9. We cannot accommodate such a large audience; it’s beyond the ___________ of the performing hall.
(A)candor
(B)capacity
(C) reliance
(D) renewal

41. What is the main idea of the passage? (A)Crowd-culture is the subculture developed exclusively for new forms of entertainment. (B)Fusing in crowd-cultural branding creates a new synergy for social media branding. (C) Traditional branding efforts can be more effective as long as they are digitalized. (D) Social media have become a disruptive force for traditional media.

42. According to the passage, which of the following is NOT true? (A)Social media provide the platform for businesses to build digital relationships with their customers. (B)Crowd-culture developments transform how branding works. (C) Digital crowds form their exclusive cultures, aiming to destroy the old business world. (D) Businesses find it hard to compete with the level of creativity and entertainment that crowd-culture creates.

43. The word lingua franca in the first paragraph is closest in meaning to ___________. (A)important source (B)common language (C) crucial technique (D) branding stickiness

44. According to the passage, which of the following branding strategy is mostly recommended? (A)Launching more branding campaigns. (B)Targeting at loyal customers. (C) Promoting cultural diversity through new digital techniques. (D) Making branding relevant to crowd-culture phenomena.

45. According to the passage, what can be most possibly inferred? (A)Businesses may continue experiencing failures without taking into account internet crowd-culture. (B)Crowd-culture can be a fad, but it is not worth too much attention or investment. (C) Social media are now facing a new wave of restructuring and consolidation. (D) Businesses can regain their momentum by hiring social media experts to work out a new model.

46. What is the best title for the passage? (A)Anthems in the Olympic Games. (B)Olympic poets, musicians, and composers. (C) The establishment of legal Olympic charter. (D) International political relations in the Olympic Games.

47. In which year was the official Olympic anthem first performed in the Olympic Games? (A)1924 (B)1958 (C) 1960 (D) 1992

48. Why was Michael Spisak’s work not adopted as the official Olympic anthem? (A)Spisak wanted to charge a large amount. (B)The lyrics were translated and not understood. (C) The tone was too modern to be accepted at that time. (D) Spisak could not settle a lawsuit with Pindar on intellectual property.

49. Which of the following is true about the Samaras/Palamas anthem? (A)The song was completed and first sung in 1954. (B)It was popular for a few decades between 1896 and 1958. (C) The song became an asset of the royal families in Rome and Athens. (D) Using it as the official anthem was approved by all in an IOC meeting.

50. Which of the following is true about national anthems of participants in the Olympic Games? (A)These played national anthems are shorter than the Olympic anthem. (B)“Ode to Joy” has been the most popular national anthem in the Olympics. (C) The national anthems sung in the Olympics must be the original full versions. (D) All participating athletes sing their own national anthems in the award ceremonies.

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