Eyes lift from tabloid newspapers. Vacant gazes become (　１　), probe like searchlights, seeking the source of the divine sounds. A crowd begins to gather, the first coins tinkle into the old violin case, and within two or three minutes the entire platform is in a state of (　２　) attention. Through the chambers of the subway drift the haunting strains of O'Malley's violin, and travelers on the uptown platform, even those on the upper levels, listen and are (　３　). Work gangs stop working, beggars stop begging, muggers stop mugging--the newsstands and ticket booths and turnstiles, the very struts and girders of the subway seem to strain toward O'Malley's violin! Even the rats creep out of their nests, united, for once, with their old foe Man in (　４　) appreciation of the music.

Then comes the grumble of an approaching train. It swells, grows thunderous--then the monster leaps roaring from its hole, and (i) the grim banalities of work and purpose and constant aimless movement are restored. O'Malley's audience dissipates, but he plays on; for he is playing not for them, nor even [　ii　][　iii　], but for his lost love. He is playing for Eurydice Schwartz.

I found the village itself, compared with the paintings, [　A　]. There is an almost photographic fidelity, an amazing (　8　) power of reproduction, in the way Franco recollects, thirty years later, the details of Pontito. And yet, at the same time, I was struck by the differnces: Pontito is much smaller than one would think from his paintings--the streets are narrower, the houses more irregular, the church tower shorter and more (　9　). There are many reasons for this, one of which is that Franco paints what he saw with a child's eye, and to a child everything is taller and more (　10　). The literalness of this child's-eye vision made me wonder whether, through some legerdemain of the brain, Franco [　B　], to reexperience Pontito exactly as he had experienced it as a child; whether he was given access, a (　11　) access, to the child's memories within him.

A phonograph record works in a similar way: the wavy grooves cause a stylus to vibrate, and the movements of the stylus are transduced into corresponding fluctuations in voltage. At the other end of the line these voltage waves are reconverted, by a vibrating membrane in the telephone's earpiece or the phonograph's loudspeaker, back into the corresponding air-pressure waves, so that we can hear them. The code is a simple and direct one: electrical fluctuations in wire (　12　) pressure fluctuations in air. All possible voltages, within certain limits, may pass down the wire, and (　13　).

In a digital telephone, only two possible voltages -- or some other discrete number of possible voltages, such as 8 or 256 -- pass down the wire. The information lies not in the (　14a　) but in the (　14b　). This is called Pulse Code Modulation. The actual voltage at any one time will seldom be exactly equal to any of the eight, say, nominal values, but the receiving apparatus will round it off to the nearest of the designated voltages, so that what emerges at the other end of the line is well-nigh perfect even if the transmission along the line is poor. All you have to do is (　15　) so that random fluctuations can never be misinterpreted by the receiving instrument as the wrong level. This is the great virtue of digital codes, and it is why audio and video systems--and information technology generally--are (　16　). Computers, of course, use digital codes for everything they do. For reasons of convenience, it is a binary code--that is, it has only two levels of voltage instead of 8 or 256.

By studying fossils, Vrba found that the populations of large mammals in these environments underwent a huge change. Many forest antelopes were replaced by giant buffalo and other grazers. Vrba believes that early hominid evolution [　A　]. As grasslands continued to (　19a　) and tree cover to (　19b　), forest-dwelling chimpanzees (　20　) to bipedal creatures better adapted to living in the open.H. erectus, finally, was (　21　) to spread throughout the Old World.

If early humans' adaptability let them move into new environments, Alan Walker of Johns Hopkins believes, it was an increasingly carnivorous diet that (　22　) them to do so. "Once you become a carnivore," he says, "the world is different. Carnivores need immense home ranges." H. erectus probably ate both meat and plants, as humans do today. But, says Walker, "there was a qualitative difference between these creatures and other primates. I think they actively hunted. I've always said that they [　B　]." Could H. erectus have (　23　) all the way to Asia in just tens of thousands of years? Observers Walker: "If you spread 20 miles every 20 years, it wouldn't take long to go that far."

(C) Yet these conceptual developments did not affect with the pragmatic, conservative world of the seafarers. (D) Throughout this period, and indeed into the seventeenth century forward, the sea-chart which mariners continued to use was the unscientific plane-chart model. (E) This type of map was not built on a mathematical projection at all, but was simply divided evenly into squares or rectangles of one latitude degree crossed by one longitude degree. (F) These charts ignored, in every effect, the fact that the earth was a sphere. (G) They were adequate for traversing small areas or for coasting, but for ocean-crossing that they were deeply flawed.

Choose from the list below the precise word that fits on the numbered blanks.
解答欄の(24)〜(27)のマークを塗りつぶしなさい。

The two paintings illustrate a(n) ______ ______ ______ 　(24)　 ______ in seventeenth-century Europe concerning the nature of a house. Before that, a house was an almost public space, ______ 　(25)　 ______ ______ in Bruegel's painting. You couldn't be alone in your own house, ______ ______ 　(26)　 ______ ______ on the street. A house was only a matter of having a ______ 　(27)　 ______ ______.

What about us? It's a plain fact that we've also been ______ 　(H)　 ______ of Third World people. It's true that the Japanese, ______ 　(I)　, have also been romanticized, stereotyped and 　(J)　, but it would be wrong if we thought of ourselves only as victims. We have been guilty of our own exoticism; and apparently we have ______ ______ 　(K)　 ______ ______ of it.