent you? HAPPY: [moving about with energy, expressiveness] All I can do now is wait for the merchandise manager to die.
And suppose I get to be merchandise manager? Hes a good friend of mine, and he just built a terrific estate on Long Island. And he lived there about two months and sold it, and now hes building another one. He cant enjoy it once its finished.
And I know thats just what I would do. I dont know what the hell Im workin for.
Sometimes I sit in my apartment all alone. And I think of the rent Im paying. And its crazy. But then, its what I always wanted. My own apartment, a car, and plenty of women. And still, goddammit, Im lonely.
Arthur Miller, from Death of a Salesman (1949)
Which of the following sentences best describes whats wrong with Biff?
A. He needs to stop being selfish and find someone to love.
B. He needs to grow up and stop acting like a baby.
C. He needs to pick one career and work hard until he achieves success.
D. He needs to stop moving around so much and just stay in one place.
E. He needs to accept who he is and stop searching elsewhere for happiness.
Whats Wrong with Biff and Happy?
[Biff is talking with his brother, Happy. They are together with their parents in the home where they grew up.]
BIFF: [with rising agitation] Hap, Ive had twenty or thirty different kinds of jobs since I left home before the war, and it always turns out the same. I just realized it lately. In Nebraska, when I herded cattle, and the Dakotas, and Arizona, and
now in Texas. Its why I came home now, I guess, because I realized it.
This farm I work on, its spring there now, see? And theyve got about fifteen new colts. Theres nothing more inspiring or beautiful than the sight of a mare and a new colt. And its cool there now, see? Texas is cool now, and its spring. And
whenever spring comes to where I am, I suddenly get the feeling, my God, Im not gettin anywhere! What the hell am I doing, playing around with horses, twenty-eight dollars a week! Im thirty-four years old, I oughta be makinmy future.
Thats when I come running home. And now, I get here, and I dont know what to do with myself. [After a pause] Ive always made a point of not wasting my life, and every time I come back here I know that all Ive done is to waste my life.
HAPPY: Youre a poet, you know that, Biff?
Youre a youre an idealist!
BIFF: No, Im mixed up very bad. Maybe I oughta get married. Maybe I oughta get stuck into something. Maybe thats my trouble. Im like a boy. Im not married,
Im not in business, I justIm like a boy. Are you content, Hap? Youre a success, arent you? Are you content?
HAPPY: Hell, no!
BIFF:Why? Youre making money, arent you?
HAPPY: [moving about with energy, expressiveness] All I can do now is wait for the merchandise manager to die. And suppose I get to be merchandise manager?
Hes a good friend of mine, and he just built a terrific estate on Long Island. And he lived there about two months and sold it, and now hes building another one.
He cant enjoy it once its finished. And I know thats just what I would do. I dont know what the hell Im workin for. Sometimes I sit in my apartment all alone.
And I think of the rent Im paying. And its crazy. But then, its what I always wanted. My own apartment, a car, and plenty of women. And still, goddammit, Im lonely.
Arthur Miller, from Death of a Salesman (1949)
Biff has come home because
A. he needs a vacation.
B. he isn't earning enough money at his new job.
C. he feels like he isn't getting anywhere in life.
D. he likes to be home in springtime.
E. he misses his family.
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