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Högskoleprovet Höst 2024
/ Provpass 3 – Verbal del (HPHOST2024P3)
ELF – Engelsk läsförståelse (HPHOST2024P3)
Författare:
Simon Rybrand
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Provpass 3
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- Provtiden är 55 minuter.
Verbal del
Detta provhäfte består av fyra olika delprov. Dessa är ORD (ordförståelse), LÄS (svensk läsförståelse), MEK (meningskomplettering) och ELF (engelsk läsförståelse). Anvisningar och exempeluppgifter finner du i ett separat häfte.
| Prov | Antal uppgifter | Uppgiftsnummer | Rekommenderad provtid |
|---|---|---|---|
| ORD | 10 | 1–10 | 3 minuter |
| LÄS | 10 | 11–20 | 22 minuter |
| MEK | 10 | 21–30 | 8 minuter |
| ELF | 10 | 31–40 | 22 minuter |
X-uppgifter (10)
31. Premium
Medieval and Renaissance Maps
There are a few reasons for the use of sea monsters on old-fashioned charts. To think of mythical creatures in the depths of the oceans may seem rather ridiculous to us today, but back then it was a whole other story. At the time, people truly believed that these so-called sea monsters existed and although they were unsure as to what they looked like, it was assumed that they were similar to animals found on land. As a result, aquatic versions of mammals, such as lions, are frequently portrayed on these maps. The inclusion of mythical creatures on maps was also from a decorative point of view, as they were often used to adorn the homes of the rich and wealthy. But, above all else, these monsters symbolised the possible hazards of the sea, particularly in areas of the globe that were unexplored at the time.
What is implied here about old-fashioned maps?
Rättar...32. Premium
Social Learning
Much of human culture is based on social learning. Language, the rules of society and the use of objects are all transmitted from the old to the young and from peer to peer. Dogs are very keen to learn by observation, too. The ability to learn socially is widespread among animals, but learning from representatives of a different species occurs much less frequently. Because dogs regard humans as their social companions, their eagerness to learn by observing our activities should not be surprising; shepherds have long known as much. Yet science began probing the depth of this facility only a few years ago.
What is said here?
Rättar...Moominland and Beyond
A commentary on a retrospective exhibition of Tove Jansson’s art
Moominvalley, with its snow-covered mountains, lush greenery and friendly, peace-loving creatures, seems as far as one can get from the horrors of war. But the Moomins have more to do with strife and struggle than is immediately obvious. Their creator, Tove Jansson (1914–2001), was a political cartoonist from the age of 15, skewering fascism and communism during the Second World War. She channelled the wartime pain of her native Finland into her apocalyptic first book, The Moomins and the Great Flood (1945), a reminder that however calm things may seem on the surface, life can be both frightening and unpredictable.
In Dulwich Picture Gallery’s retrospective of Jansson’s work, there is no escaping the cuddly trolls who brought her worldwide fame. Born in Helsinki to Swedish-speaking artist parents, Jansson saw herself primarily as a painter, taking on illustration work for the money. As the Moomins took off, popularised by a daily comic strip in London’s Evening News, Jansson became overwhelmed by their success.
Her brother Lars eventually took over drawing the comics, allowing her to concentrate on painting and writing novels and short stories for adults. But she remained fiercely protective of the Moomin brand, turning down an offer from Disney to buy the rights and only lending its image to causes that were important to her, such as a poster for Amnesty International, showing the characters trapped behind bars like political prisoners.
What is clear from this exhibition is the breadth of Jansson’s talent. She worked with bold typography and bright colours on the cover of Garm, a Finnish satirical magazine in which she openly mocked Hitler and Stalin, drawing little characters called “Snorks” next to her signature. The later name “Moomintroll” came from a tale Jansson’s uncle made up to scare her as a child.
As Jansson grew as a painter, she began to create impressionistic seascapes, the colours blurring into one another, a sharp contrast to her intricate illustrations. But the themes that run through all her work are instantly recognisable; a connection with nature – and water in particular – is always present.
A biography inside early children’s editions of the Moomin stories said Jansson lived alone on a small island in the Gulf of Finland. The truth was she stayed in her remote summer home with her partner Tuulikki Pietilä, a graphic artist and professor whom she had met in 1955, but the women’s relationship was often glossed over. Being gay was illegal in Finland until 1971, and only declassified as an illness in 1981. Jansson herself, however, defied labels, according to her niece Sophia: “It wasn’t gender that mattered to Tove, it was the individual.”
While her paintings were well received in Finland, an influential critic concluded that they would fail to make an impression internationally. This must have left Jansson demoralised as she struggled to balance her time between different projects. She provided the illustrations for the Swedish-language editions of Lewis Carroll’s Alice’s Adventures in Wonderland and JRR Tolkien’s The Hobbit. Although these differ in style from the Moomin books, her signature is clearly there – in the ominous landscapes, dark caves and bright moonlit skies.
Jansson’s admiration for strong women is clear. One of her paintings, Print Maker (1975), depicts Pietilä hard at work in her studio, a proud artist surrounded by her creations. Jansson’s last self-portrait, painted at 64, shows her with a pained face and her eyes ringed with red, but the look of controlled defiance is still there. The Moomin books, too, feature plenty of complicated female characters, from the calm and gentle Moominmamma to the spiky Little My – who resembles Jansson herself. She also paid homage to the real women in her life: Pietilä appears as a character called Too-Ticky, while the inseparable Thingumy and Bob represent Jansson and Vivica Bandler, a married theatre director whom she met and fell in love with in 1946.
At the age of 80, Jansson said that while her life had been colourful, she would do everything differently given another chance. A world without Moomins, though, would be a meaner place; we need Jansson’s creatures to remind us that not all trolls are bad.
Lizzie Palmer, New Statesman
33. Premium
What is argued about Tove Jansson’s work in the opening paragraph?
Rättar...34. Premium
What is implied in relation to Jansson’s career?
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What is said in relation to Jansson’s artwork as shown at the Dulwich Picture Gallery?
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What is argued in connection with Jansson’s personal life?
Rättar...37. Premium
Which of the following statements concerning Jansson’s production is most in accordance with the text?
Rättar...38. Premium
Seasonal Cycles
Most animals experience dramatic seasonal cycles: they migrate, hibernate, mate and molt at specific times of the year. In spring, for example, some 500,000 sandhill cranes make a migratory stopover at the Platte River in Nebraska. As mating season approaches, the testicles of hamsters quadruple in size. These cycles are hardwired: captive ground squirrels continue to hibernate seasonally even when kept in constant temperatures with unvarying periods of light and dark. Likewise, birds in stable lab conditions get restless at migration time and keep molting and fattening in yearly cycles.
What is said about animals’ seasonal cycles?
Rättar...39. Premium
Home, Sweet Home
In a recent book, neuro-anthropologist John S. Allen argues that our move into dwellings may be just as important – if not more so – than tools, language and controlled fire, often cited as critical advancements in Homo sapiens’ evolution. Beyond providing protection from the elements and predators, homes created spaces where complex social interactions could take place and mates and offspring could become families. They also enabled early humans to sleep securely and soundly, which has been shown to increase brain functions like learning and memory formation. Dwellings are “critical not only for resting but also for thinking,” Allen writes. “By removing us from the distractions and stimuli of the outside world, providing a wholly predictable environment,” they give us “an opportunity to use our mental powers to better deal with that world.”
What is John S. Allen’s main point in relation to homes?
Rättar...40. Premium
Jingoism
Jingoism – the nationalistic and patriotic belief that your country is best – was rife within the British Empire, especially at its peak in the late 19th century. The aggressive shows of force by Britain to maintain and expand its reach were naturally exaggerated by the press, and clever propaganda put almost anything the empire did in a positive light. The rise of other superpowers such as Germany and Russia only helped fuel jingoism, resulting in arrogant ideology such as splendid isolation and the naval arms race. Jingoism wasn’t a new phenomenon (Britain had always had fierce rivalries with Spain and France, for instance), but politicians were worried that a working-class electorate was dangerous to British politics. Both the Conservatives and Liberals came to realise that an assertive foreign policy was the best way to appeal to the public.
What are we told about British jingoism in the late 1800s?
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