In recent years，however，society has come to understand the limitations of schools that merely sort and rank students. We have discovered that students in the bottom one-third to one-half of the rank order-plus all who drop out before being ranked-fail to develop the foundational reading，writing，and mathematical proficiencies needed to survive in，let alone contribute to，an increasingly technically complex and ethnically diverse culture. So today，in asking schools to leave no child behind，society is asking that educators raise up the bottom of the rank-order distribution to a specified level of competence. We call those expectations our "academic achievement standards".

Every state has them，and，as a matter of public policy，schools are to be held accountable for making sure that all students meet them.

To be clear，the mission of sorting has not been eliminated from the schooling process. Forthe foreseeable future, students will still be ranked at the end of high school. However, society now dictates that such a celebration of differences in amount learned must start at a certain minimum level of achievement for all.

The implications of this change in mission for the role of assessment are profound. Assessment and grading procedures designed to permit only a few students to succeed (those at the top of the rank-order distribution) must now be revised to permit the possibility that all students could succeed at some appropriate level. Furthermore, procedures that permitted (perhaps even encouraged) some students to give up in hopelessness and to stop trying must now be replaced by others that promote hope and continuous effort. In short, the entire emotional environment surrounding the prospect of being evaluated must change, especially for perennial low achievers.

The students' mission is no longer merely to beat other students in the achievement race. At least part of their goal must be to become competent. Teachers must believe that all students can achieve a certain level of academic success, must bring all of their students to believe this of themselves, must accommodate the fact that students learn at different rates by making use of differentiated instruction, and must guide all students toward the attainment of standards.

The driving dynamic force for students cannot merely be competition for an artificial scarcity of success. Because all students can and must succeed in meeting standards, cooperation and collaboration must come into play. The driving forces must be confidence, optimism, and persistence-for all, not just for some. All students must come to believe that they can succeed at learning if they try. They must have continuous access to evidence of what they believe to be credible academic success, however small. This new understanding has spawned increased interest in formative assessment in recent years.

What do the "academic achievement standards" in Paragraph 1 refer to?

In recent years，however，society has come to understand the limitations of schools that merely sort and rank students. We have discovered that students in the bottom one-third to one-half of the rank order-plus all who drop out before being ranked-fail to develop the foundational reading，writing，and mathematical proficiencies needed to survive in，let alone contribute to，an increasingly technically complex and ethnically diverse culture. So today，in asking schools to leave no child behind，society is asking that educators raise up the bottom of the rank-order distribution to a specified level of competence. We call those expectations our "academic achievement standards".

Every state has them，and，as a matter of public policy，schools are to be held accountable for making sure that all students meet them.

To be clear，the mission of sorting has not been eliminated from the schooling process. Forthe foreseeable future, students will still be ranked at the end of high school. However, society now dictates that such a celebration of differences in amount learned must start at a certain minimum level of achievement for all.

The implications of this change in mission for the role of assessment are profound. Assessment and grading procedures designed to permit only a few students to succeed (those at the top of the rank-order distribution) must now be revised to permit the possibility that all students could succeed at some appropriate level. Furthermore, procedures that permitted (perhaps even encouraged) some students to give up in hopelessness and to stop trying must now be replaced by others that promote hope and continuous effort. In short, the entire emotional environment surrounding the prospect of being evaluated must change, especially for perennial low achievers.

The students' mission is no longer merely to beat other students in the achievement race. At least part of their goal must be to become competent. Teachers must believe that all students can achieve a certain level of academic success, must bring all of their students to believe this of themselves, must accommodate the fact that students learn at different rates by making use of differentiated instruction, and must guide all students toward the attainment of standards.

The driving dynamic force for students cannot merely be competition for an artificial scarcity of success. Because all students can and must succeed in meeting standards, cooperation and collaboration must come into play. The driving forces must be confidence, optimism, and persistence-for all, not just for some. All students must come to believe that they can succeed at learning if they try. They must have continuous access to evidence of what they believe to be credible academic success, however small. This new understanding has spawned increased interest in formative assessment in recent years.

Which of the following would happen due to the change in mission for the role of assessment?

In recent years，however，society has come to understand the limitations of schools that merely sort and rank students. We have discovered that students in the bottom one-third to one-half of the rank order-plus all who drop out before being ranked-fail to develop the foundational reading，writing，and mathematical proficiencies needed to survive in，let alone contribute to，an increasingly technically complex and ethnically diverse culture. So today，in asking schools to leave no child behind，society is asking that educators raise up the bottom of the rank-order distribution to a specified level of competence. We call those expectations our "academic achievement standards".

Every state has them，and，as a matter of public policy，schools are to be held accountable for making sure that all students meet them.

To be clear，the mission of sorting has not been eliminated from the schooling process. Forthe foreseeable future, students will still be ranked at the end of high school. However, society now dictates that such a celebration of differences in amount learned must start at a certain minimum level of achievement for all.

The implications of this change in mission for the role of assessment are profound. Assessment and grading procedures designed to permit only a few students to succeed (those at the top of the rank-order distribution) must now be revised to permit the possibility that all students could succeed at some appropriate level. Furthermore, procedures that permitted (perhaps even encouraged) some students to give up in hopelessness and to stop trying must now be replaced by others that promote hope and continuous effort. In short, the entire emotional environment surrounding the prospect of being evaluated must change, especially for perennial low achievers.

The students' mission is no longer merely to beat other students in the achievement race. At least part of their goal must be to become competent. Teachers must believe that all students can achieve a certain level of academic success, must bring all of their students to believe this of themselves, must accommodate the fact that students learn at different rates by making use of differentiated instruction, and must guide all students toward the attainment of standards.

The driving dynamic force for students cannot merely be competition for an artificial scarcity of success. Because all students can and must succeed in meeting standards, cooperation and collaboration must come into play. The driving forces must be confidence, optimism, and persistence-for all, not just for some. All students must come to believe that they can succeed at learning if they try. They must have continuous access to evidence of what they believe to be credible academic success, however small. This new understanding has spawned increased interest in formative assessment in recent years.

Which of the following is closest in meaning to the underlined word "accommodate" in Paragraph 4?

In recent years，however，society has come to understand the limitations of schools that merely sort and rank students. We have discovered that students in the bottom one-third to one-half of the rank order-plus all who drop out before being ranked-fail to develop the foundational reading，writing，and mathematical proficiencies needed to survive in，let alone contribute to，an increasingly technically complex and ethnically diverse culture. So today，in asking schools to leave no child behind，society is asking that educators raise up the bottom of the rank-order distribution to a specified level of competence. We call those expectations our "academic achievement standards".

Every state has them，and，as a matter of public policy，schools are to be held accountable for making sure that all students meet them.

To be clear，the mission of sorting has not been eliminated from the schooling process. Forthe foreseeable future, students will still be ranked at the end of high school. However, society now dictates that such a celebration of differences in amount learned must start at a certain minimum level of achievement for all.

The implications of this change in mission for the role of assessment are profound. Assessment and grading procedures designed to permit only a few students to succeed (those at the top of the rank-order distribution) must now be revised to permit the possibility that all students could succeed at some appropriate level. Furthermore, procedures that permitted (perhaps even encouraged) some students to give up in hopelessness and to stop trying must now be replaced by others that promote hope and continuous effort. In short, the entire emotional environment surrounding the prospect of being evaluated must change, especially for perennial low achievers.

The students' mission is no longer merely to beat other students in the achievement race. At least part of their goal must be to become competent. Teachers must believe that all students can achieve a certain level of academic success, must bring all of their students to believe this of themselves, must accommodate the fact that students learn at different rates by making use of differentiated instruction, and must guide all students toward the attainment of standards.

The driving dynamic force for students cannot merely be competition for an artificial scarcity of success. Because all students can and must succeed in meeting standards, cooperation and collaboration must come into play. The driving forces must be confidence, optimism, and persistence-for all, not just for some. All students must come to believe that they can succeed at learning if they try. They must have continuous access to evidence of what they believe to be credible academic success, however small. This new understanding has spawned increased interest in formative assessment in recent years.

Which is meant by the author about the emotional promise of assessment for students？

In recent years，however，society has come to understand the limitations of schools that merely sort and rank students. We have discovered that students in the bottom one-third to one-half of the rank order-plus all who drop out before being ranked-fail to develop the foundational reading，writing，and mathematical proficiencies needed to survive in，let alone contribute to，an increasingly technically complex and ethnically diverse culture. So today，in asking schools to leave no child behind，society is asking that educators raise up the bottom of the rank-order distribution to a specified level of competence. We call those expectations our "academic achievement standards".

Every state has them，and，as a matter of public policy，schools are to be held accountable for making sure that all students meet them.

To be clear，the mission of sorting has not been eliminated from the schooling process. Forthe foreseeable future, students will still be ranked at the end of high school. However, society now dictates that such a celebration of differences in amount learned must start at a certain minimum level of achievement for all.

The implications of this change in mission for the role of assessment are profound. Assessment and grading procedures designed to permit only a few students to succeed (those at the top of the rank-order distribution) must now be revised to permit the possibility that all students could succeed at some appropriate level. Furthermore, procedures that permitted (perhaps even encouraged) some students to give up in hopelessness and to stop trying must now be replaced by others that promote hope and continuous effort. In short, the entire emotional environment surrounding the prospect of being evaluated must change, especially for perennial low achievers.

The students' mission is no longer merely to beat other students in the achievement race. At least part of their goal must be to become competent. Teachers must believe that all students can achieve a certain level of academic success, must bring all of their students to believe this of themselves, must accommodate the fact that students learn at different rates by making use of differentiated instruction, and must guide all students toward the attainment of standards.

The driving dynamic force for students cannot merely be competition for an artificial scarcity of success. Because all students can and must succeed in meeting standards, cooperation and collaboration must come into play. The driving forces must be confidence, optimism, and persistence-for all, not just for some. All students must come to believe that they can succeed at learning if they try. They must have continuous access to evidence of what they believe to be credible academic success, however small. This new understanding has spawned increased interest in formative assessment in recent years.

Which of the following is likely to be the title of this passage？

The subject of ballads, books and films, Robin Hood has proven to be one of popular culture's most enduring folk heroes. Over the course of 700 years, the outlaw from Nottinghamshire who robs the rich to give to the poor has emerged as one of the most enduring folk heroes in popular culture--and one of the most versatile. But how has the legend of Sherwood Forest's merry outlaws evolved over time? Did a real Robin Hood inspire these classic tales?

Beginning in the 15th century and perhaps even earlier, Christian revelers in certain parts of England celebrated May Day with plays and games involving a Robin Hood figure with near-religious significance. In the 19th century, writer-illustrators like Howard Pyle adapted the traditional tales for children, popularizing them in the United States and around the world. More recently, bringing Robin to the silver screen has become a rite of passage for directors ranging from Michael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin's existence, writers, performers and filmmakers have probed their imaginations for new incarnations that resonate with their respective audiences. In 14th-century England, where agrarian discontent had begun to chip away at the feudal system, he appears as ananti-establishment rebel who murders government agents and wealthy landowners. Later variations from times of less social upheaval dispense with the gore and cast Robin as a dispossessed aristocrat with a heart of gold and a love interest, Maid Marian.

Academics, meanwhile, have combed the historical record for evidence of a real Robin Hood. English legal records suggest that, as early as the 13th century, "Robehod," "Rabunhod" and other variations had become common epithets for criminals. But what had inspired these nicknames: a fictional tale, an infamous bandit or an amalgam of both? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads about a violent yeoman who lived in Sherwood Forest with his men and frequently clashed with the Sheriff of Nottingham. Rather than a peasant, knight or fallen noble, as in later versions, the protagonist of these medieval stories is a commoner. Little John and Will Scarlet are part of this Robin's "merry" crew-meaning, at the time, an outlaw's gang-but Maid Marian, Friar Tuck and Alan-a-Dale would not enter the legend until later, possibly as part of the May Day rituals.

While most contemporary scholars have failed to turn up solid clues, medieval chroniclers took for granted that a historical Robin Hood lived and breathed during the 12th or 13th century. The details of their accounts vary widely, however, placing him in conflicting regions and eras. Not until John Major's History of Greater Britain (1521), for example, is he depicted as a follower of King Richard, one of his defining characteristics in modern times.

We may never know for sure whether Robin Hood ever existed outside the verses of ballads and pages of books. And even if we did, fans, young and old, would still surely flock to England's Nottinghamshire region for a tour of the legend's alleged former hangouts, from centuries-old pubs to the Major Oak in Sherwood Forest. What we do know is that the notion of a brave rebel who lives on the outskirts of society, fighting injustice and oppression with his band of companions, has universal appeal-whether he's played by Erroll Flynn, Russell Crowe or even, as on a 1979 episode of The Muppet Show, Kermit the Frog.

Which of the following is closest in meaning to the underlined phrase" a rite of passage" in Paragraph 2?

The subject of ballads, books and films, Robin Hood has proven to be one of popular culture's most enduring folk heroes. Over the course of 700 years, the outlaw from Nottinghamshire who robs the rich to give to the poor has emerged as one of the most enduring folk heroes in popular culture--and one of the most versatile. But how has the legend of Sherwood Forest's merry outlaws evolved over time? Did a real Robin Hood inspire these classic tales?

Beginning in the 15th century and perhaps even earlier, Christian revelers in certain parts of England celebrated May Day with plays and games involving a Robin Hood figure with near-religious significance. In the 19th century, writer-illustrators like Howard Pyle adapted the traditional tales for children, popularizing them in the United States and around the world. More recently, bringing Robin to the silver screen has become a rite of passage for directors ranging from Michael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin's existence, writers, performers and filmmakers have probed their imaginations for new incarnations that resonate with their respective audiences. In 14th-century England, where agrarian discontent had begun to chip away at the feudal system, he appears as ananti-establishment rebel who murders government agents and wealthy landowners. Later variations from times of less social upheaval dispense with the gore and cast Robin as a dispossessed aristocrat with a heart of gold and a love interest, Maid Marian.

Academics, meanwhile, have combed the historical record for evidence of a real Robin Hood. English legal records suggest that, as early as the 13th century, "Robehod," "Rabunhod" and other variations had become common epithets for criminals. But what had inspired these nicknames: a fictional tale, an infamous bandit or an amalgam of both? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads about a violent yeoman who lived in Sherwood Forest with his men and frequently clashed with the Sheriff of Nottingham. Rather than a peasant, knight or fallen noble, as in later versions, the protagonist of these medieval stories is a commoner. Little John and Will Scarlet are part of this Robin's "merry" crew-meaning, at the time, an outlaw's gang-but Maid Marian, Friar Tuck and Alan-a-Dale would not enter the legend until later, possibly as part of the May Day rituals.

While most contemporary scholars have failed to turn up solid clues, medieval chroniclers took for granted that a historical Robin Hood lived and breathed during the 12th or 13th century. The details of their accounts vary widely, however, placing him in conflicting regions and eras. Not until John Major's History of Greater Britain (1521), for example, is he depicted as a follower of King Richard, one of his defining characteristics in modern times.

We may never know for sure whether Robin Hood ever existed outside the verses of ballads and pages of books. And even if we did, fans, young and old, would still surely flock to England's Nottinghamshire region for a tour of the legend's alleged former hangouts, from centuries-old pubs to the Major Oak in Sherwood Forest. What we do know is that the notion of a brave rebel who lives on the outskirts of society, fighting injustice and oppression with his band of companions, has universal appeal-whether he's played by Erroll Flynn, Russell Crowe or even, as on a 1979 episode of The Muppet Show, Kermit the Frog.

Which of the following is true about Maid Marian according to the passage?

The subject of ballads, books and films, Robin Hood has proven to be one of popular culture's most enduring folk heroes. Over the course of 700 years, the outlaw from Nottinghamshire who robs the rich to give to the poor has emerged as one of the most enduring folk heroes in popular culture--and one of the most versatile. But how has the legend of Sherwood Forest's merry outlaws evolved over time? Did a real Robin Hood inspire these classic tales?

Beginning in the 15th century and perhaps even earlier, Christian revelers in certain parts of England celebrated May Day with plays and games involving a Robin Hood figure with near-religious significance. In the 19th century, writer-illustrators like Howard Pyle adapted the traditional tales for children, popularizing them in the United States and around the world. More recently, bringing Robin to the silver screen has become a rite of passage for directors ranging from Michael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin's existence, writers, performers and filmmakers have probed their imaginations for new incarnations that resonate with their respective audiences. In 14th-century England, where agrarian discontent had begun to chip away at the feudal system, he appears as ananti-establishment rebel who murders government agents and wealthy landowners. Later variations from times of less social upheaval dispense with the gore and cast Robin as a dispossessed aristocrat with a heart of gold and a love interest, Maid Marian.

Academics, meanwhile, have combed the historical record for evidence of a real Robin Hood. English legal records suggest that, as early as the 13th century, "Robehod," "Rabunhod" and other variations had become common epithets for criminals. But what had inspired these nicknames: a fictional tale, an infamous bandit or an amalgam of both? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads about a violent yeoman who lived in Sherwood Forest with his men and frequently clashed with the Sheriff of Nottingham. Rather than a peasant, knight or fallen noble, as in later versions, the protagonist of these medieval stories is a commoner. Little John and Will Scarlet are part of this Robin's "merry" crew-meaning, at the time, an outlaw's gang-but Maid Marian, Friar Tuck and Alan-a-Dale would not enter the legend until later, possibly as part of the May Day rituals.

While most contemporary scholars have failed to turn up solid clues, medieval chroniclers took for granted that a historical Robin Hood lived and breathed during the 12th or 13th century. The details of their accounts vary widely, however, placing him in conflicting regions and eras. Not until John Major's History of Greater Britain (1521), for example, is he depicted as a follower of King Richard, one of his defining characteristics in modern times.

We may never know for sure whether Robin Hood ever existed outside the verses of ballads and pages of books. And even if we did, fans, young and old, would still surely flock to England's Nottinghamshire region for a tour of the legend's alleged former hangouts, from centuries-old pubs to the Major Oak in Sherwood Forest. What we do know is that the notion of a brave rebel who lives on the outskirts of society, fighting injustice and oppression with his band of companions, has universal appeal-whether he's played by Erroll Flynn, Russell Crowe or even, as on a 1979 episode of The Muppet Show, Kermit the Frog.

Which of the following has been a defining characteristics of Robin Hood since the sixteenth century according to the passage?

The subject of ballads, books and films, Robin Hood has proven to be one of popular culture's most enduring folk heroes. Over the course of 700 years, the outlaw from Nottinghamshire who robs the rich to give to the poor has emerged as one of the most enduring folk heroes in popular culture--and one of the most versatile. But how has the legend of Sherwood Forest's merry outlaws evolved over time? Did a real Robin Hood inspire these classic tales?

Beginning in the 15th century and perhaps even earlier, Christian revelers in certain parts of England celebrated May Day with plays and games involving a Robin Hood figure with near-religious significance. In the 19th century, writer-illustrators like Howard Pyle adapted the traditional tales for children, popularizing them in the United States and around the world. More recently, bringing Robin to the silver screen has become a rite of passage for directors ranging from Michael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin's existence, writers, performers and filmmakers have probed their imaginations for new incarnations that resonate with their respective audiences. In 14th-century England, where agrarian discontent had begun to chip away at the feudal system, he appears as ananti-establishment rebel who murders government agents and wealthy landowners. Later variations from times of less social upheaval dispense with the gore and cast Robin as a dispossessed aristocrat with a heart of gold and a love interest, Maid Marian.

Academics, meanwhile, have combed the historical record for evidence of a real Robin Hood. English legal records suggest that, as early as the 13th century, "Robehod," "Rabunhod" and other variations had become common epithets for criminals. But what had inspired these nicknames: a fictional tale, an infamous bandit or an amalgam of both? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads about a violent yeoman who lived in Sherwood Forest with his men and frequently clashed with the Sheriff of Nottingham. Rather than a peasant, knight or fallen noble, as in later versions, the protagonist of these medieval stories is a commoner. Little John and Will Scarlet are part of this Robin's "merry" crew-meaning, at the time, an outlaw's gang-but Maid Marian, Friar Tuck and Alan-a-Dale would not enter the legend until later, possibly as part of the May Day rituals.

While most contemporary scholars have failed to turn up solid clues, medieval chroniclers took for granted that a historical Robin Hood lived and breathed during the 12th or 13th century. The details of their accounts vary widely, however, placing him in conflicting regions and eras. Not until John Major's History of Greater Britain (1521), for example, is he depicted as a follower of King Richard, one of his defining characteristics in modern times.

We may never know for sure whether Robin Hood ever existed outside the verses of ballads and pages of books. And even if we did, fans, young and old, would still surely flock to England's Nottinghamshire region for a tour of the legend's alleged former hangouts, from centuries-old pubs to the Major Oak in Sherwood Forest. What we do know is that the notion of a brave rebel who lives on the outskirts of society, fighting injustice and oppression with his band of companions, has universal appeal-whether he's played by Erroll Flynn, Russell Crowe or even, as on a 1979 episode of The Muppet Show, Kermit the Frog.

Which of the following methods is used by the author in elaborating his points?

The subject of ballads, books and films, Robin Hood has proven to be one of popular culture's most enduring folk heroes. Over the course of 700 years, the outlaw from Nottinghamshire who robs the rich to give to the poor has emerged as one of the most enduring folk heroes in popular culture--and one of the most versatile. But how has the legend of Sherwood Forest's merry outlaws evolved over time? Did a real Robin Hood inspire these classic tales?

Beginning in the 15th century and perhaps even earlier, Christian revelers in certain parts of England celebrated May Day with plays and games involving a Robin Hood figure with near-religious significance. In the 19th century, writer-illustrators like Howard Pyle adapted the traditional tales for children, popularizing them in the United States and around the world. More recently, bringing Robin to the silver screen has become a rite of passage for directors ranging from Michael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin's existence, writers, performers and filmmakers have probed their imaginations for new incarnations that resonate with their respective audiences. In 14th-century England, where agrarian discontent had begun to chip away at the feudal system, he appears as ananti-establishment rebel who murders government agents and wealthy landowners. Later variations from times of less social upheaval dispense with the gore and cast Robin as a dispossessed aristocrat with a heart of gold and a love interest, Maid Marian.

Academics, meanwhile, have combed the historical record for evidence of a real Robin Hood. English legal records suggest that, as early as the 13th century, "Robehod," "Rabunhod" and other variations had become common epithets for criminals. But what had inspired these nicknames: a fictional tale, an infamous bandit or an amalgam of both? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads about a violent yeoman who lived in Sherwood Forest with his men and frequently clashed with the Sheriff of Nottingham. Rather than a peasant, knight or fallen noble, as in later versions, the protagonist of these medieval stories is a commoner. Little John and Will Scarlet are part of this Robin's "merry" crew-meaning, at the time, an outlaw's gang-but Maid Marian, Friar Tuck and Alan-a-Dale would not enter the legend until later, possibly as part of the May Day rituals.

While most contemporary scholars have failed to turn up solid clues, medieval chroniclers took for granted that a historical Robin Hood lived and breathed during the 12th or 13th century. The details of their accounts vary widely, however, placing him in conflicting regions and eras. Not until John Major's History of Greater Britain (1521), for example, is he depicted as a follower of King Richard, one of his defining characteristics in modern times.

We may never know for sure whether Robin Hood ever existed outside the verses of ballads and pages of books. And even if we did, fans, young and old, would still surely flock to England's Nottinghamshire region for a tour of the legend's alleged former hangouts, from centuries-old pubs to the Major Oak in Sherwood Forest. What we do know is that the notion of a brave rebel who lives on the outskirts of society, fighting injustice and oppression with his band of companions, has universal appeal-whether he's played by Erroll Flynn, Russell Crowe or even, as on a 1979 episode of The Muppet Show, Kermit the Frog.

Which of the following is a proper title for the passage?