Reading 2025-12 Test 3

How can it be prevented? Peter Smith, Professor of Psychology at the University of Sheffield, directed the Sheffield Anti-Bullying Intervention Project, funded by the Department for Education. Here he reports on his findings. A. Bullying can take a variety of forms, from the verbal – being taunted or called hurtful names – to the physical – being kicked or shoved – as well as indirect forms, such as being excluded from social groups. A survey I conducted with Irene Whitney found that in British primary schools up to a quarter of pupils reported experience of bullying, which in about one in ten cases was persistent. There was less bullying in secondary schools, with about one in twenty-five suffering persistent bullying, but these cases may be particularly recalcitrant. B. Bullying is clearly unpleasant, and can make the child experiencing it feel unworthy and depressed. In extreme cases it can even lead to suicide, though this is thankfully rare. Victimised pupils are more likely to experience difficulties with interpersonal relationships as adults, while children who persistently bully are more likely to grow up to be physically violent, and convicted of anti-social offences. C. Until recently, not much was known about the topic, and little help was available to teachers to deal with bullying. Perhaps as a consequence, schools would often deny the problem. ‘There is no bullying at this school’ has been a common refrain, almost certainly untrue. Fortunately more schools are now saying: There is not much bullying here, but when it occurs we have a clear policy for dealing with it.’ D. Three factors are involved in this change. First is an awareness of the severity of the problem. Second, a number of resources to help tackle bullying have become available in Britain. For example, the Scottish Council for Research in Education produced a package of materials, Action Against Bullying, circulated to all schools in England and Wales as well as in Scotland in summer 1992, with a second pack, Supporting Schools Against Bullying, produced the following year. In Ireland, Guidelines on Countering Bullying Behaviour in Post-Primary Schools was published in 1993. Third, there is evidence that these materials work, and that schools can achieve something. This comes from carefully conducted ‘before and after’ evaluations of interventions in schools, monitored by a research team. In Norway, after an intervention campaign was introduced nationally, an evaluation of forty-two schools suggested that, over a two-year period, bullying was halved. The Sheffield investigation, which involved sixteen primary schools and seven secondary schools, found that most schools succeeded in reducing bullying. E. Evidence suggests that a key step is to develop a policy on bullying, saying clearly what is meant by bullying, and giving explicit guidelines on what will be done if it occurs, what records will be kept, who will be informed, what sanctions will be employed. The policy should be developed through consultation, over a period of time – not just imposed from the head teacher’s office! Pupils, parents and staff should feel they have been involved in the policy, which needs to be disseminated and implemented effectively. Other actions can be taken to back up the policy. There are ways of dealing with the topic through the curriculum, using video, drama and literature. These are useful for raising awareness, and can best be tied in to early phases of development, while the school is starting to discuss the issue of bullying. They are also useful in renewing the policy for new pupils, or revising it in the light of experience. But curriculum work alone may only have short-term effects; it should be an addition to policy work, not a substitute. There are also ways of working with individual pupils, or in small groups. Assertiveness training for pupils who are liable to be victims is worthwhile, and certain approaches to group bullying such as ‘no blame’, can be useful in changing the behaviour of bullying pupils without confronting them directly, although other sanctions may be needed for those who continue with persistent bullying. Work in the playground is important, too. One helpful step is to train lunchtime supervisors to distinguish bullying from playful fighting, and help them break up conflicts. Another possibility is to improve the playground environment, so that pupils are less likely to be led into bullying from boredom or frustration. F. With these developments, schools can expect that at least the most serious kinds of bullying can largely be prevented. The more effort put in and the wider the whole school involvement, the more substantial the results are likely to be. The reduction in bullying – and the consequent improvement in pupil happiness – is surely a worthwhile objective.

The most important step is for the school authorities to produce a 9 _________ which makes the school’s attitude towards bullying quite clear. It should include detailed 10 _________ as to how the school and its staff will react if bullying occurs. In addition, action can be taken through the 11 _________. This is particularly useful in the early part of the process, as a way of raising awareness and encouraging discussion. On its own, however, it is insufficient to bring about a permanent solution. Effective work can also be done with individual pupils and small groups. For example, potential 12 _________ of bullying can be trained to be more self-confident. Or again, in dealing with group bullying, a ‘no blame’ approach, which avoids confronting the offender too directly, is often effective. Playground supervision will be more effective if members of staff are trained to recognise the difference between bullying and mere 13 _________.

A There are, according to current scholarship, 160 existing portraits by Francisco de Goya - about a third of his painted output. The real number, though, is much greater since there are no pure landscapes in Goya's work, in that everything he ever painted deals with people. In the work of no other great portraitist are a nation's people, history, traumas, folk traditions, and superstitions so comprehensively and relentlessly captured. His subject was a good one since Goya lived in interesting times: his lifetime was a period that saw Spain pass through the effects of the French Revolution, the Napoleonic wars, and the restoration of the monarchy; it was ruled by a succession of authoritarian and liberal governments; and was simultaneously marked by the Enlightenment. Put his work together - the public and private paintings, the personal drawings and sketches, and the unsettling and sinister etching series - and what you have is a portrait in the round of Spain itself. B His work as a portraitist has its origins in the 45 tapestry cartoons he painted after he moved to Madrid in 1775. Although his designs don't show portraits, they do show types - the majos and majas who gave Madrid its street swagger, peasants and rich men, courting couples, singers, hunters, children, and young men and women playing blind man's buff or tossing a mannequin into the air. The pictures have a light, rococo palette and the faces are individualised without being those of individuals. But in them, Goya practised poses and groupings and a way of handling light on and around figures that was to be invaluable. C The tapestry designs also show social roles rather than the people inhabiting them, but when it came to painting portraits proper, Goya would turn this on its head. His greatest strength as a portraitist is that regardless of the status of the sitter, be they a king and queen, the Duke of Wellington, or a doctor or writer, it was the person he showed first and their position second. It was this trait, most apparent in his royal portraiture, that has led him to be seen as satirising the Bourbon monarchy rather than as a painter who depicted what he saw without showing obeisance to the usual flattering conventions. In Robert Hughes's phrase, he did not 'pay reflexive homage to authority' but instead walked a fine line between respect and truth. D Goya's success was rapid; in 1785 he was made deputy director of painting at the Royal Academy (his main message to his students was subversive - 'there are no rules in painting') and in 1786 became pintor de cámara, required to paint 'works required for royal service'. He immediately spent some of his 15,000-reales salary on a two-wheeled gig (one of only three in Madrid) which he promptly crashed on his first outing. His amour propre untouched, he wrote to his childhood friend Martín Zapater: 'I have now established an enviable way of living: I do not wait on anyone in antechambers, and if anyone wants anything from me they must come to me; I have made myself more in demand and unless it is a person of rank or at the request of a friend I would do nothing for anyone...' E Part of the reason for his success was that, unlike Gainsborough, for example, he did not resent portraiture as an economically necessary chore that ate away at the time he could devote to higher art. He embraced the genre as a means of exploring human character. This genuine interest allowed him to penetrate the facade of his sitters, capturing not just their likeness but their psychological state. His portraits from the 1790s, particularly of the royal family, are masterclasses in this approach. He presented them with a stark realism that was unprecedented, grouping them in a way that highlighted their familial dynamics and individual personalities, however flawed or ordinary they might appear. F This commitment to psychological truth became even more pronounced following his near-fatal illness in 1793, which left him deaf. Isolated from the world of sound, Goya’s focus turned inwards, and his work grew darker and more introspective. The light rococo tones of his tapestry cartoons gave way to a richer, somber palette and a dramatic use of chiaroscuro. His portraits from this period, such as those of the Duchess of Alba, are charged with a complex mixture of intimacy, mystery, and power. The line between observer and subject seemed to dissolve, as Goya used the portrait not for public glorification but as a form of private, almost philosophical, inquiry. G Ultimately, Goya’s career traces the arc of Spain’s tumultuous age. The enlightened optimism of his early court paintings gradually soured into a profound disillusionment, vividly recorded in his later, so-called 'Black Paintings'. These murals, painted directly onto the walls of his country house, are a far cry from the formal portraits of princes and dukes. They depict haunting, mythological scenes and grotesque figures, reflecting the despair and chaos of a nation ravaged by war and repression. In this final phase, the portrait of Spain was no longer found in the faces of individuals, but in the tormented soul of its people.

Goya's Tapestry Cartoons Before becoming a renowned portraitist, Goya created designs for tapestries after moving to Madrid. These cartoons did not feature true 20 _________, but instead depicted various social 21 _________. The artistic style of these works was light and rococo, and while the faces were distinctive, they were not of specific, identifiable people. However, these early projects were crucial as they allowed Goya to practise arranging figures and mastering the effect of 22 _________ on his subjects.

A. We have long lived in an age where powerful images, catchy soundbites and too-good-to-miss offers to bombard us from every quarter. All around us the persuaders are at work. Occasionally their methods are unsubtle – the planting kiss on a baby’s head by a wannabe political leader, or a liquidation sale in a shop that has been “closing down” for well over a year, but generally the persuaders know what they are about and are highly capable. Be they politicians, supermarket chains, salespeople or advertisers, they know exactly what to do to sell us their images, ideas or produce. When it comes to persuasion, these giants rule supreme. They employ the most skilled image-makers and use the best psychological tricks to guarantee that even the most cautious among us are open to manipulation. B. We spend more time in them than we mean to, we buy 75 percent of our food from them and end up with products that we did not realize we wanted. Right from the start, supermarkets have been ahead of the game. For example, when Sainsbury introduced shopping baskets into its 1950s stores, it was a stroke of marketing genius. Now shoppers could browse and pick up items they previously would have ignored. Soon after came trolleys, and just as new roads attract more traffic, the same applied to trolley space. Pro Merlin Stone, IBM Professor of Relationship Marketing at Bristol Business School, says aisles are laid out to maximize profits. Stores pander to our money-rich, time-poor lifestyle. Low turnover products — clothes and electrical goods— are stocked at the back while high— turnover items command position at the front. C. Stone believes supermarkets work hard to “stall” us because the more time we spend in them, the more we buy. Thus, great efforts are made to make the environment pleasant. Stores play music to relax us and some even pipe air from the in-store bakery around the shop. In the USA, fake aromas are sometimes used. The smell is both the most evocative and subliminal sense. In experiments, pleasant smells are effective in increasing our spending. A casino that fragranced only half its premise saw profit soar in the aroma— filled areas. The other success story from the supermarkets’ perspective is the loyalty card. Punters may assume that they are being rewarded for their fidelity, but all the while they are trading information about their shopping habits. Loyal shoppers could be paying 30% more by sticking to their favourite shops for essential cosmetics. D. Research has shown that 75 percent of profit comes from just 30 percent of customers. Ultimately, reward cards could be used to identify and better accommodate these “elite” shoppers. It could also be used to make adverts more relevant to individual consumers – rather like Spielberg’s futuristic thriller Minority Report, in which Tom Cruise’s character is bombarded with interactive personalized ads. If this sounds far-fetched, the data-gathering revolution has already seen the introduction of radio – frequency identification – away to electronically tag products to see who is buying what, FRID means they can follow the product into people homes. E. No matter how savvy we think we are to their ploys, the ad industry still wins. Adverts focus on what products do or on how they make us feel. Researcher Laurette Dube, in the Journal of Advertising Research, says when attitudes are base on “cognitive foundations” (logical reasoning), advertisers use informative appeals. This works for products with a little emotional draw but high functionality, such as bleach. Where attitude is based on effect (i.e, emotions), ad teams try to tap into our feelings. Researchers at the University of Florida recently concluded that our emotional responses to adverts dominate over “cognition”. F. Advertisers play on our need to be safe (commercials for insurance), to belong (make a customer feel they are in the group in fashion ads) and for self-esteem (aspirational adverts). With time and space at a premium, celebrities are often used as a quick way of meeting these needs – either because the celeb epitomizes success or because they seem familiar and so make the product seem “safe”. A survey of 4,000 campaigns found ads with celebs were 10 percent more effective than without. Humor also stimulates a rapid emotional response. Heiman Chung, writing in the International Journal of Advertising, found that funny ads were remembered for longer than straight ones. Combine humor with sexual imagery – as in Wonderbra’s “Hello Boys” ads— and you are on to a winner. G. Slice-of-life ads are another tried and tested method— they paint a picture of life as you would like it, but still, one that feels familiar. Abhilasha Mehta, in the Journal of Advertising Research, noted that the more one’s self-image tallies with the brand being advertised, the stronger the commercial. Ad makers also use behaviorist theories, recognizing that the more sensation we receive from an object, the better we know it. If an advert for a chocolate bar fails to cause salivation, it has probably failed. No wonder advertisements have been dubbed the “nervous system of the business world”. H. Probably all of us could make a sale if the product was something we truly believed in, but professional salespeople are in a different league— the best of them can always sell different items to suitable customers in the best time. They do this by using very basic psychological techniques. Stripped to its simplest level, selling works by heightening the buyer’s perception of how much they need a product or service. Buyers normally have certain requirements by which they will judge the suitability of a product. The seller, therefore, attempts to tease out what these conditions are and then explains how their products’ benefit can meet these requirements. I. Richard Hession, author of Be a Great Salesperson says it is human nature to prefer to speak rather listen, and good salespeople pander to this. They ask punters about their needs and offer to work with them to achieve their objectives. As a result, the buyer feels they are receiving a “consultation” rather than a sales pitch. All the while, the salesperson presents with a demeanour that takes it for granted that the sale will be made. Never will the words “if you buy” be used, but rather “when you buy”. J. Dr Rob Yeung, a senior consultant at business psychologists Kiddy and Partner, says most salespeople will build up a level of rapport by asking questions about hobbies, family and lifestyle. This has the double benefit of making the salesperson likeable while furnishing him or her with more information about the client’s wants. Yeung says effective salespeople try as far as possible to match their style of presenting themselves to how the buyer comes across. If the buyer cracks jokes, the salespeople will respond in kind. If the buyer wants detail, the seller provides it, if they are more interested in the feel of the product, the seller will focus on this. At its most extreme, appearing empathetic can even include the salesperson attempting to “mirror” the hobby language of the buyer. K. Whatever the method used, all salespeople work towards one aim: “closing the deal”. In fact, they will be looking for “closing signals” through their dealings with potential clients. Once again the process works by assuming success. The buyer is not asked “are you interested?” as this can invite a negative response. Instead, the seller takes it for granted that the deal is effectively done: when the salesman asks you for a convenient delivery date or asks what color you want, you will probably respond accordingly. Only afterwards might you wonder why you proved such a pushover.

Trolleys are born for the increasing traffic in the supermarket. The width of 36 _________ in supermarkets is broadened in order to generate the most profits. Research from 37 _________, satisfying aromas can motivate people to buy more products. Except for the effort of creating a comfortable surrounding, 38 _________ is another card that supermarkets play to reward their regular customers. For example, loyal customers spend 30% more in their loved shops for everyday necessary 39 _________. Clothes shops use advertisements to make the buyer think they are belonging to part of a 40 _________; research from 4,000 campaigns reflect that humor advertisement received more emotional respect.