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Questions 19 to 21 are based on the conversation you have just heard.
W: I don't know what to do. I can't seem to get anyone in the hospital to listen to my complaints and this outdated equipment is dangerous. Just look at it.
M: Hmm, uh, are you trying to say that it presents a health hazard?
W: Yes, I am. The head technician in the lab tried to persuade the hospital administration to replace it, but they are trying to cut costs.
M: You are pregnant, aren't you?
W: Yes, I am. I made an effort to get my supervisor to transfer me to another department, but he urged me not to complain too loudly. Because the administration is more likely to replace me than an X-ray equipment, I'm afraid to refuse to work. But I'm more afraid to expose my unborn child to the radiation.
M: I see what you mean. Well, as your union representative, I have to warn you that it would take quite a while to force management to replace the old machines and attempt to get you transferred may or may not be successful.
W: Oh, what am I supposed to do then?
M: Workers have the legal right to refuse certain unsafe work assignments under two federal laws, the Occupation or Safety and Health Act and the National Labor Relations Act. But the requirements of either of the Acts may be difficult to meet.
W: Do you think I have a good case?
M: If you do lose your job, the union will fight to get it back for you along with back pay, your lost income. But you have to be prepared for a long wait, maybe after two years.
Q19. What does the woman complain about?
Q20. What has the woman asked her supervisor to do?
Q21. What does the man say about the two federal laws?
Q22. What will the union do if the woman loses her job?
Questions 22 to 25 are based on the conversation you have just heard.
W: Mr. Green, is it fair to say that negotiation is an art?
M: Well, I think it's both an art and science. You can prepare for a negotiation quite scientifically, but the execution of the negotiation has quite a lot to do with one's artistic quality. The scientific part of a negotiation is in determining your strategy. What do you want out of it? What can you give? Then of course there are tactics. How do you go about it? Do you take an opening position in a negotiation which differs from the eventual goal you are heading for? And then of course there are the behavioral aspects.
W: What do you mean by the behavioral aspects?
M: Well, that's I think where the art comes in. In your behavior, you can either be an actor. You can pretend that you don't like things which you are actually quite pleased about. Or you can pretend to like things which you are quite happy to do without. Or you can be the honest type negotiator who's known to his partners in negotiation and always plays everything straight. But the artistic part of negotiation I think has to do with responding immediately to cues one gets in the process of negotiation. These can be verbal cues or even body language. This is where the artistic quality comes in.
W: So really, you see two types of negotiator then, the actor or the honest one.
M: That' right. And both can work. I would say the honest negotiator can be quite effective in some circumstances. In other circumstances you need an actor.
Q23. When is a scientific approach best embodied in a negotiation according to the man?
Q24. In what way is a negotiator like an actor according to the man?
Q25. What does the man say about the two types of negotiator?
