What Is the Work-Study Program?
Overview of the Work-Study Program The Federal Work-Study (FWS) Program is a student employment program subsidized by the federal government and designed to help students finance their post-secondary education. The program
provides funds to colleges, universities, and affiliated organizations which then provide employment to work-study students. Students receive their work-study financial awards in the form of paychecks from their work-study positions.
Applying for Work-Study Both undergraduate and graduate students are eligible to apply. Work-Study grants are awarded based upon demonstrated financial need. To apply, students must complete the Free Application for Federal Student Aid. This application must
be submitted each year Work-Study employment is desired.
What Are the Advantages of Work-Study?
A work-study job is essentially just like any other job you go to work, do your job, and get paid. But Work-Study positions have several distinct advantages over
"regular" jobs:
What Types of Work-Study Jobs Are Available?
The work-study positions at Madison Community College are as diverse as the functions of the college. Work-study students are employed as clerical assistants, data entry clerks, computer technicians, laboratory monitors, research
assistants, language tutors, and more. In addition, Madison Community College has long- standing relationships with a number of employers and agencies that provide services for the community and have been approved to participate in the
Federal
Work-Study Program, including the Madison County Childrens Museum, the Madison County Library, Children First Day Care, and Right Start Tutoring Agency.
Students may be employed as museum guides, library aides, child caregivers, research assistants, tutors, and more.
Based on the information in the passage, you should apply for Work-Study if
A. you live on campus.
B. you can't get a "regular" job.
C. you didn't get any scholarships.
D. you need financial aid and are willing to work.
E. you enjoy working with community service organizations.
What Is the Work-Study Program?
Overview of the Work-Study Program The Federal Work-Study (FWS) Program is a student employment program subsidized by the federal government and designed to help students finance their post-secondary education. The program
provides funds to colleges, universities, and affiliated organizations which then provide employment to work-study students. Students receive their work-study financial awards in the form of paychecks from their work-study positions.
Applying for Work-Study Both undergraduate and graduate students are eligible to apply. Work-Study grants are awarded based upon demonstrated financial need. To apply, students must complete the Free Application for Federal Student Aid. This application must
be submitted each year Work-Study employment is desired.
What Are the Advantages of Work-Study?
A work-study job is essentially just like any other job you go to work, do your job, and get paid. But Work-Study positions have several distinct advantages over
"regular" jobs:
What Types of Work-Study Jobs Are Available?
The work-study positions at Madison Community College are as diverse as the functions of the college. Work-study students are employed as clerical assistants, data entry clerks, computer technicians, laboratory monitors, research
assistants, language tutors, and more. In addition, Madison Community College has long- standing relationships with a number of employers and agencies that provide services for the community and have been approved to participate in the
Federal
Work-Study Program, including the Madison County Childrens Museum, the Madison County Library, Children First Day Care, and Right Start Tutoring Agency.
Students may be employed as museum guides, library aides, child caregivers, research assistants, tutors, and more.
According to the passage, what is one way Work-Study employers are different from "regular" employers?
A. Work-Study employers offer higher wages.
B. Students work less hours with Work-Study employers.
C. Work-Study employers offer more flexible scheduling for students.
D. Work-Study employers offer a wide range of positions.
E. Students earn academic credit for positions with Work-Study employers.
What Is the Work-Study Program?
Overview of the Work-Study Program The Federal Work-Study (FWS) Program is a student employment program subsidized by the federal government and designed to help students finance their post-secondary education. The program
provides funds to colleges, universities, and affiliated organizations which then provide employment to work-study students. Students receive their work-study financial awards in the form of paychecks from their work-study positions.
Applying for Work-Study Both undergraduate and graduate students are eligible to apply. Work-Study grants are awarded based upon demonstrated financial need. To apply, students must complete the Free Application for Federal Student Aid. This application must
be submitted each year Work-Study employment is desired.
What Are the Advantages of Work-Study?
A work-study job is essentially just like any other job you go to work, do your job, and get paid. But Work-Study positions have several distinct advantages over
"regular" jobs:
What Types of Work-Study Jobs Are Available?
The work-study positions at Madison Community College are as diverse as the functions of the college. Work-study students are employed as clerical assistants, data entry clerks, computer technicians, laboratory monitors, research
assistants, language tutors, and more. In addition, Madison Community College has long- standing relationships with a number of employers and agencies that provide services for the community and have been approved to participate in the
Federal
Work-Study Program, including the Madison County Childrens Museum, the Madison County Library, Children First Day Care, and Right Start Tutoring Agency.
Students may be employed as museum guides, library aides, child caregivers, research assistants, tutors, and more.
Who is eligible for the Work-Study Program?
A. first-year students only
B. undergraduate students only
C. graduate students only
D. undergraduate and graduate students
E. unemployed students only
What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes. We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didnt disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadnt been uncovered in decades. My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. Luc Sante, from The Factory of Facts (1998) In the last sentence of the excerpt, the author writes that "Every human being is an archeological site."What does he mean by this?
A. The environment that formed us is a permanent, if buried, part of us.
B. We must dig deep within ourselves to discover our past.
C. We all have a piece of our past that we would prefer to keep buried.
D. Only archaeologists understand the impact of our environment.
E. The past is always with us, no matter where we go.
What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes. We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didnt disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadnt been uncovered in decades.My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. Luc Sante, from The Factory of Facts (1998) According to the author, our personalities are formed mostly by
A. our genes.
B. our education.
C. our environment.
D. our parents and caregivers.
E. our peers.
What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes. We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didnt disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadnt been uncovered in decades. My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. Luc Sante, from The Factory of Facts (1998) When the author came to America, he
A. embraced American culture.
B. rejected his roots.
C. made sure to keep his heritage alive.
D. became withdrawn.
E. became very possessive about things he owned.
What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes. We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didnt disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadnt been uncovered in decades.My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. Luc Sante, from The Factory of Facts (1998) The author came to America when he was
A. an infant.
B. a toddler.
C. in his early teens.
D. in his late teens.
E. a young adult.
What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes. We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didnt disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadnt been uncovered in decades. My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. Luc Sante, from The Factory of Facts (1998) In the first paragraph, the writer lists more than a dozen things that he and his family lost when they immigrated to America. He does this in order to
A. convince others not to immigrate.
B. show how careless his family was when packing.
C. show how much he missed his homeland.
D. show how many intangible and important things were left behind.
E. prove that you are never too old to change..
Whats Wrong with Commercial Television?
Kids who watch much commercial television ought to develop into whizzes at the dialect; you have to keep so much in your mind at once because a series of artificially short attention spans has been created. But this in itself means that the
experience of watching the commercial channels is a more informal one, curiously more homely than watching BBC [British Broadcasting Corporation].
This is because the commercial breaks are constant reminders that the medium itself is artificial, isn't, in fact, "real," even if the gesticulating heads, unlike the giants of the movie screen, are life-size. There is a kind of built-in alienation effect.
Everything you see is false, as Tristan Tzara gnomically opined. And the young lady in the St. Bruno tobacco ads who currently concludes her spiel by stating categorically: "And if you believe that, you’ll believe anything," is saying no more
than the truth. The long-term effect of habitually watching commercial television is probably an erosion of trust in the television medium itself.
Since joy is the message of all commercials, it is as well they breed skepticism. Every story has a happy ending, gratification is guaranteed by the conventions of the commercial form, which contributes no end to the pervasive unreality of it
all. Indeed, it is the chronic bliss of everybody in the commercials that creates their final divorce from effective life as we know it.
Grumpy mum, frowning dad, are soon all smiles again after the ingestion of some pill or potion; minimal concessions are made to mild frustration (as they are, occasionally, to lust), but none at all to despair or consummation. In fact, if the form
is reminiscent of the limerick and the presentation of the music-hall, the overall mood in its absolute and unruffled decorum is that of the uplift fables in the Sunday school picture books of my childhood.
Angela Carter, from Shaking a Leg (1997)
According to the author, what is the main thing that makes commercials unrealistic?
A. Everyone in commercials always ends up happy.
B. The background music is distracting.
C. Commercials are so short.
D. The people in commercials are always sick.
E. The claims commercials make are unrealistic.
Whats Wrong with Commercial Television?
Kids who watch much commercial television ought to develop into whizzes at the dialect; you have to keep so much in your mind at once because a series of artificially short attention spans has been created. But this in itself means that the
experience of watching the commercial channels is a more informal one, curiously more homely than watching BBC [British Broadcasting Corporation].
This is because the commercial breaks are constant reminders that the medium itself is artificial, isn't, in fact, "real," even if the gesticulating heads, unlike the giants of the movie screen, are life-size. There is a kind of built-in alienation effect.
Everything you see is false, as Tristan Tzara gnomically opined. And the young lady in the St. Bruno tobacco ads who currently concludes her spiel by stating categorically: "And if you believe that, you’ll believe anything," is saying no more
than the truth. The long-term effect of habitually watching commercial television is probably an erosion of trust in the television medium itself.
Since joy is the message of all commercials, it is as well they breed skepticism. Every story has a happy ending, gratification is guaranteed by the conventions of the commercial form, which contributes no end to the pervasive unreality of it
all. Indeed, it is the chronic bliss of everybody in the commercials that creates their final divorce from effective life as we know it.
Grumpy mum, frowning dad, are soon all smiles again after the ingestion of some pill or potion; minimal concessions are made to mild frustration (as they are, occasionally, to lust), but none at all to despair or consummation. In fact, if the form
is reminiscent of the limerick and the presentation of the music-hall, the overall mood in its absolute and unruffled decorum is that of the uplift fables in the Sunday school picture books of my childhood.
Angela Carter, from Shaking a Leg (1997)
According to the author, what is the main difference between commercial channels and public television stations like the BBC?
A. Commercial television is very artificial.
B. Public television is more informal and uplifting.
C. Commercial television teaches viewers not to believe what they see on TV.
D. Commercial television is more like the movies than public television.
E. Commercial television portrays people in a more realistic manner.
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