1 . Personality may play only a small part in leadership effectiveness, but there is no doubt that some leaders have a certain magic that leaves peers envious and followers entranced. If you could bottle this leadership X-factor—charisma—the queue of interested executives would be a long-one. But what qualities can these often highly successful leaders be said to possess?

As individuals, charismatic leaders have highly developed communication skills, including the ability to convey emotions easily and naturally to others, says Ronald Riggio, professor of leadership and organizational psychology. “They are able to inspire and arouse the emotions of followers through their emotional expressiveness and verbal skills.”

“They connect with followers because they seem to truly understand others’ feelings and concerns.”

“And they are great role models because they have the ability to engage others socially and display appropriate role-playing skills that allow them to walk the talk” Professor Riggio says.

“One quality we like in our leaders is if they are seen to really represent us. We think someone is more charismatic, the more they represent our collective identity,” Professor Van Knippenberg says. In this way, a charismatic leader is somehow a larger-than-life version of ourselves.

Academics say that charismatic leaders also manage to stand out from the crowd. They might do this by being unconventional or by taking a different approach to problem-solving, for example.

“They are up for new things, and they are not stuck in the status quo. They are open to out-of-the-box thinking, etc. An optimistic, energetic quality helps us to see leadership qualities in them and makes us open to their influence,” he says.

“A lot of charismatic leadership, and leadership in general, is very contextual. It’s really good in entrepreneurial firms. It’s also good for turnarounds if the organization is in a bad state because it inspires”, says Kai Peters, the chief executive of Ashridge Business School.

But not every organization needs a charismatic leader. Leaders loaded with the X-factor can be narcissistic (自恋的), self-glorifying, exploitative and authoritarian. As Peters says: “Where it is a problem is where you have ‘look at me, I’m a star.’’’

1. Which word is closest in meaning to “charisma” in the first paragraph?

A．Charm.

B．Character.

C．Gratitude.

D．Optimism.

2. The charismatic leaders become great role models due to their ______.

A．proper role-playing skills	B．subtle emotional expressiveness
C．marvellous problem-solving ability	D．unconventionality in the crowds

3. According to Professor Knippenberg, what kind of leaders would be welcomed by us?

A．The one who has a heroical image.

B．The one who can speak for us.

C．The one who is a collective version of us.

D．The one who resembles us in characteristic.

4. What is Peters’ attitude towards the contextual feature of charismatic leadership?

A．Critical.

B．Approved.

C．Neutral.

D．Suspicious.

2 . 听下面一段较长对话，回答以下小题。1.

A．Reliability and tradition.

B．Trust and reassurance.

C．Innovation and adaptability.

D．Simplicity and liveliness.

2.

A．It has a happy, feel-good style that can attract younger people, especially females.

B．Its modern-looking design matches the company image.

C．The light, carefree and friendly image portrays buying insurance as an easy decision

D．The semicircular design matches the pyramid theme in some of the advertisements.

3.

A．Its dynamic feel.

B．The triangle design.

C．The thick, block lettering in red.

D．The simple color combination of red and white.

4.

A．The light, carefree, friendly image.

B．The semicircle design and the lively lettering

C．The hand-painted look and the triangle shape

D．The old-fashioned thick, block lettering in red.

5 . There are few spectacles more unpleasant than a television presenter trying to hang on to a job. When one of the presenters of the BBC program Crimewatch resigned recently, rather than suffer the inevitable indignity of being unfinished and replaced by a younger version, he made the usual hurt noises about his masters' overemphasis on youth. People in the media listened sympathetically before he slid from view to join the ranks of television's has-beens.

The presenter's argument, that the views don't care how old you are so long as you can “do the job,” unfortunately is not backed up by the evidence. When you're on TV, viewers are always thinking about whether you're losing your hair or your figure and, lately, whether you've had cosmetic work done. This is what they're actually doing when you think they're listening to the wise things you say. Viewers actually don't understand much of what the job involves, they just see you sitting there looking the part. Like the ability to pet one's head while rubbing one's stomach, TV presenting is just one of those sills. Some of those who possess this skill can hit the big name, inevitably as they become more attached to the lifestyle this brings, however, the more likely they are to overstate the skill.

In reality, if somebody is paying you a lot of money to do a job, it's often on the tacit （心照不宣的） understanding that you may be fired suddenly-it's part of the deal. Unlike football managers, TV presenters pretend not to understand this. If they've had many years being paid silly sums to read a script from an autocue （ 自动题词机），it's difficult for them to accept that they've been the beneficiary of good fortune rather than anything else; even harder to face the fact that an editor could all too easily send them to the shopping channels.

Something similar eventually awaits all the people who are currently making fortunes that would have been unimaginable to earlier generations of presenters. One day we'll decide that their face no longer fits and they'll be dragged away complaining about the same ageist policy from which they no doubt previously profited. Show business is a brutal （残忍的） business. The one thing it reliably punishes is age, particularly among women. That's why, at the age of fifty, female TV presenters become female radio presenters and why girl bands planning to re-form need to get it done before they're forty, after which it will get too hard for everyone to suspend their collective disbelief.

1. What does the writer imply about the Crimewatch presenter he mentions in the first paragraph?

A．He was unwise to resign when he did.

B．He will soon be forgotten by the viewers.

C．He may well have had a valid point to make.

D．He was treated insensitively by his employers.

2. The underlined pronoun “this” in paragraph 2 refers to________.

A．a public image	B．a level of success
C．an overstatement	D．a common misunderstanding

3. Why does the writer mention football managers in paragraph 3?

A．To support his view that presenters are overpaid.

B．To stress how important luck is in certain occupations.

C．To show how relatively secure TV presents are in their jobs.

D．To illustrate a general rule that applies to certain types of job.

4. According to the writer, TV personalities who may worry about ageism ________.

A．should look for work in other forms of broadcasting

B．may have benefited from it themselves at some point

C．are less well respected than presenters of the past

D．are being unfair to up-and-coming younger colleagues

8 . “Wanna buy a body?” That was the opening line of more than a few phone calls I got from self-employed photographers when I was a photo editor at U.S. New. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in pictures of bodies or run after famous people like Princess Diana, and “us”, the serious newspeople. But after 16 years in that role, I came to wonder whether the two worlds were easily distinguishable.

Working in the reputable world of journalism, I told photographers to cover other people’s difficult life situations. I justified marching into moments of sadness, under the appearance of the reader’s right to know. I worked with professionals talking their way into situations or shooting from behind police lines. And I wasn’t alone.

In any American town, after a car crash or some other horrible incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to take photos of the blood and injuries. But you are likely to see local newspaper and television photographers on the scene-and fast...

How can we justify doing this? Journalists are taught to separate, doing the job from worrying about the consequences of publishing what they record. Repeatedly, they are reminded of a news-business saying: Leave your conscience in the office. A victim may lie bleeding, unconscious, or dead. Your job is to record the image. You’re a photographer, not an emergency medical worker. You put away your feelings and document the scene.

But catastrophic events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. They rush to obtain the rights to be the only one to own these shocking images and death is usually the subject Often, an agency buys a picture from a local newspaper or an amateur photographer and puts it up for bid by major magazines. The most sought-after special pictures commend tens of thousands of dollars through bidding contests.

I worked on all those stories and many like them. When they happen, you move quickly: buying, dealing, trying to beat the agencies to the pictures.

Now, many people believe journalists are the hypocrites(伪君子) who need to be brought down, and it’s our pictures that most anger others. Readers may not believe, as we do, that there is a distinction between clear-minded ‘us" and mean-spirited “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right.

1. We can learn from the passage that________.

A．The author told photographers to take pictures of people’s happy life situations

B．Professional newspeople may talk their way into situations or shooting from behind police lines

C．In America, local newspaper and television photographers rarely push on the scene to take pictures of the victims

D．In America, photographers always push past rescue workers to take pictures of the victims

2. When journalists are working, they are told to________.

A．work with their conscience	B．respect the privacy of the victim
C．separate their work from feelings	D．ask police for permission to take photos

3. The 5th and 6th paragraphs mainly tell us that________.

A．speed determines the success of a news story

B．photo agencies are greedier than serious newspeople

C．photographers have free access to photos of accidents

D．profit is the driving force behind the competition for photos

4. It can be learned from the last paragraph that serious newspeople________.

A．obtain photos differently from news agencies

B．are no better than self-employed photographers

C．are more devoted to work than non-professionals

D．have a higher moral standard than self-employed photographers