Question 1

Passage&#10;In America's early democratic republic, the superficial signifiers of social status that had long distinguished the aristocracy in Europe were no longer supposed to apply.&#160; However, despite political theory and an emphasis on rhetoric that implied democratic equality, many among the late eighteenth-century social elite flaunted their status and at the same time condemned any pretense by the lower classes to a higher social position.For the American &#34;nobility,&#34; the immoderation that had marked public life since before the Revolution assumed epic proportions in the later decades of the century.&#160; From the viewpoint of society's top tier, social pretense, revealed through presumptive choices of costume or coiffure, was becoming far too common.&#160; Sumptuary legislation-largely a holdover from the colonial era-was accordingly reinstituted in some states as a means to regulate behavior and a remedy for inappropriate displays of extravagance.&#160; Indeed, libertine attitudes so dominated the population that George Mason IV, a congressional representative from the Commonwealth of Virginia, proposed that the federal government impose sumptuary legislation on all strata of society, including the affluent who would have traditionally been excluded from such laws.&#160; However, the motion did not pass, with such social trends proving too deeply rooted.&#160; Nevertheless, Mason was hardly alone in his alarm at the specter of mounting excess.The more established members of the republican gentility had long freely indulged in decadent consumption without attracting much attention.&#160; Nevertheless, most of these older elites criticized their own younger generation, whose coming-of-age was characterized by more overt disregard for the Puritan austerity advocated by their forebears.&#160; The self-gratifying taste for grande cuisine and propensities for haute couture of the upper-class youth were perceived as decidedly improper conduct by their elders.&#160; Moreover, as this ostentatious comportment worsened, it influenced those from the inferior echelons of society to adopt similar displays.The presumptuous behavior mimicked by the lower classes led to an uproar by those in positions of power, who swiftly moved to modify societal conduct.&#160; In particular, dissonance swelled in Massachusetts, where, within Boston's most select circles, a palpable anxiety over the maintenance of social hierarchies and their rightful exterior signifiers arose.&#160; For the elite few who made up America's haute monde, any posturing of manner or appropriation of dress disrupted the customary rigidity of the social hierarchy, which, to their dismay, had now become increasingly fluid.&#160; There was a communal uneasiness, which grew into national dread, that artful impostors might slip through the boundaries of the social strata undetected.&#160; Yet, vexingly, counterfeits were becoming more difficult to recognize.&#160; Consequently, in order to restrict impersonation, those of questionable lineage faced the threat of ostracization for an act as simple as sitting for a portrait.At the same time, a movement materialized that had Boston as its epicenter.&#160; The new paradigm mandated that eighteenth-century gentlemen as well as ladies project positive, even edifying, public images, as their privileged position behooved.&#160; Therefore, a distinctly American variety of noblesse oblige, though not without its detractors, spread throughout the new democratic republic.&#160; In metropolitan centers across the new nation, the attributes of honor, modesty, and public virtue assumed increasing importance among the &#34;aristocracy.&#34;&#160; Keeping up appearances-that were oftentimes not all they seemed-became paramount in order to set examples of permissible public behavior for the benefit of those of humble birth or who were less affluent.&#160; Meanwhile, the bulk of the American population, consisting of those with little wealth or status, did their best not to emulate their &#34;role models.&#34;&#10;Based on passage information, why did the legislation proposed by George Mason fail to pass?The aristocracy believed noblesse oblige made legislation unnecessary.Immoderation was too ingrained for prohibition to gain support.Affluent members of society would be affected.&#10;A)II only&#10;B)III only&#10;C)II and III only&#10;D)I, II, and III

Accepted Answer

Paragraph 2 states that "the immoderation that had marked public life since before the Revolution assumed epic proportions" and that "the motion (ie, the proposed sumptuary legislation) did not pass, with such trends proving too deeply rooted." This evidence suggests that immoderation was not only widespread but had become so deeply ingrained in the society of the early American democratic republic that people resisted measures to prohibit it. Accordingly, this circumstance would help to explain the legislation's failure to pass. (Number II) According to Paragraph 2, "the immoderation assumed epic proportions in the later decades of the century." Paragraph 3 then makes it clear that "[t]he more established members of the republican gentility had long freely indulged in decadent consumption without attracting much attention." Regarding the legislation, Paragraph 2 states that the proposed sumptuary legislation would be imposed "on all strata (ranks) of society, including the affluent who would have traditionally been excluded from such laws." Therefore, it can reasonably be inferred that the majority of the affluent would likely have opposed laws restricting their behavior. (Number III) (Number I) According to Paragraph 5, "a movement materialized…mandat[ing] that eighteenth-century gentlemen as well as ladies project positive, even edifying, public images as their privileged position behooved (required of them)." The result of the movement was "a distinctly American variety of noblesse oblige (the duty of the privileged class to behave nobly and responsibly toward the less privileged) throughout the new democratic republic." This "new paradigm (model)" meant that "keeping up appearances…became paramount (of greatest importance) in order to set examples of permissible public behavior…for the less affluent." However, the passage never directly connects this movement of noblesse oblige to the legislation being proposed by George Mason and its failing to pass.

Question 2

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Which of the following descriptions best represents the type of artist the modernist poets were?&#10;A)Respected artists&#10;B)Artists-in-training&#10;C)Self-indulgent artists&#10;D)Independent artists

Accepted Answer

According to Paragraph 1, the "artistic approach" of the modernist poets was "characterized" by Pound's phrase "Make it new!" These poets felt that "old linguistic certainties had evaporated and new forms must be embraced." Moreover, Paragraph 6 describes the modernist poets as choosing to reject "the scientific rationalism and commercialist vulgarity" that had begun to take hold of society following the Industrial Revolution. Furthermore, the very era in which the modernist poets lived and wrote is described as "an age defined by its pure and absolute originality." Consequently, the modernist poets are best represented as artists who were independent, bound neither by tradition nor prevailing attitudes. (Choice A) The descriptive phrase "respected artists" (ie, conservative and well received) would be more applicable to the poets of previous eras who followed convention than to the modernist poets, especially Frost and Cummings, who "even in an age defined by its pure and absolute originality…occupied unique positions" (Paragraph 6). (Choice B) The passage does not support the idea that the modernist poets could be considered "artists-in-training," meaning artists who are in an early, developmental stage. Even though many of the modernist poets were experimenting with style and forms, they were already skilled enough to be part of a recognized movement. (Choice C) Paragraph 2 states that "many contemporary critics dismissed [Cummings'] work as self-indulgent." However, the passage provides no evidence that the work of all modernist poets was considered "self-indulgent."

Question 3

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;As used in the passage, the term &#34;injunction&#34; is closest in meaning to:&#10;A)an enthusiastic instruction.&#10;B)a solemn statement.&#10;C)a temporary constraint.&#10;D)an urgent plea.

Accepted Answer

Paragraph 1 makes it clear that Ezra Pound's phrase "Make it new!" was addressed to the modernist poets and "characterized their artistic approach." This phrase, referred to as an "injunction" in the passage, served as a rallying cry or a call to action for poets to generate new forms and completely original work. In other words, Pound was giving a command or an instruction, expressed with positive intensity, for poets to be innovative. Therefore, as used in the passage, the term "injunction" is closest in meaning to an enthusiastic instruction. By contrast, the following phrases would not be as close in meaning to the term "injunction" as it is used in the passage: a solemn statement (Choice B). The phrase "Make it new!" does not make a solemn (serious) statement but gives a strong and enthusiastic command or instruction urging poets to pursue originality. a temporary constraint (Choice C). The phrase "Make it new!" was intended to urge modernist poets to free themselves from tradition indefinitely. By contrast, a temporary constraint would be an authoritative (official) instruction intended to restrict someone or something for a period of time. an urgent plea (Choice D). Although the phrase "Make it new!" communicates some urgency and is punctuated with an exclamation point, it is not a plea (ie, a pressing and emotional request) but a command or instruction.

Question 4

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;The passage suggests that Barker's panorama of Edinburgh might have been more accurate than Hollar's view of London because Barker's panorama:&#10;A)achieved a greater degree of detail and had more features.&#10;B)instilled in the viewer a feeling of being at the exact location.&#10;C)was free from shifting lines of perspective.&#10;D)provided the viewer with a more imaginary kind of cityscape.

Accepted Answer

The quote from Harbison in Paragraph 3 emphasizes that even though Hollar's bird's eye view of London was very detailed, it was not based on realism or "London as anyone experiences it." By contrast, Paragraph 2 emphasizes that Barker's panorama of Edinburgh gave the viewer "the feeling 'as if really on the very spot,'" meaning that the viewer would feel as if he or she were actually in the city of Edinburgh. (Choice A) According to Paragraph 6, Barker's panorama "achieved a new level of realism through accuracy of detail." The claim that Barker's panorama achieved a greater degree of detail and had more features does not necessarily mean that the detail was more accurate or precise. In fact, this description applies to Hollar's bird's eye view of London, which was detailed but not accurate or "as anyone experiences it" (Paragraph 3). (Choice C) There is no evidence in the passage that Barker's panorama differed from Hollar's bird's eye view of London due to the panorama's being free from shifting lines of perspective (ie, various vantage points from which the viewer could see the landscape). In fact, the panorama did provide a "360-degree view" (Paragraph 2) and a "limited perspective afforded by any given position" (Paragraph 4). (Choice D) Paragraph 6 states that "although a deliberate illusion, the panorama achieved a new level of realism through accuracy of detail." This indicates that the panorama provided the viewer with a picture that felt more accurate and realistic. Therefore, the panorama did not provide the viewer with a more imaginary (unreal or fantastical) kind of cityscape.

Question 5

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;The passage indicates that its author would NOT agree with which of the following statements?&#10;A)In the rotunda, people experienced a tension between the 360-degree view and what they could see from where they were standing.&#10;B)Barker's idea radically transformed the landscape painting of the Romantic-era artists.&#10;C)The panorama may have been influenced by the invention of the hot air balloon.&#10;D)Barker's techniques made use of baroque perspectival constructs.

Accepted Answer

Paragraph 3 makes it clear that "baroque perspectival constructions" were no longer being used in creating bird's eye view paintings. In fact, the panorama "superseded (surpassed) the bird's eye or aerial view" (Paragraph 3). This suggests that panorama paintings had moved even further away from such baroque perspectives. The statement that Barker's techniques made use of baroque perspectival constructs is therefore inconsistent with the information the author provides in the passage. By contrast, the following statements are more consistent with the information the author included in the passage: In the rotunda, people experienced a tension between the 360-degree view and what they could see from where they were standing: This is supported by the statement in Paragraph 4 that the panorama "relied upon the tension between the entirety of the scene…and the necessarily limited perspective afforded by any given position" (Choice A). Barker's idea radically transformed the landscape painting of the romantic artists: Paragraph 2 states that Barker's panorama "grew out of Romantic-era landscape painting." It is therefore possible that the panorama significantly transformed Romantic-era painting style (Choice B). The panorama may have been influenced by the invention of the hot air balloon: Paragraph 1 correlates the launching of the hot air balloon in 1783 and the patenting of the panorama in 1787 (five years later), stating that it was "perhaps no coincidence" that these two events occurred when they did. This strongly implies that one event (hot air balloon) may have influenced the other (panorama) (Choice C).

Question 6

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Suppose a spectator on the observation platform of Barker's rotunda is quickly transported to the observation tower of Bentham's Panopticon.&#160; This spectator who was appreciating the panorama then serves as the watchman, tasked with looking out on all the surrounding cells of the circular prison building.&#160; What best describes his role from the perspective of the prisoners?&#10;A)He would be perceived as a clever adversary.&#10;B)He would be perceived as an intimidating figure.&#10;C)He would be perceived as a passive observer.&#10;D)He would be perceived as a neutral surveyor.

Accepted Answer

Paragraph 1 states that the Panopticon was "a circular edifice built around a central observation tower" and was designed as a prison. The proposed scenario is that a spectator, who was appreciating the panorama, has been transported from the rotunda to the observation tower of the Panopticon. This individual is then tasked to serve as the watchman who looks out on all the prison cells. Based on this situation, the prisoners would perceive the watchman as someone who occupies a position of authority. In addition, the watchman can see any of the inmates at any time from his watchtower. The prisoners would feel as if they were under constant surveillance; therefore, the watchman would be viewed as an intimidating figure with the authority to rule over them. (Choice A) There is no way to predict that the spectator would become a clever (intelligent) adversary (enemy) to the prisoners once he takes on the role of a watchman. (Choice C) In moving from the observation deck to the observation tower, the spectator does not become a passive observer. In fact, he becomes an active observer as it is his job to be ever watchful and keenly observant of what is occurring within all the prison cells. (Choice D) The watchman is there to keep the prisoners under constant surveillance (authoritative watch) and does not serve as the prisoners' neutral (disinterested) surveyor (someone who evaluates or takes note of something).

Question 7

Passage&#10;In America's early democratic republic, the superficial signifiers of social status that had long distinguished the aristocracy in Europe were no longer supposed to apply.&#160; However, despite political theory and an emphasis on rhetoric that implied democratic equality, many among the late eighteenth-century social elite flaunted their status and at the same time condemned any pretense by the lower classes to a higher social position.For the American &#34;nobility,&#34; the immoderation that had marked public life since before the Revolution assumed epic proportions in the later decades of the century.&#160; From the viewpoint of society's top tier, social pretense, revealed through presumptive choices of costume or coiffure, was becoming far too common.&#160; Sumptuary legislation-largely a holdover from the colonial era-was accordingly reinstituted in some states as a means to regulate behavior and a remedy for inappropriate displays of extravagance.&#160; Indeed, libertine attitudes so dominated the population that George Mason IV, a congressional representative from the Commonwealth of Virginia, proposed that the federal government impose sumptuary legislation on all strata of society, including the affluent who would have traditionally been excluded from such laws.&#160; However, the motion did not pass, with such social trends proving too deeply rooted.&#160; Nevertheless, Mason was hardly alone in his alarm at the specter of mounting excess.The more established members of the republican gentility had long freely indulged in decadent consumption without attracting much attention.&#160; Nevertheless, most of these older elites criticized their own younger generation, whose coming-of-age was characterized by more overt disregard for the Puritan austerity advocated by their forebears.&#160; The self-gratifying taste for grande cuisine and propensities for haute couture of the upper-class youth were perceived as decidedly improper conduct by their elders.&#160; Moreover, as this ostentatious comportment worsened, it influenced those from the inferior echelons of society to adopt similar displays.The presumptuous behavior mimicked by the lower classes led to an uproar by those in positions of power, who swiftly moved to modify societal conduct.&#160; In particular, dissonance swelled in Massachusetts, where, within Boston's most select circles, a palpable anxiety over the maintenance of social hierarchies and their rightful exterior signifiers arose.&#160; For the elite few who made up America's haute monde, any posturing of manner or appropriation of dress disrupted the customary rigidity of the social hierarchy, which, to their dismay, had now become increasingly fluid.&#160; There was a communal uneasiness, which grew into national dread, that artful impostors might slip through the boundaries of the social strata undetected.&#160; Yet, vexingly, counterfeits were becoming more difficult to recognize.&#160; Consequently, in order to restrict impersonation, those of questionable lineage faced the threat of ostracization for an act as simple as sitting for a portrait.At the same time, a movement materialized that had Boston as its epicenter.&#160; The new paradigm mandated that eighteenth-century gentlemen as well as ladies project positive, even edifying, public images, as their privileged position behooved.&#160; Therefore, a distinctly American variety of noblesse oblige, though not without its detractors, spread throughout the new democratic republic.&#160; In metropolitan centers across the new nation, the attributes of honor, modesty, and public virtue assumed increasing importance among the &#34;aristocracy.&#34;&#160; Keeping up appearances-that were oftentimes not all they seemed-became paramount in order to set examples of permissible public behavior for the benefit of those of humble birth or who were less affluent.&#160; Meanwhile, the bulk of the American population, consisting of those with little wealth or status, did their best not to emulate their &#34;role models.&#34;&#10;Based on the passage, what would be the best description of a &#34;rightful exterior signifier&#34;?&#10;A)A legal entitlement&#10;B)A detectable status symbol&#10;C)A mandatory dress code&#10;D)An inherited title

Accepted Answer

According to Paragraph 1, "the superficial signifiers of social status that had long distinguished the aristocracy in Europe were no longer supposed to apply." Paragraph 4 mentions that in Boston's "most select circles," the elite experienced a "palpable anxiety over the maintenance of social hierarchies and their rightful exterior signifiers." This information indicates that there was concern over the possible loss of the very signifiers or visible markers (ie, detectable status symbols) that had served to distinguish the upper class from the lower classes. Therefore, based on the passage, a detectable status symbol would be the best description of a "rightful exterior signifier." By contrast, none of the following would constitute a good description of a "rightful exterior signifier": A legal entitlement (Choice A) would give an individual the right to obtain a particular benefit from the government, but it would not be outwardly visible. A dress code (Choice C), even one that was mandatory (required), could lead to outward differences in appearance, but it would not necessarily be indicative of class or social status. An inherited title (Choice D) could indicate social status but would not be visible.

Question 8

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Which of the following statements is inconsistent with the information in the passage?&#10;A)Frost's ideal poem would exhibit the writer's ability to express ideas in colloquial language.&#10;B)Frost's ideal poem would guide the reader and poet into deep contemplation.&#10;C)Frost's ideal poem would be reflective of elements used in Romantic poetry.&#10;D)Frost's ideal poem would employ methods of presenting familiar language in atypical forms.

Accepted Answer

According to Paragraph 4, Frost's poetry "was composed of ordinary sounds that derived from conventional (familiar) language." Frost held that "poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms." Therefore, Frost's ideal poem would not employ methods that presented familiar language in atypical (nontraditional) forms. By contrast, the following ideas would be consistent with Frost's ideal poem: exhibiting the writer's ability to express ideas in colloquial language (Choice A). As Frost believed "conventional language" should be the basis of poetry, colloquialisms (ie, the familiar linguistic forms that people use in everyday speech) would be found in his poetry. Therefore, Frost's ideal poem would exhibit a poet's ability to express ideas in colloquial language. guiding the reader and poet into deep contemplation (Choice B). Frost believed that the practice of poetry provokes "both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain" and "culminates in wisdom that may be profound or just a momentary reprieve from the world" (Paragraph 5). Therefore, Frost's ideal poem would guide both reader and poet into a state of deep contemplation. reflective of elements used in Romantic poetry (Choice C). According to Paragraph 6, both Frost and Cummings "favored aspects of the [earlier] Romantic poetry movement…over the tormenting self-doubt that had beset their peers." An ideal Frost poem would therefore contain elements typical of Romantic poetry.

Question 9

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;On the basis of information contained in the passage, the illusion of the panorama was most likely created by doing all of the following EXCEPT:&#10;A)disturbing the relationship between the viewer as subject and the painting as object.&#10;B)aligning the spectator's perspective with the panoramic view.&#10;C)employing complicated strategies of illumination.&#10;D)manipulating the vantage point of the viewer in relation to the painting.

Accepted Answer

According to Paragraph 4, the panorama relied for its effects on "the tension between the entirety of the scene, which was now fully available for view, and the necessarily limited perspective (view) afforded by any given position (where a spectator would be standing)." Consequently, the illusion of the panorama was not created by aligning the spectator's perspective with the panoramic view, that is, with the entire scene offered by the panorama canvas. By contrast, the following strategies were used to create the illusion of the panorama: Disturbing the relationship between the viewer as subject and the painting as object (Choice A): The panorama's illusion makes the viewer feel as if he or she is experiencing something real and not a painting. This is largely done by "virtually eliminating such heuristic (guiding) elements as the frame, the legends (explanations), and the hierarchy (order of importance) by which the observer understood what he saw to be a painting." The result, as described in Paragraph 6, is that "the panoramic technique disrupted the orthodox (traditional) relationship between viewer and canvas" Manipulating the vantage point of the viewer in relation to the painting (Choice D): Paragraph 4 talks about the panorama involving a "strategy of manipulating (controlling) space and expertly 'situating' the viewer" to create its effect. Employing complicated strategies of illumination (Choice C): Paragraph 5 explains the complicated way in which the canvas was strategically lit up in order to create certain effects. Notably, "indirect lighting gave the impression that light emanated (originated) from the painting itself." In addition, "staging techniques included a canopy that covered the canvas' borders and hid the sources of light".

Question 10

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;The passage implies that bioethicists would be likely to oppose which of the following?&#10;A)Legislation limiting public access to data collected by fertility clinics&#10;B)A decrease in government subsidies to health care providers&#10;C)Legislation loosening regulations on student loan programs&#10;D)Increased legislative regulations on reproductive technology

Accepted Answer

According to the author, because "it is unclear that 'informed consent' is part of the [egg] donation process" (Paragraph 3), bioethicists "have called for the establishment of a global register of egg donors" and "follow-ups" that "identify potential negative side effects" of egg donation on women's health (Paragraph 4). Because this shows that bioethicists favor increased access to information about egg donation procedures, they would likely oppose legislation limiting public access to data collected by fertility clinics. (Choice B) Although bioethicists would presumably have a general interest in health care, the passage contains no information about health care providers or government subsidies of them. (Choice C) The author says that "a disproportionate number of female college students are donating their eggs" and suggests this may be due to "recent hikes in tuition" (Paragraph 2). However, the passage neither mentions student loan programs nor indicates that bioethicists in particular have beliefs about how such programs should be regulated. (Choice D) The author states that "bioethicists are particularly worried about the current lack of government oversight in the oocyte market" (Paragraph 3). Accordingly, bioethicists would likely favor increased legislative regulations on reproductive technology.

Question 11

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;If subsequent research revealed that there are no long-term health risks of egg donation, this would most directly address the ethical concern that:&#10;A)women donate eggs for the ultimate gain of others.&#10;B)the egg procurement industry transforms women's bodies into an economic resource.&#10;C)it is not apparent that consent is part of the egg donation process for some women.&#10;D)it is unclear that informed consent is part of the donation process.

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 12

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Based on the passage, there is an implicit assumption that:&#10;A)most of the high-quality eggs available in today's market are provided by female college students.&#10;B)there is no way to alleviate the concern that the oocyte industry commodifies women's bodies.&#10;C)advocates of the oocyte market could agree with bioethicists about the need for government regulation.&#10;D)a collaborative effort toward ethical or moral progress would be undesirable.

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 13

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Suppose that new government regulations require the elimination of financial compensation for egg donors.&#160; How would this affect the author's claims about concerns facing the oocyte market?&#10;A)It would support the claim that there is little research on the long-term risks and effects of egg donation on women's health.&#10;B)It would support the claim that government regulations would make women vulnerable to exploitation or coercion.&#10;C)It would weaken the claim that ethical issues would remain even if a global register of egg donors were established.&#10;D)It would weaken the claim that the global demand for egg donors continues to increase.

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 14

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;The author implies which of the following about the panorama?&#10;A)People thought that it was a way to experience a view similar to that from a hot air balloon ride.&#10;B)It achieved its effect by merging illusion with reality.&#10;C)Its value as art was solidified once it became a permanent fixture in the rotunda.&#10;D)During the time period, it projected an unrealistic view of nature.

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 15

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Based on passage information, which of the following claims about egg donation could most easily be challenged by contradictory evidence?&#10;A)&#34;Informed consent&#34; may not always be part of the egg donation process.&#10;B)The oocyte industry compensates donors for their time, not their eggs.&#10;C)Other sorts of donations are not medically invasive or time-consuming.&#10;D)The oocyte industry will continue to exist in the years to come.

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 16

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Suppose contestants in a poetry competition are asked to author a free verse reminiscent of Cummings' style.&#160; Which of the following is most likely to be found in their submitted work?&#10;A)Graphic art drawn abstractly alongside the text&#10;B)Consistent application of the rules of commas&#10;C)A flawless display of grammatical structure&#10;D)Text that looks like a bell curve

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 17

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Why does the author note the definition that &#34;an egg is a nonrecyclable sex cell&#34; (Paragraph 4)?&#10;A)To illustrate how the egg procurement industry views women's bodies as an economic resource&#10;B)To acquaint readers with anatomical terminology related to egg donation procedures&#10;C)To highlight the consequences to the donor's body of repeated donations&#10;D)To emphasize the sentimental value attached to a resource that is scarce

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 18

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;Which of the following perspectives, if shown in a painting, would be LEAST like the bird's eye view?&#10;A)A view of planet Earth from outer space&#10;B)A three-dimensional overview of a city&#10;C)A view of an island from a boat at sea&#10;D)A view of a town as seen from within a tunnel

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 19

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;The author's suggestion that &#34;even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement&#34; can most reasonably be interpreted to mean that the two poets:&#10;A)held themselves above the influence of other modernist poets.&#10;B)shared a creative outlook similar to that of more popular poets.&#10;C)were affected by the successes of more illustrious poets.&#10;D)refused to engage in the strict rationalism of other poets.

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 20

Passage&#10;At the forefront of the modernist poetry movement were T. S. Eliot, Wallace Stevens, and others, such as Ezra Pound, whose injunction, &#34;Make it new!&#34; characterized their artistic approach.&#160; Hindered by the same internal conflict plaguing many intellectuals within the cultural upheavals of the time, these poets felt, on one level, that old linguistic certainties had evaporated and new forms must be embraced.&#160; Yet many of them, particularly the later modernist poets, maintained a sentimental attachment to all that had been lost from the cultural certitude of earlier eras, their despondency reflected in much of their work.&#160; At the periphery of the movement were E. E. Cummings and Robert Frost, who were named among modernist poets largely for the chronological classification of their poetry and not necessarily for their style or means of artistic production.A self-titled &#34;poet&#34; and &#34;painter,&#34; Cummings was beyond his time in his efforts to innovate.&#160; He would become well known for his erratic applications of punctuation and syntax, and, later, for his visual configurations of words.&#160; Much of Cummings' writing also used idiosyncratic similes and metaphors.&#160; This style, which later evolved to include symbolism and allegory, caused even some of the most progressive modernists to dismiss his work as eccentric, self-indulgent, and lacking depth.&#160; However, as a quintessential dissenter, Cummings remained unaffected by the reactions of his contemporaries and focused more on creating a graphic effect with words.To Cummings, the artist was not one who discerns or describes, but one who feels.&#160; He often contrasted the &#34;doing&#34; of others-scientists in particular-to the &#34;being&#34; of the artist.&#160; Compared to what he defined as the &#34;nonartist,&#34; Cummings held that the artist must be original, self-reliant, and free to live according to his or her own truth.&#160; For Cummings, this meant disentanglement from any shackles of societal standards, ranging from the man-made notions of reality and reason to traditional literary conventions.Contrarily, Frost believed that a true poet could-and should-achieve poetic excellence without resorting to what he described as the &#34;new ways of being new.&#34;&#160; Consequently, his poetry was composed of ordinary sounds that derived from conventional language.&#160; Although many contemporary critics dismissed his work as overly simplistic, or &#34;too near the level of talk,&#34; Frost remained unperturbed by such views, holding that poetry sprang from the natural intonations of a person's voice and should remain true to traditional forms.Frost claimed that &#34;a poem begins with delight, it inclines to the impulse, it assumes direction with the first line laid down.&#34;&#160; This conception of a poem led Frost to elucidate that, behind the scenes, the poet must always approach writing intimately and organically, allowing the words to originate seamlessly from &#34;a lump in the throat, a homesickness, a loneliness.&#34;&#160; Provoking both poet and reader to recollect an oft-distant truth lingering in some obscure region of the brain, this practice culminates in wisdom that may be profound or just a momentary reprieve from the world.Uncompromising and not always popular, Frost and Cummings nevertheless mingled with the literary elite and developed long-term acquaintances with Ezra Pound, who especially championed Frost's literary career.&#160; Each shared with other modernist poets an opposition to the scientific rationalism and commercialist vulgarity that had infiltrated Western culture after the Industrial Revolution.&#160; Yet both poets also continued to exhibit a commitment to the role of nonconformist and favored aspects of the Romantic poetry movement-namely, the significance of the individual's experience and the rejection of societal scrutiny-over the tormenting self-doubt that had beset their peers.&#160; Thus, even in an age defined by its pure and absolute originality, Frost and Cummings occupied unique positions within the modernist poetry movement.&#10;The author's mention of &#34;all that had been lost&#34; suggests that many modernist poets lamented the loss of:&#10;A)longstanding cultural principles.&#10;B)artistic freedom.&#10;C)human reflection on self-worth.&#10;D)uniformity among their novel works.

Accepted Answer

The answer of Passage&#10;At the forefront of the modernist poetry...

Question 21

Passage&#10;Rhetorical questions with an end purpose can be propositioned with the intention of challenging curricular stratagem, particularly in the name of educational progress.&#160; &#34;Should we teach literature in our college classrooms?&#34; or &#34;Do we have an ethical obligation to teach humanities to the next generation of scholars?&#34; are the sorts of enquiries that can set precedence in academic circles, providing fodder for discussion on implementing the best instructional tactics in the imminent restructuring of scholastic environments.&#160; One particular issue in academia that is currently under deliberation is the justification for literary study in the classroom.So why study literature?&#160; First, research has shown that studying the likes of Shakespeare, Wordsworth, and Dickens can generate feelings of human connectedness, an essential component for fulfilled living, social stimulation, and a long and healthy existence.&#160; Immersive or &#34;deep&#34; reading of a literary piece serves as a meditation on, an excavation of, and a careful examination of the ubiquitous sociocultural ideas connecting the worlds in which both the author and reader reside.&#160; One study on connectedness also found that emotionally compaginated individuals live longer than those who do not exhibit similar closeness with other humans.&#160; Taken together, it can be surmised that &#34;deep readers&#34; may have a superior ability to understand and empathize socially by viewing the world through the differing perspectives of others, enhancing the potential for human connectivity.Second, it may be beneficial to recall our literary past in its truest form, the written word, over the superfluity of technological representations of ancient texts.&#160; For instance, Shakespeare's body of work has been reduced to two-minute self-produced video clips found on the Internet, a valuable teaching tool for younger students with ever-shortening attention spans but one that lamentably excludes the essential beauty of the original prose.&#160; The writings hold the intended &#34;environmental literary print&#34; up to the light, allowing readers to gain a valuable snapshot of history that cannot be substituted.&#160; As our society continues to advance technologically, we can nevertheless find existential value in remembering our past.Third, if we could measure the unbridled joy felt upon discovering a forgotten text lying on the shelf, we might shift our focus from an extrinsic value of literature to an intrinsic one; that is, the written text is prized due to its ability to incite felicitousness, laughter, woefulness, and a myriad of emotions that make us inherently human.&#160; As George Eliot writes in the canonical The Mill on the Floss, &#34;We can never give up longing and wishing while we are thoroughly alive.&#160; There are certain things we feel to be beautiful and good, and we must hunger after them.&#34;&#160; This exemplifies the human condition that strives toward fulfillment at our core psyche, a sentiment perhaps best expressed in the written language itself.Lastly, there is much to be gained from pedagogical models of studying literature:&#160; women's studies teaches the value of gender equality, cultural studies intrinsically teaches less ethnocentrism and more tolerance, and the reader-response theory teaches that each individual response has value based on unique and subjective human experiences, to name a few.In certain higher education communities, there has been a grassroots movement gaining some traction in favor of removing humanities requirements from the core teaching curriculum, yet the lifelong consequences of doing so may not be quantifiable.&#160; The humanities professors who protest silently, hoping that their colleagues will see the merit in studying literature as requisite, must remain reticent no more.&#160; Without literary study to instill in us the value of the human experience, we may willingly sacrifice more than just coursework:&#160; we may be on the verge of surrendering our human spirit.&#10;Which of the following statements can be considered the central thesis of the passage?&#10;A)Rhetorical questions must be asked for the sake of progress in education.&#10;B)The level of fulfillment obtained from reading is immeasurable.&#10;C)Human beings need constant social stimuli to live long and healthy lives.&#10;D)The study of literature in higher education is indispensable.

Accepted Answer

The answer of Passage&#10;Rhetorical questions with an end purpose can...

Question 22

Passage&#10;Evil can most accurately be defined as the direct antithesis of good.&#160; However, when a human situation does not lend itself to clear designations of ultimate good and ultimate evil, or of right and wrong, then the best that one can hope for is to be able to make an informed decision about which course of action is &#34;more right&#34; and which is &#34;more wrong.&#34;Consider the hypothetical case of Dr. Jones, who, in discovering the antidote to a poison (Poison H) has so far concocted only a single vial.&#160; Now suppose that six citizens have drunk from a well whose water has been contaminated with Poison H, but Citizen A has consumed an inordinate volume of the contaminated water.&#160; Accordingly, the doctor has only enough of the antidote to save either Citizen A or the five other citizens.It may seem clear that a doctor could not justifiably allocate the entirety of an antidote to preserving one citizen's life at the expense of losing five others.&#160; However, suppose that Citizen A is the only patient currently present in the doctor's clinic, as the remaining patients are being transferred to Dr. Jones' facility by their respective physicians.&#160; Citizen A is, in fact, Dr. Jones' longtime patient.&#160; The doctor must therefore decide between two exigencies:&#160; to save his own patient's life or to await the arrival of the five remaining citizens.Would Dr. Jones be acting unethically in sacrificing Citizen A given the prospect of administering the antidote to the remaining citizens in time?&#160; This dilemma asks the judicious individual to take into account additional factors that might encumber his or her ability to save the citizens who have not yet arrived.&#160; One should consider, for instance, how long each patient can survive without the antidote.&#160; Unfortunately, no one has a crystal ball to predict future events.&#160; A decision must be made in conjunction with the information available at the time.With this in mind, one may argue that the determination of good versus evil in making a decision lies in the doctor's motivations as he considers the consequences of his impending actions.&#160; Imagine Dr. Jones' nurse exclaiming, &#34;But the doctor cannot make an objective comparison between the lives of other citizens and his own patient!&#34;&#160; Yet, perhaps the doctor would be selfishly inclined to save Citizen A, as Citizen A is the only one whose death would be considered a grievous personal loss.But are such selfish human instincts then to be labeled as evil?&#160; The same propensities labeled as selfish underlie characteristics classified as decent human virtues, such as compassion, empathy, and loyalty.&#160; There are particular circumstances in which the doctor would indeed be remiss to the point of what could be argued as evil-as in cases where he opts to dismiss or distrust his individual conscience.&#160; Consider the case in which he doubts his ability to arrive at a judicious conclusion and abdicates his responsibility for making this grave decision to the nurse.&#160; Or consider the case in which he concludes that it is indeed more valiant to save the five citizens, yet fails to act on his decision out of personal anguish at losing Citizen A or to put an end to the ordeal.In such circumstances, the decision between right and wrong, or the moral dilemma, escalates into what is more accurately a personal determination of good and evil.&#160; In this way, the relative construct of right and wrong, as determined by one's best attempts at logic and sense, must be subordinated to a moral imperative that may be said to be absolute:&#160; namely, that one must abide by an internal commitment to what one has reasoned to be the right decision and follow a corresponding course of action in the allotted time.&#10;Suppose that, following ingestion of Poison H by the citizens, Dr. Jones modifies the antidote slightly in an attempt to provide more to all affected patients.&#160; Dr. Jones finds that as a result of the modifications, the efficacy of the antidote diminishes rapidly as time passes.&#160; According to this new information, one can assume that the doctor would:&#10;A)be more likely to administer the antidote to Citizen A.&#10;B)be more likely to withhold the antidote from Citizen A.&#10;C)defer to his nurse to make the decision.&#10;D)be unaffected by this new information.

Accepted Answer

The answer of Passage&#10;Evil can most accurately be defined as...

Question 23

Passage&#10;Rhetorical questions with an end purpose can be propositioned with the intention of challenging curricular stratagem, particularly in the name of educational progress.&#160; &#34;Should we teach literature in our college classrooms?&#34; or &#34;Do we have an ethical obligation to teach humanities to the next generation of scholars?&#34; are the sorts of enquiries that can set precedence in academic circles, providing fodder for discussion on implementing the best instructional tactics in the imminent restructuring of scholastic environments.&#160; One particular issue in academia that is currently under deliberation is the justification for literary study in the classroom.So why study literature?&#160; First, research has shown that studying the likes of Shakespeare, Wordsworth, and Dickens can generate feelings of human connectedness, an essential component for fulfilled living, social stimulation, and a long and healthy existence.&#160; Immersive or &#34;deep&#34; reading of a literary piece serves as a meditation on, an excavation of, and a careful examination of the ubiquitous sociocultural ideas connecting the worlds in which both the author and reader reside.&#160; One study on connectedness also found that emotionally compaginated individuals live longer than those who do not exhibit similar closeness with other humans.&#160; Taken together, it can be surmised that &#34;deep readers&#34; may have a superior ability to understand and empathize socially by viewing the world through the differing perspectives of others, enhancing the potential for human connectivity.Second, it may be beneficial to recall our literary past in its truest form, the written word, over the superfluity of technological representations of ancient texts.&#160; For instance, Shakespeare's body of work has been reduced to two-minute self-produced video clips found on the Internet, a valuable teaching tool for younger students with ever-shortening attention spans but one that lamentably excludes the essential beauty of the original prose.&#160; The writings hold the intended &#34;environmental literary print&#34; up to the light, allowing readers to gain a valuable snapshot of history that cannot be substituted.&#160; As our society continues to advance technologically, we can nevertheless find existential value in remembering our past.Third, if we could measure the unbridled joy felt upon discovering a forgotten text lying on the shelf, we might shift our focus from an extrinsic value of literature to an intrinsic one; that is, the written text is prized due to its ability to incite felicitousness, laughter, woefulness, and a myriad of emotions that make us inherently human.&#160; As George Eliot writes in the canonical The Mill on the Floss, &#34;We can never give up longing and wishing while we are thoroughly alive.&#160; There are certain things we feel to be beautiful and good, and we must hunger after them.&#34;&#160; This exemplifies the human condition that strives toward fulfillment at our core psyche, a sentiment perhaps best expressed in the written language itself.Lastly, there is much to be gained from pedagogical models of studying literature:&#160; women's studies teaches the value of gender equality, cultural studies intrinsically teaches less ethnocentrism and more tolerance, and the reader-response theory teaches that each individual response has value based on unique and subjective human experiences, to name a few.In certain higher education communities, there has been a grassroots movement gaining some traction in favor of removing humanities requirements from the core teaching curriculum, yet the lifelong consequences of doing so may not be quantifiable.&#160; The humanities professors who protest silently, hoping that their colleagues will see the merit in studying literature as requisite, must remain reticent no more.&#160; Without literary study to instill in us the value of the human experience, we may willingly sacrifice more than just coursework:&#160; we may be on the verge of surrendering our human spirit.&#10;For which of these passage assertions does the author provide the LEAST evidence?&#10;A)&#34;[D]eep readers may have a superior ability to understand and empathize socially.&#34;&#10;B)&#34;[T]he written text is prized due to its ability to incite&#8230;a myriad of emotions that make us inherently human.&#34;&#10;C)&#34;[C]ultural studies intrinsically teaches less ethnocentrism and more tolerance&#8230;&#34;&#10;D)&#34;[I]t may be beneficial to remember our literary past in its truest form, the written word&#8230;&#34;

Accepted Answer

The answer of Passage&#10;Rhetorical questions with an end purpose can...

Question 24

Passage&#10;Evil can most accurately be defined as the direct antithesis of good.&#160; However, when a human situation does not lend itself to clear designations of ultimate good and ultimate evil, or of right and wrong, then the best that one can hope for is to be able to make an informed decision about which course of action is &#34;more right&#34; and which is &#34;more wrong.&#34;Consider the hypothetical case of Dr. Jones, who, in discovering the antidote to a poison (Poison H) has so far concocted only a single vial.&#160; Now suppose that six citizens have drunk from a well whose water has been contaminated with Poison H, but Citizen A has consumed an inordinate volume of the contaminated water.&#160; Accordingly, the doctor has only enough of the antidote to save either Citizen A or the five other citizens.It may seem clear that a doctor could not justifiably allocate the entirety of an antidote to preserving one citizen's life at the expense of losing five others.&#160; However, suppose that Citizen A is the only patient currently present in the doctor's clinic, as the remaining patients are being transferred to Dr. Jones' facility by their respective physicians.&#160; Citizen A is, in fact, Dr. Jones' longtime patient.&#160; The doctor must therefore decide between two exigencies:&#160; to save his own patient's life or to await the arrival of the five remaining citizens.Would Dr. Jones be acting unethically in sacrificing Citizen A given the prospect of administering the antidote to the remaining citizens in time?&#160; This dilemma asks the judicious individual to take into account additional factors that might encumber his or her ability to save the citizens who have not yet arrived.&#160; One should consider, for instance, how long each patient can survive without the antidote.&#160; Unfortunately, no one has a crystal ball to predict future events.&#160; A decision must be made in conjunction with the information available at the time.With this in mind, one may argue that the determination of good versus evil in making a decision lies in the doctor's motivations as he considers the consequences of his impending actions.&#160; Imagine Dr. Jones' nurse exclaiming, &#34;But the doctor cannot make an objective comparison between the lives of other citizens and his own patient!&#34;&#160; Yet, perhaps the doctor would be selfishly inclined to save Citizen A, as Citizen A is the only one whose death would be considered a grievous personal loss.But are such selfish human instincts then to be labeled as evil?&#160; The same propensities labeled as selfish underlie characteristics classified as decent human virtues, such as compassion, empathy, and loyalty.&#160; There are particular circumstances in which the doctor would indeed be remiss to the point of what could be argued as evil-as in cases where he opts to dismiss or distrust his individual conscience.&#160; Consider the case in which he doubts his ability to arrive at a judicious conclusion and abdicates his responsibility for making this grave decision to the nurse.&#160; Or consider the case in which he concludes that it is indeed more valiant to save the five citizens, yet fails to act on his decision out of personal anguish at losing Citizen A or to put an end to the ordeal.In such circumstances, the decision between right and wrong, or the moral dilemma, escalates into what is more accurately a personal determination of good and evil.&#160; In this way, the relative construct of right and wrong, as determined by one's best attempts at logic and sense, must be subordinated to a moral imperative that may be said to be absolute:&#160; namely, that one must abide by an internal commitment to what one has reasoned to be the right decision and follow a corresponding course of action in the allotted time.&#10;Which of the following is NOT mentioned as a consideration that should be made by the doctor prior to deciding what must be done with the antidote?&#10;A)the amount of antidote needed to cure each patient&#10;B)the doctor's responsibility to the patient in the clinic&#10;C)the likelihood that the antidote will function properly&#10;D)the urgency of time in administering the antidote

Accepted Answer

The answer of Passage&#10;Evil can most accurately be defined as...

Question 25

Passage&#10;In America's early democratic republic, the superficial signifiers of social status that had long distinguished the aristocracy in Europe were no longer supposed to apply.&#160; However, despite political theory and an emphasis on rhetoric that implied democratic equality, many among the late eighteenth-century social elite flaunted their status and at the same time condemned any pretense by the lower classes to a higher social position.For the American &#34;nobility,&#34; the immoderation that had marked public life since before the Revolution assumed epic proportions in the later decades of the century.&#160; From the viewpoint of society's top tier, social pretense, revealed through presumptive choices of costume or coiffure, was becoming far too common.&#160; Sumptuary legislation-largely a holdover from the colonial era-was accordingly reinstituted in some states as a means to regulate behavior and a remedy for inappropriate displays of extravagance.&#160; Indeed, libertine attitudes so dominated the population that George Mason IV, a congressional representative from the Commonwealth of Virginia, proposed that the federal government impose sumptuary legislation on all strata of society, including the affluent who would have traditionally been excluded from such laws.&#160; However, the motion did not pass, with such social trends proving too deeply rooted.&#160; Nevertheless, Mason was hardly alone in his alarm at the specter of mounting excess.The more established members of the republican gentility had long freely indulged in decadent consumption without attracting much attention.&#160; Nevertheless, most of these older elites criticized their own younger generation, whose coming-of-age was characterized by more overt disregard for the Puritan austerity advocated by their forebears.&#160; The self-gratifying taste for grande cuisine and propensities for haute couture of the upper-class youth were perceived as decidedly improper conduct by their elders.&#160; Moreover, as this ostentatious comportment worsened, it influenced those from the inferior echelons of society to adopt similar displays.The presumptuous behavior mimicked by the lower classes led to an uproar by those in positions of power, who swiftly moved to modify societal conduct.&#160; In particular, dissonance swelled in Massachusetts, where, within Boston's most select circles, a palpable anxiety over the maintenance of social hierarchies and their rightful exterior signifiers arose.&#160; For the elite few who made up America's haute monde, any posturing of manner or appropriation of dress disrupted the customary rigidity of the social hierarchy, which, to their dismay, had now become increasingly fluid.&#160; There was a communal uneasiness, which grew into national dread, that artful impostors might slip through the boundaries of the social strata undetected.&#160; Yet, vexingly, counterfeits were becoming more difficult to recognize.&#160; Consequently, in order to restrict impersonation, those of questionable lineage faced the threat of ostracization for an act as simple as sitting for a portrait.At the same time, a movement materialized that had Boston as its epicenter.&#160; The new paradigm mandated that eighteenth-century gentlemen as well as ladies project positive, even edifying, public images, as their privileged position behooved.&#160; Therefore, a distinctly American variety of noblesse oblige, though not without its detractors, spread throughout the new democratic republic.&#160; In metropolitan centers across the new nation, the attributes of honor, modesty, and public virtue assumed increasing importance among the &#34;aristocracy.&#34;&#160; Keeping up appearances-that were oftentimes not all they seemed-became paramount in order to set examples of permissible public behavior for the benefit of those of humble birth or who were less affluent.&#160; Meanwhile, the bulk of the American population, consisting of those with little wealth or status, did their best not to emulate their &#34;role models.&#34;&#10;Based on the passage, which of the following would be the best example of the &#34;artful impostor&#34;?&#10;A)A criminal assuming the identity of a wealthy business owner&#10;B)A merchant seaman marrying a land-owning aristocrat&#10;C)A rural farmer planning to conduct business in the city&#10;D)A servant wearing a costume to attend a masquerade ball

Accepted Answer

The answer of Passage&#10;In America's early democratic republic, the superficial...

Question 26

Passage&#10;Evil can most accurately be defined as the direct antithesis of good.&#160; However, when a human situation does not lend itself to clear designations of ultimate good and ultimate evil, or of right and wrong, then the best that one can hope for is to be able to make an informed decision about which course of action is &#34;more right&#34; and which is &#34;more wrong.&#34;Consider the hypothetical case of Dr. Jones, who, in discovering the antidote to a poison (Poison H) has so far concocted only a single vial.&#160; Now suppose that six citizens have drunk from a well whose water has been contaminated with Poison H, but Citizen A has consumed an inordinate volume of the contaminated water.&#160; Accordingly, the doctor has only enough of the antidote to save either Citizen A or the five other citizens.It may seem clear that a doctor could not justifiably allocate the entirety of an antidote to preserving one citizen's life at the expense of losing five others.&#160; However, suppose that Citizen A is the only patient currently present in the doctor's clinic, as the remaining patients are being transferred to Dr. Jones' facility by their respective physicians.&#160; Citizen A is, in fact, Dr. Jones' longtime patient.&#160; The doctor must therefore decide between two exigencies:&#160; to save his own patient's life or to await the arrival of the five remaining citizens.Would Dr. Jones be acting unethically in sacrificing Citizen A given the prospect of administering the antidote to the remaining citizens in time?&#160; This dilemma asks the judicious individual to take into account additional factors that might encumber his or her ability to save the citizens who have not yet arrived.&#160; One should consider, for instance, how long each patient can survive without the antidote.&#160; Unfortunately, no one has a crystal ball to predict future events.&#160; A decision must be made in conjunction with the information available at the time.With this in mind, one may argue that the determination of good versus evil in making a decision lies in the doctor's motivations as he considers the consequences of his impending actions.&#160; Imagine Dr. Jones' nurse exclaiming, &#34;But the doctor cannot make an objective comparison between the lives of other citizens and his own patient!&#34;&#160; Yet, perhaps the doctor would be selfishly inclined to save Citizen A, as Citizen A is the only one whose death would be considered a grievous personal loss.But are such selfish human instincts then to be labeled as evil?&#160; The same propensities labeled as selfish underlie characteristics classified as decent human virtues, such as compassion, empathy, and loyalty.&#160; There are particular circumstances in which the doctor would indeed be remiss to the point of what could be argued as evil-as in cases where he opts to dismiss or distrust his individual conscience.&#160; Consider the case in which he doubts his ability to arrive at a judicious conclusion and abdicates his responsibility for making this grave decision to the nurse.&#160; Or consider the case in which he concludes that it is indeed more valiant to save the five citizens, yet fails to act on his decision out of personal anguish at losing Citizen A or to put an end to the ordeal.In such circumstances, the decision between right and wrong, or the moral dilemma, escalates into what is more accurately a personal determination of good and evil.&#160; In this way, the relative construct of right and wrong, as determined by one's best attempts at logic and sense, must be subordinated to a moral imperative that may be said to be absolute:&#160; namely, that one must abide by an internal commitment to what one has reasoned to be the right decision and follow a corresponding course of action in the allotted time.&#10;Physician burnout has been associated with exhaustion and a loss of interest, compassion, and previously acknowledged purpose.&#160; How would these symptoms affect Dr. Jones if he were experiencing physician burnout?&#10;A)He would grieve more about the idea of losing Citizen A.&#10;B)He would more likely dismiss his own conscience in making a decision.&#10;C)He would require more information in making the final decision regarding antidote administration.&#10;D)He would more likely arrive at a sensible conclusion regarding the antidote.

Accepted Answer

The answer of Passage&#10;Evil can most accurately be defined as...

Question 27

Passage&#10;Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.&#160; Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.&#160; Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal &#34;felt-experience,&#34; and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.&#160; After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction:&#160; sometimes the spectators were &#34;attuned&#34;; at other times they seemed &#34;aloof.&#34;&#160; Occasionally, performers feel as if they &#34;captured&#34; the audience; at other times, they perceive that they &#34;lost touch&#34; with the viewers entirely.&#160; One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.&#160; One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.&#160; In some instances, a single audience may be unmoved, regardless of how well a show is performed.&#160; In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.&#160; Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:&#34;The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.&#160; However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance&#8230;it's a very 'tangible' moment-it's all I can find as a word.&#34;Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by &#34;capturing&#34; the viewers in some poignant manner.&#160; According to this paradigm, there can be no performance without an audience.&#160; Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.&#160; Such collective encounters in a shared space and time present only the possibility-for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance:&#160; it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.&#160; Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.&#160; Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.&#160; This mutual &#34;transmission of affect&#34; induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.&#160; Entertainers can only know if the audience is &#34;present&#34; to the degree that they also embrace the mutual tension of the experience.&#160; In this way, the performer dutifully influences the audience, and the audience, in essence, &#34;re-affects&#34; the stage.&#10;Adapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016.&#10;The author's focus differs from that of most theater historians in that attention is given to:&#10;A)the effect of performers on audiences.&#10;B)the impact of the audience on performers.&#10;C)the transformative nature of theater for audiences.&#10;D)the ability of some performers to capture an audience.

Accepted Answer

The answer of Passage&#10;Throughout the twentieth century, the performer-spectator dynamic...

Question 28

Passage&#10;In America's early democratic republic, the superficial signifiers of social status that had long distinguished the aristocracy in Europe were no longer supposed to apply.&#160; However, despite political theory and an emphasis on rhetoric that implied democratic equality, many among the late eighteenth-century social elite flaunted their status and at the same time condemned any pretense by the lower classes to a higher social position.For the American &#34;nobility,&#34; the immoderation that had marked public life since before the Revolution assumed epic proportions in the later decades of the century.&#160; From the viewpoint of society's top tier, social pretense, revealed through presumptive choices of costume or coiffure, was becoming far too common.&#160; Sumptuary legislation-largely a holdover from the colonial era-was accordingly reinstituted in some states as a means to regulate behavior and a remedy for inappropriate displays of extravagance.&#160; Indeed, libertine attitudes so dominated the population that George Mason IV, a congressional representative from the Commonwealth of Virginia, proposed that the federal government impose sumptuary legislation on all strata of society, including the affluent who would have traditionally been excluded from such laws.&#160; However, the motion did not pass, with such social trends proving too deeply rooted.&#160; Nevertheless, Mason was hardly alone in his alarm at the specter of mounting excess.The more established members of the republican gentility had long freely indulged in decadent consumption without attracting much attention.&#160; Nevertheless, most of these older elites criticized their own younger generation, whose coming-of-age was characterized by more overt disregard for the Puritan austerity advocated by their forebears.&#160; The self-gratifying taste for grande cuisine and propensities for haute couture of the upper-class youth were perceived as decidedly improper conduct by their elders.&#160; Moreover, as this ostentatious comportment worsened, it influenced those from the inferior echelons of society to adopt similar displays.The presumptuous behavior mimicked by the lower classes led to an uproar by those in positions of power, who swiftly moved to modify societal conduct.&#160; In particular, dissonance swelled in Massachusetts, where, within Boston's most select circles, a palpable anxiety over the maintenance of social hierarchies and their rightful exterior signifiers arose.&#160; For the elite few who made up America's haute monde, any posturing of manner or appropriation of dress disrupted the customary rigidity of the social hierarchy, which, to their dismay, had now become increasingly fluid.&#160; There was a communal uneasiness, which grew into national dread, that artful impostors might slip through the boundaries of the social strata undetected.&#160; Yet, vexingly, counterfeits were becoming more difficult to recognize.&#160; Consequently, in order to restrict impersonation, those of questionable lineage faced the threat of ostracization for an act as simple as sitting for a portrait.At the same time, a movement materialized that had Boston as its epicenter.&#160; The new paradigm mandated that eighteenth-century gentlemen as well as ladies project positive, even edifying, public images, as their privileged position behooved.&#160; Therefore, a distinctly American variety of noblesse oblige, though not without its detractors, spread throughout the new democratic republic.&#160; In metropolitan centers across the new nation, the attributes of honor, modesty, and public virtue assumed increasing importance among the &#34;aristocracy.&#34;&#160; Keeping up appearances-that were oftentimes not all they seemed-became paramount in order to set examples of permissible public behavior for the benefit of those of humble birth or who were less affluent.&#160; Meanwhile, the bulk of the American population, consisting of those with little wealth or status, did their best not to emulate their &#34;role models.&#34;&#10;With which of the following statements about noblesse oblige would the passage author most likely agree?&#10;A)It is practiced for the benefit of the lower classes alone.&#10;B)It must be counterbalanced by behavioral restrictions in society.&#10;C)It implies hypocrisy because it is based on privilege.&#10;D)It is perceived as forbidding by the lower class.

Accepted Answer

The answer of Passage&#10;In America's early democratic republic, the superficial...

Question 29

Passage&#10;Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.&#160; Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.&#160; Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal &#34;felt-experience,&#34; and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.&#160; After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction:&#160; sometimes the spectators were &#34;attuned&#34;; at other times they seemed &#34;aloof.&#34;&#160; Occasionally, performers feel as if they &#34;captured&#34; the audience; at other times, they perceive that they &#34;lost touch&#34; with the viewers entirely.&#160; One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.&#160; One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.&#160; In some instances, a single audience may be unmoved, regardless of how well a show is performed.&#160; In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.&#160; Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:&#34;The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.&#160; However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance&#8230;it's a very 'tangible' moment-it's all I can find as a word.&#34;Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by &#34;capturing&#34; the viewers in some poignant manner.&#160; According to this paradigm, there can be no performance without an audience.&#160; Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.&#160; Such collective encounters in a shared space and time present only the possibility-for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance:&#160; it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.&#160; Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.&#160; Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.&#160; This mutual &#34;transmission of affect&#34; induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.&#160; Entertainers can only know if the audience is &#34;present&#34; to the degree that they also embrace the mutual tension of the experience.&#160; In this way, the performer dutifully influences the audience, and the audience, in essence, &#34;re-affects&#34; the stage.&#10;Adapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016.&#10;According to the passage, to have an emotional connection with performers and then impact them on stage, audience members must be:&#10;A)observant and vocal during the performance.&#10;B)excited before the performance commences.&#10;C)attentive and expressive during the performance.&#10;D)active participants in parts of the live performance.

Accepted Answer

The answer of Passage&#10;Throughout the twentieth century, the performer-spectator dynamic...

Question 30

Passage&#10;Evil can most accurately be defined as the direct antithesis of good.&#160; However, when a human situation does not lend itself to clear designations of ultimate good and ultimate evil, or of right and wrong, then the best that one can hope for is to be able to make an informed decision about which course of action is &#34;more right&#34; and which is &#34;more wrong.&#34;Consider the hypothetical case of Dr. Jones, who, in discovering the antidote to a poison (Poison H) has so far concocted only a single vial.&#160; Now suppose that six citizens have drunk from a well whose water has been contaminated with Poison H, but Citizen A has consumed an inordinate volume of the contaminated water.&#160; Accordingly, the doctor has only enough of the antidote to save either Citizen A or the five other citizens.It may seem clear that a doctor could not justifiably allocate the entirety of an antidote to preserving one citizen's life at the expense of losing five others.&#160; However, suppose that Citizen A is the only patient currently present in the doctor's clinic, as the remaining patients are being transferred to Dr. Jones' facility by their respective physicians.&#160; Citizen A is, in fact, Dr. Jones' longtime patient.&#160; The doctor must therefore decide between two exigencies:&#160; to save his own patient's life or to await the arrival of the five remaining citizens.Would Dr. Jones be acting unethically in sacrificing Citizen A given the prospect of administering the antidote to the remaining citizens in time?&#160; This dilemma asks the judicious individual to take into account additional factors that might encumber his or her ability to save the citizens who have not yet arrived.&#160; One should consider, for instance, how long each patient can survive without the antidote.&#160; Unfortunately, no one has a crystal ball to predict future events.&#160; A decision must be made in conjunction with the information available at the time.With this in mind, one may argue that the determination of good versus evil in making a decision lies in the doctor's motivations as he considers the consequences of his impending actions.&#160; Imagine Dr. Jones' nurse exclaiming, &#34;But the doctor cannot make an objective comparison between the lives of other citizens and his own patient!&#34;&#160; Yet, perhaps the doctor would be selfishly inclined to save Citizen A, as Citizen A is the only one whose death would be considered a grievous personal loss.But are such selfish human instincts then to be labeled as evil?&#160; The same propensities labeled as selfish underlie characteristics classified as decent human virtues, such as compassion, empathy, and loyalty.&#160; There are particular circumstances in which the doctor would indeed be remiss to the point of what could be argued as evil-as in cases where he opts to dismiss or distrust his individual conscience.&#160; Consider the case in which he doubts his ability to arrive at a judicious conclusion and abdicates his responsibility for making this grave decision to the nurse.&#160; Or consider the case in which he concludes that it is indeed more valiant to save the five citizens, yet fails to act on his decision out of personal anguish at losing Citizen A or to put an end to the ordeal.In such circumstances, the decision between right and wrong, or the moral dilemma, escalates into what is more accurately a personal determination of good and evil.&#160; In this way, the relative construct of right and wrong, as determined by one's best attempts at logic and sense, must be subordinated to a moral imperative that may be said to be absolute:&#160; namely, that one must abide by an internal commitment to what one has reasoned to be the right decision and follow a corresponding course of action in the allotted time.&#10;A study finds that 90% of practicing doctors believe that the most beneficial treatment decisions cannot be determined by computer-generated algorithms but must be determined in light of a doctor's observations of the preference and needs of an individual patient.&#160; How would this finding relate to the information expressed in the passage?&#10;A)It would support the author's assertion that a moral imperative &#34;may be said to be absolute.&#34;&#10;B)It would support the author's assertion that humans should abide by an &#34;internal commitment to what one has reasoned to be the right decision.&#34;&#10;C)It would challenge the author's assertion that some situations do not lend themselves to &#34;clear designations of ultimate good and ultimate evil.&#34;&#10;D)It would challenge the author's assertion that &#34;the best that one can hope for is to be able to make an informed decision about which course of action is 'more right'.&#34;

Accepted Answer

The answer of Passage&#10;Evil can most accurately be defined as...

Question 31

Passage&#10;Rhetorical questions with an end purpose can be propositioned with the intention of challenging curricular stratagem, particularly in the name of educational progress.&#160; &#34;Should we teach literature in our college classrooms?&#34; or &#34;Do we have an ethical obligation to teach humanities to the next generation of scholars?&#34; are the sorts of enquiries that can set precedence in academic circles, providing fodder for discussion on implementing the best instructional tactics in the imminent restructuring of scholastic environments.&#160; One particular issue in academia that is currently under deliberation is the justification for literary study in the classroom.So why study literature?&#160; First, research has shown that studying the likes of Shakespeare, Wordsworth, and Dickens can generate feelings of human connectedness, an essential component for fulfilled living, social stimulation, and a long and healthy existence.&#160; Immersive or &#34;deep&#34; reading of a literary piece serves as a meditation on, an excavation of, and a careful examination of the ubiquitous sociocultural ideas connecting the worlds in which both the author and reader reside.&#160; One study on connectedness also found that emotionally compaginated individuals live longer than those who do not exhibit similar closeness with other humans.&#160; Taken together, it can be surmised that &#34;deep readers&#34; may have a superior ability to understand and empathize socially by viewing the world through the differing perspectives of others, enhancing the potential for human connectivity.Second, it may be beneficial to recall our literary past in its truest form, the written word, over the superfluity of technological representations of ancient texts.&#160; For instance, Shakespeare's body of work has been reduced to two-minute self-produced video clips found on the Internet, a valuable teaching tool for younger students with ever-shortening attention spans but one that lamentably excludes the essential beauty of the original prose.&#160; The writings hold the intended &#34;environmental literary print&#34; up to the light, allowing readers to gain a valuable snapshot of history that cannot be substituted.&#160; As our society continues to advance technologically, we can nevertheless find existential value in remembering our past.Third, if we could measure the unbridled joy felt upon discovering a forgotten text lying on the shelf, we might shift our focus from an extrinsic value of literature to an intrinsic one; that is, the written text is prized due to its ability to incite felicitousness, laughter, woefulness, and a myriad of emotions that make us inherently human.&#160; As George Eliot writes in the canonical The Mill on the Floss, &#34;We can never give up longing and wishing while we are thoroughly alive.&#160; There are certain things we feel to be beautiful and good, and we must hunger after them.&#34;&#160; This exemplifies the human condition that strives toward fulfillment at our core psyche, a sentiment perhaps best expressed in the written language itself.Lastly, there is much to be gained from pedagogical models of studying literature:&#160; women's studies teaches the value of gender equality, cultural studies intrinsically teaches less ethnocentrism and more tolerance, and the reader-response theory teaches that each individual response has value based on unique and subjective human experiences, to name a few.In certain higher education communities, there has been a grassroots movement gaining some traction in favor of removing humanities requirements from the core teaching curriculum, yet the lifelong consequences of doing so may not be quantifiable.&#160; The humanities professors who protest silently, hoping that their colleagues will see the merit in studying literature as requisite, must remain reticent no more.&#160; Without literary study to instill in us the value of the human experience, we may willingly sacrifice more than just coursework:&#160; we may be on the verge of surrendering our human spirit.&#10;Which of the following statements, if true, would most directly challenge the author's claims regarding the literary past?&#10;A)Shakespearean prose has been described as &#34;more beautiful&#34; than modern English.&#10;B)There are more video clips on ancient literature on the Internet than there are books in print.&#10;C)Technological advances have led to an increase in students' interest in literary history.&#10;D)Research has reported that the attention span of younger students has shortened.

Accepted Answer

The answer of Passage&#10;Rhetorical questions with an end purpose can...

Question 32

Passage&#10;Evil can most accurately be defined as the direct antithesis of good.&#160; However, when a human situation does not lend itself to clear designations of ultimate good and ultimate evil, or of right and wrong, then the best that one can hope for is to be able to make an informed decision about which course of action is &#34;more right&#34; and which is &#34;more wrong.&#34;Consider the hypothetical case of Dr. Jones, who, in discovering the antidote to a poison (Poison H) has so far concocted only a single vial.&#160; Now suppose that six citizens have drunk from a well whose water has been contaminated with Poison H, but Citizen A has consumed an inordinate volume of the contaminated water.&#160; Accordingly, the doctor has only enough of the antidote to save either Citizen A or the five other citizens.It may seem clear that a doctor could not justifiably allocate the entirety of an antidote to preserving one citizen's life at the expense of losing five others.&#160; However, suppose that Citizen A is the only patient currently present in the doctor's clinic, as the remaining patients are being transferred to Dr. Jones' facility by their respective physicians.&#160; Citizen A is, in fact, Dr. Jones' longtime patient.&#160; The doctor must therefore decide between two exigencies:&#160; to save his own patient's life or to await the arrival of the five remaining citizens.Would Dr. Jones be acting unethically in sacrificing Citizen A given the prospect of administering the antidote to the remaining citizens in time?&#160; This dilemma asks the judicious individual to take into account additional factors that might encumber his or her ability to save the citizens who have not yet arrived.&#160; One should consider, for instance, how long each patient can survive without the antidote.&#160; Unfortunately, no one has a crystal ball to predict future events.&#160; A decision must be made in conjunction with the information available at the time.With this in mind, one may argue that the determination of good versus evil in making a decision lies in the doctor's motivations as he considers the consequences of his impending actions.&#160; Imagine Dr. Jones' nurse exclaiming, &#34;But the doctor cannot make an objective comparison between the lives of other citizens and his own patient!&#34;&#160; Yet, perhaps the doctor would be selfishly inclined to save Citizen A, as Citizen A is the only one whose death would be considered a grievous personal loss.But are such selfish human instincts then to be labeled as evil?&#160; The same propensities labeled as selfish underlie characteristics classified as decent human virtues, such as compassion, empathy, and loyalty.&#160; There are particular circumstances in which the doctor would indeed be remiss to the point of what could be argued as evil-as in cases where he opts to dismiss or distrust his individual conscience.&#160; Consider the case in which he doubts his ability to arrive at a judicious conclusion and abdicates his responsibility for making this grave decision to the nurse.&#160; Or consider the case in which he concludes that it is indeed more valiant to save the five citizens, yet fails to act on his decision out of personal anguish at losing Citizen A or to put an end to the ordeal.In such circumstances, the decision between right and wrong, or the moral dilemma, escalates into what is more accurately a personal determination of good and evil.&#160; In this way, the relative construct of right and wrong, as determined by one's best attempts at logic and sense, must be subordinated to a moral imperative that may be said to be absolute:&#160; namely, that one must abide by an internal commitment to what one has reasoned to be the right decision and follow a corresponding course of action in the allotted time.&#10;Which of the following conclusions would be most in accordance with the ideas expressed in the passage?&#10;A)The solution to moral dilemmas relies on individual insight.&#10;B)An ultimately evil decision does not exist.&#10;C)Morality is based on fixed definitions of good and evil.&#10;D)Universal truth provides no guidance for decision-making.

Accepted Answer

The answer of Passage&#10;Evil can most accurately be defined as...

Question 33

Passage&#10;Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.&#160; Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.&#160; Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal &#34;felt-experience,&#34; and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.&#160; After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction:&#160; sometimes the spectators were &#34;attuned&#34;; at other times they seemed &#34;aloof.&#34;&#160; Occasionally, performers feel as if they &#34;captured&#34; the audience; at other times, they perceive that they &#34;lost touch&#34; with the viewers entirely.&#160; One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.&#160; One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.&#160; In some instances, a single audience may be unmoved, regardless of how well a show is performed.&#160; In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.&#160; Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:&#34;The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.&#160; However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance&#8230;it's a very 'tangible' moment-it's all I can find as a word.&#34;Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by &#34;capturing&#34; the viewers in some poignant manner.&#160; According to this paradigm, there can be no performance without an audience.&#160; Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.&#160; Such collective encounters in a shared space and time present only the possibility-for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance:&#160; it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.&#160; Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.&#160; Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.&#160; This mutual &#34;transmission of affect&#34; induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.&#160; Entertainers can only know if the audience is &#34;present&#34; to the degree that they also embrace the mutual tension of the experience.&#160; In this way, the performer dutifully influences the audience, and the audience, in essence, &#34;re-affects&#34; the stage.&#10;Adapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016.&#10;Which of the following scenarios best demonstrates the &#34;transmission of affect&#34; as described in the passage?&#10;A)A child receives a hearing aid and hears sound for the first time.&#10;B)The memory of a childhood coach motivates an Olympic diver before her toughest dive.&#10;C)A surgeon promises a patient's spouse that a surgical procedure will be successful.&#10;D)Cheering fans at a basketball game encourage their team to score the winning points.

Accepted Answer

The answer of Passage&#10;Throughout the twentieth century, the performer-spectator dynamic...

Question 34

Passage&#10;Evil can most accurately be defined as the direct antithesis of good.&#160; However, when a human situation does not lend itself to clear designations of ultimate good and ultimate evil, or of right and wrong, then the best that one can hope for is to be able to make an informed decision about which course of action is &#34;more right&#34; and which is &#34;more wrong.&#34;Consider the hypothetical case of Dr. Jones, who, in discovering the antidote to a poison (Poison H) has so far concocted only a single vial.&#160; Now suppose that six citizens have drunk from a well whose water has been contaminated with Poison H, but Citizen A has consumed an inordinate volume of the contaminated water.&#160; Accordingly, the doctor has only enough of the antidote to save either Citizen A or the five other citizens.It may seem clear that a doctor could not justifiably allocate the entirety of an antidote to preserving one citizen's life at the expense of losing five others.&#160; However, suppose that Citizen A is the only patient currently present in the doctor's clinic, as the remaining patients are being transferred to Dr. Jones' facility by their respective physicians.&#160; Citizen A is, in fact, Dr. Jones' longtime patient.&#160; The doctor must therefore decide between two exigencies:&#160; to save his own patient's life or to await the arrival of the five remaining citizens.Would Dr. Jones be acting unethically in sacrificing Citizen A given the prospect of administering the antidote to the remaining citizens in time?&#160; This dilemma asks the judicious individual to take into account additional factors that might encumber his or her ability to save the citizens who have not yet arrived.&#160; One should consider, for instance, how long each patient can survive without the antidote.&#160; Unfortunately, no one has a crystal ball to predict future events.&#160; A decision must be made in conjunction with the information available at the time.With this in mind, one may argue that the determination of good versus evil in making a decision lies in the doctor's motivations as he considers the consequences of his impending actions.&#160; Imagine Dr. Jones' nurse exclaiming, &#34;But the doctor cannot make an objective comparison between the lives of other citizens and his own patient!&#34;&#160; Yet, perhaps the doctor would be selfishly inclined to save Citizen A, as Citizen A is the only one whose death would be considered a grievous personal loss.But are such selfish human instincts then to be labeled as evil?&#160; The same propensities labeled as selfish underlie characteristics classified as decent human virtues, such as compassion, empathy, and loyalty.&#160; There are particular circumstances in which the doctor would indeed be remiss to the point of what could be argued as evil-as in cases where he opts to dismiss or distrust his individual conscience.&#160; Consider the case in which he doubts his ability to arrive at a judicious conclusion and abdicates his responsibility for making this grave decision to the nurse.&#160; Or consider the case in which he concludes that it is indeed more valiant to save the five citizens, yet fails to act on his decision out of personal anguish at losing Citizen A or to put an end to the ordeal.In such circumstances, the decision between right and wrong, or the moral dilemma, escalates into what is more accurately a personal determination of good and evil.&#160; In this way, the relative construct of right and wrong, as determined by one's best attempts at logic and sense, must be subordinated to a moral imperative that may be said to be absolute:&#160; namely, that one must abide by an internal commitment to what one has reasoned to be the right decision and follow a corresponding course of action in the allotted time.&#10;The author implies that the virtues of compassion, empathy, and loyalty are:&#10;A)typical of doctor-patient interactions.&#10;B)enhanced by the experience of grief and loss.&#10;C)guided by universal human instincts.&#10;D)influenced by feelings of personal attachment.

Accepted Answer

The answer of Passage&#10;Evil can most accurately be defined as...

Question 35

Passage&#10;Evil can most accurately be defined as the direct antithesis of good.&#160; However, when a human situation does not lend itself to clear designations of ultimate good and ultimate evil, or of right and wrong, then the best that one can hope for is to be able to make an informed decision about which course of action is &#34;more right&#34; and which is &#34;more wrong.&#34;Consider the hypothetical case of Dr. Jones, who, in discovering the antidote to a poison (Poison H) has so far concocted only a single vial.&#160; Now suppose that six citizens have drunk from a well whose water has been contaminated with Poison H, but Citizen A has consumed an inordinate volume of the contaminated water.&#160; Accordingly, the doctor has only enough of the antidote to save either Citizen A or the five other citizens.It may seem clear that a doctor could not justifiably allocate the entirety of an antidote to preserving one citizen's life at the expense of losing five others.&#160; However, suppose that Citizen A is the only patient currently present in the doctor's clinic, as the remaining patients are being transferred to Dr. Jones' facility by their respective physicians.&#160; Citizen A is, in fact, Dr. Jones' longtime patient.&#160; The doctor must therefore decide between two exigencies:&#160; to save his own patient's life or to await the arrival of the five remaining citizens.Would Dr. Jones be acting unethically in sacrificing Citizen A given the prospect of administering the antidote to the remaining citizens in time?&#160; This dilemma asks the judicious individual to take into account additional factors that might encumber his or her ability to save the citizens who have not yet arrived.&#160; One should consider, for instance, how long each patient can survive without the antidote.&#160; Unfortunately, no one has a crystal ball to predict future events.&#160; A decision must be made in conjunction with the information available at the time.With this in mind, one may argue that the determination of good versus evil in making a decision lies in the doctor's motivations as he considers the consequences of his impending actions.&#160; Imagine Dr. Jones' nurse exclaiming, &#34;But the doctor cannot make an objective comparison between the lives of other citizens and his own patient!&#34;&#160; Yet, perhaps the doctor would be selfishly inclined to save Citizen A, as Citizen A is the only one whose death would be considered a grievous personal loss.But are such selfish human instincts then to be labeled as evil?&#160; The same propensities labeled as selfish underlie characteristics classified as decent human virtues, such as compassion, empathy, and loyalty.&#160; There are particular circumstances in which the doctor would indeed be remiss to the point of what could be argued as evil-as in cases where he opts to dismiss or distrust his individual conscience.&#160; Consider the case in which he doubts his ability to arrive at a judicious conclusion and abdicates his responsibility for making this grave decision to the nurse.&#160; Or consider the case in which he concludes that it is indeed more valiant to save the five citizens, yet fails to act on his decision out of personal anguish at losing Citizen A or to put an end to the ordeal.In such circumstances, the decision between right and wrong, or the moral dilemma, escalates into what is more accurately a personal determination of good and evil.&#160; In this way, the relative construct of right and wrong, as determined by one's best attempts at logic and sense, must be subordinated to a moral imperative that may be said to be absolute:&#160; namely, that one must abide by an internal commitment to what one has reasoned to be the right decision and follow a corresponding course of action in the allotted time.&#10;The author probably mentions the crystal ball to:&#10;A)further define good versus evil in this circumstance.&#10;B)highlight the importance of time in the doctor's decision.&#10;C)undermine the doctor's ability to make an appropriate decision.&#10;D)reinforce the uncertainty of the outcome.

Accepted Answer

The answer of Passage&#10;Evil can most accurately be defined as...

Question 36

Passage&#10;Rhetorical questions with an end purpose can be propositioned with the intention of challenging curricular stratagem, particularly in the name of educational progress.&#160; &#34;Should we teach literature in our college classrooms?&#34; or &#34;Do we have an ethical obligation to teach humanities to the next generation of scholars?&#34; are the sorts of enquiries that can set precedence in academic circles, providing fodder for discussion on implementing the best instructional tactics in the imminent restructuring of scholastic environments.&#160; One particular issue in academia that is currently under deliberation is the justification for literary study in the classroom.So why study literature?&#160; First, research has shown that studying the likes of Shakespeare, Wordsworth, and Dickens can generate feelings of human connectedness, an essential component for fulfilled living, social stimulation, and a long and healthy existence.&#160; Immersive or &#34;deep&#34; reading of a literary piece serves as a meditation on, an excavation of, and a careful examination of the ubiquitous sociocultural ideas connecting the worlds in which both the author and reader reside.&#160; One study on connectedness also found that emotionally compaginated individuals live longer than those who do not exhibit similar closeness with other humans.&#160; Taken together, it can be surmised that &#34;deep readers&#34; may have a superior ability to understand and empathize socially by viewing the world through the differing perspectives of others, enhancing the potential for human connectivity.Second, it may be beneficial to recall our literary past in its truest form, the written word, over the superfluity of technological representations of ancient texts.&#160; For instance, Shakespeare's body of work has been reduced to two-minute self-produced video clips found on the Internet, a valuable teaching tool for younger students with ever-shortening attention spans but one that lamentably excludes the essential beauty of the original prose.&#160; The writings hold the intended &#34;environmental literary print&#34; up to the light, allowing readers to gain a valuable snapshot of history that cannot be substituted.&#160; As our society continues to advance technologically, we can nevertheless find existential value in remembering our past.Third, if we could measure the unbridled joy felt upon discovering a forgotten text lying on the shelf, we might shift our focus from an extrinsic value of literature to an intrinsic one; that is, the written text is prized due to its ability to incite felicitousness, laughter, woefulness, and a myriad of emotions that make us inherently human.&#160; As George Eliot writes in the canonical The Mill on the Floss, &#34;We can never give up longing and wishing while we are thoroughly alive.&#160; There are certain things we feel to be beautiful and good, and we must hunger after them.&#34;&#160; This exemplifies the human condition that strives toward fulfillment at our core psyche, a sentiment perhaps best expressed in the written language itself.Lastly, there is much to be gained from pedagogical models of studying literature:&#160; women's studies teaches the value of gender equality, cultural studies intrinsically teaches less ethnocentrism and more tolerance, and the reader-response theory teaches that each individual response has value based on unique and subjective human experiences, to name a few.In certain higher education communities, there has been a grassroots movement gaining some traction in favor of removing humanities requirements from the core teaching curriculum, yet the lifelong consequences of doing so may not be quantifiable.&#160; The humanities professors who protest silently, hoping that their colleagues will see the merit in studying literature as requisite, must remain reticent no more.&#160; Without literary study to instill in us the value of the human experience, we may willingly sacrifice more than just coursework:&#160; we may be on the verge of surrendering our human spirit.&#10;In the context of the passage, it can be assumed that the term &#34;pedagogical models&#34; is introduced to show:&#10;A)how the arts can interact with other disciplines, especially in higher learning.&#10;B)the existence of valuable methods that can be used to teach literature.&#10;C)the consequences of not taking human learning capabilities into account.&#10;D)how a series of valuable literary ideologies are dependent on each other.

Accepted Answer

The answer of Passage&#10;Rhetorical questions with an end purpose can...

Question 37

Passage&#10;Rhetorical questions with an end purpose can be propositioned with the intention of challenging curricular stratagem, particularly in the name of educational progress.&#160; &#34;Should we teach literature in our college classrooms?&#34; or &#34;Do we have an ethical obligation to teach humanities to the next generation of scholars?&#34; are the sorts of enquiries that can set precedence in academic circles, providing fodder for discussion on implementing the best instructional tactics in the imminent restructuring of scholastic environments.&#160; One particular issue in academia that is currently under deliberation is the justification for literary study in the classroom.So why study literature?&#160; First, research has shown that studying the likes of Shakespeare, Wordsworth, and Dickens can generate feelings of human connectedness, an essential component for fulfilled living, social stimulation, and a long and healthy existence.&#160; Immersive or &#34;deep&#34; reading of a literary piece serves as a meditation on, an excavation of, and a careful examination of the ubiquitous sociocultural ideas connecting the worlds in which both the author and reader reside.&#160; One study on connectedness also found that emotionally compaginated individuals live longer than those who do not exhibit similar closeness with other humans.&#160; Taken together, it can be surmised that &#34;deep readers&#34; may have a superior ability to understand and empathize socially by viewing the world through the differing perspectives of others, enhancing the potential for human connectivity.Second, it may be beneficial to recall our literary past in its truest form, the written word, over the superfluity of technological representations of ancient texts.&#160; For instance, Shakespeare's body of work has been reduced to two-minute self-produced video clips found on the Internet, a valuable teaching tool for younger students with ever-shortening attention spans but one that lamentably excludes the essential beauty of the original prose.&#160; The writings hold the intended &#34;environmental literary print&#34; up to the light, allowing readers to gain a valuable snapshot of history that cannot be substituted.&#160; As our society continues to advance technologically, we can nevertheless find existential value in remembering our past.Third, if we could measure the unbridled joy felt upon discovering a forgotten text lying on the shelf, we might shift our focus from an extrinsic value of literature to an intrinsic one; that is, the written text is prized due to its ability to incite felicitousness, laughter, woefulness, and a myriad of emotions that make us inherently human.&#160; As George Eliot writes in the canonical The Mill on the Floss, &#34;We can never give up longing and wishing while we are thoroughly alive.&#160; There are certain things we feel to be beautiful and good, and we must hunger after them.&#34;&#160; This exemplifies the human condition that strives toward fulfillment at our core psyche, a sentiment perhaps best expressed in the written language itself.Lastly, there is much to be gained from pedagogical models of studying literature:&#160; women's studies teaches the value of gender equality, cultural studies intrinsically teaches less ethnocentrism and more tolerance, and the reader-response theory teaches that each individual response has value based on unique and subjective human experiences, to name a few.In certain higher education communities, there has been a grassroots movement gaining some traction in favor of removing humanities requirements from the core teaching curriculum, yet the lifelong consequences of doing so may not be quantifiable.&#160; The humanities professors who protest silently, hoping that their colleagues will see the merit in studying literature as requisite, must remain reticent no more.&#160; Without literary study to instill in us the value of the human experience, we may willingly sacrifice more than just coursework:&#160; we may be on the verge of surrendering our human spirit.&#10;Based on the content of the passage, the author would most likely advocate for which type of college class?A lecture-based course that requires students to visit a local museum monthlyA text-based course in which students read a classic literary piece weeklyA cross-discipline course in which students adapt book summaries into theatrical pieces&#10;A)I only&#10;B)II only&#10;C)I and III only&#10;D)II and III only

Accepted Answer

The answer of Passage&#10;Rhetorical questions with an end purpose can...

Question 38

Passage&#10;Rhetorical questions with an end purpose can be propositioned with the intention of challenging curricular stratagem, particularly in the name of educational progress.&#160; &#34;Should we teach literature in our college classrooms?&#34; or &#34;Do we have an ethical obligation to teach humanities to the next generation of scholars?&#34; are the sorts of enquiries that can set precedence in academic circles, providing fodder for discussion on implementing the best instructional tactics in the imminent restructuring of scholastic environments.&#160; One particular issue in academia that is currently under deliberation is the justification for literary study in the classroom.So why study literature?&#160; First, research has shown that studying the likes of Shakespeare, Wordsworth, and Dickens can generate feelings of human connectedness, an essential component for fulfilled living, social stimulation, and a long and healthy existence.&#160; Immersive or &#34;deep&#34; reading of a literary piece serves as a meditation on, an excavation of, and a careful examination of the ubiquitous sociocultural ideas connecting the worlds in which both the author and reader reside.&#160; One study on connectedness also found that emotionally compaginated individuals live longer than those who do not exhibit similar closeness with other humans.&#160; Taken together, it can be surmised that &#34;deep readers&#34; may have a superior ability to understand and empathize socially by viewing the world through the differing perspectives of others, enhancing the potential for human connectivity.Second, it may be beneficial to recall our literary past in its truest form, the written word, over the superfluity of technological representations of ancient texts.&#160; For instance, Shakespeare's body of work has been reduced to two-minute self-produced video clips found on the Internet, a valuable teaching tool for younger students with ever-shortening attention spans but one that lamentably excludes the essential beauty of the original prose.&#160; The writings hold the intended &#34;environmental literary print&#34; up to the light, allowing readers to gain a valuable snapshot of history that cannot be substituted.&#160; As our society continues to advance technologically, we can nevertheless find existential value in remembering our past.Third, if we could measure the unbridled joy felt upon discovering a forgotten text lying on the shelf, we might shift our focus from an extrinsic value of literature to an intrinsic one; that is, the written text is prized due to its ability to incite felicitousness, laughter, woefulness, and a myriad of emotions that make us inherently human.&#160; As George Eliot writes in the canonical The Mill on the Floss, &#34;We can never give up longing and wishing while we are thoroughly alive.&#160; There are certain things we feel to be beautiful and good, and we must hunger after them.&#34;&#160; This exemplifies the human condition that strives toward fulfillment at our core psyche, a sentiment perhaps best expressed in the written language itself.Lastly, there is much to be gained from pedagogical models of studying literature:&#160; women's studies teaches the value of gender equality, cultural studies intrinsically teaches less ethnocentrism and more tolerance, and the reader-response theory teaches that each individual response has value based on unique and subjective human experiences, to name a few.In certain higher education communities, there has been a grassroots movement gaining some traction in favor of removing humanities requirements from the core teaching curriculum, yet the lifelong consequences of doing so may not be quantifiable.&#160; The humanities professors who protest silently, hoping that their colleagues will see the merit in studying literature as requisite, must remain reticent no more.&#160; Without literary study to instill in us the value of the human experience, we may willingly sacrifice more than just coursework:&#160; we may be on the verge of surrendering our human spirit.&#10;Why does the author quote the following from George Eliot's novel:&#160; &#34;We can never give up longing and wishing while we are thoroughly alive.&#160; There are certain things we feel to be beautiful and good, and we must hunger after them&#34; (Paragraph 4)?&#10;A)To show an example of the emotions evoked when reading literature.&#10;B)To illustrate the point that literature is essential in the quest for overall life satisfaction.&#10;C)To further delineate the true extrinsic value of studying literature.&#10;D)To support an earlier point made about human connectedness being vital for longevity.

Accepted Answer

The answer of Passage&#10;Rhetorical questions with an end purpose can...

Question 39

Passage&#10;In America's early democratic republic, the superficial signifiers of social status that had long distinguished the aristocracy in Europe were no longer supposed to apply.&#160; However, despite political theory and an emphasis on rhetoric that implied democratic equality, many among the late eighteenth-century social elite flaunted their status and at the same time condemned any pretense by the lower classes to a higher social position.For the American &#34;nobility,&#34; the immoderation that had marked public life since before the Revolution assumed epic proportions in the later decades of the century.&#160; From the viewpoint of society's top tier, social pretense, revealed through presumptive choices of costume or coiffure, was becoming far too common.&#160; Sumptuary legislation-largely a holdover from the colonial era-was accordingly reinstituted in some states as a means to regulate behavior and a remedy for inappropriate displays of extravagance.&#160; Indeed, libertine attitudes so dominated the population that George Mason IV, a congressional representative from the Commonwealth of Virginia, proposed that the federal government impose sumptuary legislation on all strata of society, including the affluent who would have traditionally been excluded from such laws.&#160; However, the motion did not pass, with such social trends proving too deeply rooted.&#160; Nevertheless, Mason was hardly alone in his alarm at the specter of mounting excess.The more established members of the republican gentility had long freely indulged in decadent consumption without attracting much attention.&#160; Nevertheless, most of these older elites criticized their own younger generation, whose coming-of-age was characterized by more overt disregard for the Puritan austerity advocated by their forebears.&#160; The self-gratifying taste for grande cuisine and propensities for haute couture of the upper-class youth were perceived as decidedly improper conduct by their elders.&#160; Moreover, as this ostentatious comportment worsened, it influenced those from the inferior echelons of society to adopt similar displays.The presumptuous behavior mimicked by the lower classes led to an uproar by those in positions of power, who swiftly moved to modify societal conduct.&#160; In particular, dissonance swelled in Massachusetts, where, within Boston's most select circles, a palpable anxiety over the maintenance of social hierarchies and their rightful exterior signifiers arose.&#160; For the elite few who made up America's haute monde, any posturing of manner or appropriation of dress disrupted the customary rigidity of the social hierarchy, which, to their dismay, had now become increasingly fluid.&#160; There was a communal uneasiness, which grew into national dread, that artful impostors might slip through the boundaries of the social strata undetected.&#160; Yet, vexingly, counterfeits were becoming more difficult to recognize.&#160; Consequently, in order to restrict impersonation, those of questionable lineage faced the threat of ostracization for an act as simple as sitting for a portrait.At the same time, a movement materialized that had Boston as its epicenter.&#160; The new paradigm mandated that eighteenth-century gentlemen as well as ladies project positive, even edifying, public images, as their privileged position behooved.&#160; Therefore, a distinctly American variety of noblesse oblige, though not without its detractors, spread throughout the new democratic republic.&#160; In metropolitan centers across the new nation, the attributes of honor, modesty, and public virtue assumed increasing importance among the &#34;aristocracy.&#34;&#160; Keeping up appearances-that were oftentimes not all they seemed-became paramount in order to set examples of permissible public behavior for the benefit of those of humble birth or who were less affluent.&#160; Meanwhile, the bulk of the American population, consisting of those with little wealth or status, did their best not to emulate their &#34;role models.&#34;&#10;Based on information contained in the passage, which of the following would most likely be the greatest deterrent to a fluid social hierarchy?&#10;A)Banishment for engaging in activities above a given social position&#10;B)Exemplary conduct of the elite as role models&#10;C)The reinstatement of colonial-era sumptuary laws&#10;D)The existence of widely held democratic values

Accepted Answer

The answer of Passage&#10;In America's early democratic republic, the superficial...

Question 40

Passage&#10;In America's early democratic republic, the superficial signifiers of social status that had long distinguished the aristocracy in Europe were no longer supposed to apply.&#160; However, despite political theory and an emphasis on rhetoric that implied democratic equality, many among the late eighteenth-century social elite flaunted their status and at the same time condemned any pretense by the lower classes to a higher social position.For the American &#34;nobility,&#34; the immoderation that had marked public life since before the Revolution assumed epic proportions in the later decades of the century.&#160; From the viewpoint of society's top tier, social pretense, revealed through presumptive choices of costume or coiffure, was becoming far too common.&#160; Sumptuary legislation-largely a holdover from the colonial era-was accordingly reinstituted in some states as a means to regulate behavior and a remedy for inappropriate displays of extravagance.&#160; Indeed, libertine attitudes so dominated the population that George Mason IV, a congressional representative from the Commonwealth of Virginia, proposed that the federal government impose sumptuary legislation on all strata of society, including the affluent who would have traditionally been excluded from such laws.&#160; However, the motion did not pass, with such social trends proving too deeply rooted.&#160; Nevertheless, Mason was hardly alone in his alarm at the specter of mounting excess.The more established members of the republican gentility had long freely indulged in decadent consumption without attracting much attention.&#160; Nevertheless, most of these older elites criticized their own younger generation, whose coming-of-age was characterized by more overt disregard for the Puritan austerity advocated by their forebears.&#160; The self-gratifying taste for grande cuisine and propensities for haute couture of the upper-class youth were perceived as decidedly improper conduct by their elders.&#160; Moreover, as this ostentatious comportment worsened, it influenced those from the inferior echelons of society to adopt similar displays.The presumptuous behavior mimicked by the lower classes led to an uproar by those in positions of power, who swiftly moved to modify societal conduct.&#160; In particular, dissonance swelled in Massachusetts, where, within Boston's most select circles, a palpable anxiety over the maintenance of social hierarchies and their rightful exterior signifiers arose.&#160; For the elite few who made up America's haute monde, any posturing of manner or appropriation of dress disrupted the customary rigidity of the social hierarchy, which, to their dismay, had now become increasingly fluid.&#160; There was a communal uneasiness, which grew into national dread, that artful impostors might slip through the boundaries of the social strata undetected.&#160; Yet, vexingly, counterfeits were becoming more difficult to recognize.&#160; Consequently, in order to restrict impersonation, those of questionable lineage faced the threat of ostracization for an act as simple as sitting for a portrait.At the same time, a movement materialized that had Boston as its epicenter.&#160; The new paradigm mandated that eighteenth-century gentlemen as well as ladies project positive, even edifying, public images, as their privileged position behooved.&#160; Therefore, a distinctly American variety of noblesse oblige, though not without its detractors, spread throughout the new democratic republic.&#160; In metropolitan centers across the new nation, the attributes of honor, modesty, and public virtue assumed increasing importance among the &#34;aristocracy.&#34;&#160; Keeping up appearances-that were oftentimes not all they seemed-became paramount in order to set examples of permissible public behavior for the benefit of those of humble birth or who were less affluent.&#160; Meanwhile, the bulk of the American population, consisting of those with little wealth or status, did their best not to emulate their &#34;role models.&#34;&#10;Based on the passage, the elders within elite society most likely:&#10;A)controlled those in the lower echelons of society.&#10;B)supported reducing adherence to Puritan values.&#10;C)engaged in decadent behavior discreetly.&#10;D)openly flaunted their extravagant tastes.

Accepted Answer

The answer of Passage&#10;In America's early democratic republic, the superficial...

Question 41

Passage&#10;Although the primary canon in the history of political thought largely ignores the views of Immanuel Kant, he nevertheless was as important a political thinker as Rousseau, Locke, or even Aristotle.&#160; Working in the context of the Prussian Enlightenment, Kant championed the idea that the only innate right of human beings is freedom.&#160; Fittingly, the centerpiece of his political theory is that freedom can be the only basis for a just political state.A political theory that advances freedom as its core tenet may appear inherently problematic.&#160; The very existence of a political state would seem to require limitations on the freedoms of those within it.&#160; However, this presents no serious problem for Kant's theory.&#160; The Kantian notion of political freedom-which stands in stark contrast to the notion of transcendental freedom widely associated with Kant's nonpolitical writings-is restricted to the external relations between human persons.&#160; In its political sense, freedom refers to the innate right of every person to independence from being constrained by another's choice.&#160; In other words, every person has the innate right to make choices freely but only so long as these choices do not interfere with those of others.&#160; Laws that do not allow for political freedom are forbidden in Kant's view because within a just civil condition, the promulgation of a law requires that an entire people agree to be subjected to it.There are more substantive problems facing Kant's political theory.&#160; Most notable among these concerns is Kant's promotion of welfare legislation.&#160; As he says, &#34;The government is authorized to constrain the wealthy to provide the means of sustenance to those who are unable to provide for even their most necessary and basic needs.&#34;&#160; Given Kant's notion of political freedom, to enact such legislation would be catastrophic.&#160; Welfare legislation violates Kant's own criterion regarding laws promulgated within a just civil condition: Governmental interference of this kind is a prime example of legislation on which an entire people will be divided.This was an egregious error on Kant's part.&#160; At the same time, proponents of a Kantian conception of the state need neither embrace this result nor dismiss the possibility of consistently incorporating welfare legislation into their preferred brand of political theory.&#160; Although Kant did not explicitly advocate it himself, a Kantian may hold that public provision of welfare is necessary for the state to fulfill its primary function-namely, protecting the liberties of its citizens.&#160; For instance, if failing to adopt welfare legislation would threaten the continued existence, security, or stability of the state, then Kantians may justify such legislation on the grounds that it serves an instrumentally necessary role in upholding the fundamental aims and principles of Kantianism itself.&#160; It is interesting to note that followers of Kant will likely have independent reasons to accept something along these lines.&#160; Kant himself held that rational entities-such as persons, corporations, and states-have a duty of self-preservation, and thus are obligated to take measures to ensure their continued existence, security, and stability.There are still other issues surrounding a Kantian theory of the state.&#160; These will need to be dealt with separately, but they should not go overlooked.&#160; Breaking down the barriers that leave Kant outside the primary canon of political theory is a laudable task, which will take much effort to accomplish.&#10;To decide if welfare legislation is justified, proponents of a Kantian conception of the state would need to determine:&#10;A)whether Kant advocated the type of welfare legislation being proposed for adoption by the state.&#10;B)the extent to which political and social unrest influence the state.&#10;C)whether welfare legislation provides citizens with independence from being constrained by others.&#10;D)whether political freedom is instrumentally necessary for welfare legislation.

Accepted Answer

The answer of Passage&#10;Although the primary canon in the history...

Question 42

Passage&#10;Although the primary canon in the history of political thought largely ignores the views of Immanuel Kant, he nevertheless was as important a political thinker as Rousseau, Locke, or even Aristotle.&#160; Working in the context of the Prussian Enlightenment, Kant championed the idea that the only innate right of human beings is freedom.&#160; Fittingly, the centerpiece of his political theory is that freedom can be the only basis for a just political state.A political theory that advances freedom as its core tenet may appear inherently problematic.&#160; The very existence of a political state would seem to require limitations on the freedoms of those within it.&#160; However, this presents no serious problem for Kant's theory.&#160; The Kantian notion of political freedom-which stands in stark contrast to the notion of transcendental freedom widely associated with Kant's nonpolitical writings-is restricted to the external relations between human persons.&#160; In its political sense, freedom refers to the innate right of every person to independence from being constrained by another's choice.&#160; In other words, every person has the innate right to make choices freely but only so long as these choices do not interfere with those of others.&#160; Laws that do not allow for political freedom are forbidden in Kant's view because within a just civil condition, the promulgation of a law requires that an entire people agree to be subjected to it.There are more substantive problems facing Kant's political theory.&#160; Most notable among these concerns is Kant's promotion of welfare legislation.&#160; As he says, &#34;The government is authorized to constrain the wealthy to provide the means of sustenance to those who are unable to provide for even their most necessary and basic needs.&#34;&#160; Given Kant's notion of political freedom, to enact such legislation would be catastrophic.&#160; Welfare legislation violates Kant's own criterion regarding laws promulgated within a just civil condition: Governmental interference of this kind is a prime example of legislation on which an entire people will be divided.This was an egregious error on Kant's part.&#160; At the same time, proponents of a Kantian conception of the state need neither embrace this result nor dismiss the possibility of consistently incorporating welfare legislation into their preferred brand of political theory.&#160; Although Kant did not explicitly advocate it himself, a Kantian may hold that public provision of welfare is necessary for the state to fulfill its primary function-namely, protecting the liberties of its citizens.&#160; For instance, if failing to adopt welfare legislation would threaten the continued existence, security, or stability of the state, then Kantians may justify such legislation on the grounds that it serves an instrumentally necessary role in upholding the fundamental aims and principles of Kantianism itself.&#160; It is interesting to note that followers of Kant will likely have independent reasons to accept something along these lines.&#160; Kant himself held that rational entities-such as persons, corporations, and states-have a duty of self-preservation, and thus are obligated to take measures to ensure their continued existence, security, and stability.There are still other issues surrounding a Kantian theory of the state.&#160; These will need to be dealt with separately, but they should not go overlooked.&#160; Breaking down the barriers that leave Kant outside the primary canon of political theory is a laudable task, which will take much effort to accomplish.&#10;Which of the following is most illustrative of Kant's understanding of &#34;rational entities&#34; (Paragraph 4), as described in the passage?&#10;A)A successful retail chain raises its prices to increase profits, because it faces no real competition from other businesses.&#10;B)A wealthy citizen provides substantial donations to local charities, in order to receive news coverage.&#10;C)After learning that local crime rates are on the rise, a city manager allocates funding to hire additional officers for the city's police force.&#10;D)A town council ignores reports of dangerous chemicals in the water supply, since public knowledge of this matter could hurt the local economy.

Accepted Answer

The answer of Passage&#10;Although the primary canon in the history...

Question 43

Passage
First of all, the notion that more than one author was responsible for the composition of the Iliad and the Odyssey may fail to account adequately for the artistic unity and linguistic cohesion that mark these two works. The idea of dual authorship instead privileges the inconsistencies between the texts stressed by late 19^th- and early 20^th-century scholars who suggested that the two epics are not, in fact, the work of a single poetic genius. The promulgation of this theory served to undermine an earlier fundamentalist faith in a consensus from antiquity: one and only one poet called Homer authored both poems.Second of all, even if more than one author existed under the guise of Homer, there is no denying that these epics represent the culmination of a long tradition of oral poetry-specifically, oral verse concerning the Trojan War. The existence of this oral tradition has sometimes been used to speculate that the texts we have of the Iliad and the Odyssey were merely strung together from shorter poems about warrior-heroes sung by itinerant bards to regale the aristocratic courts of ancient Greece. In this context, the name "Homer" has been explained as a generic designation signifying either a group of ancient singer-poets or an imaginary author to whom a collective body of oral poetry was attributed.That epic poems of more than 12,000 lines could have been recited from memory has been well documented. Research undertaken at the beginning of the 20^th century identified singers in the Balkans who could perform monumental epic poems from memory. These performers seemed to have memorized discrete episodes or sections of poetry, arranging these as they recited. Since then, it has been almost universally recognized that any theory about Homeric authorship must accommodate the oral tradition.Today many scholars find it unlikely that the same individual composed both Homeric epics. Compellingly, even the ancient consensus that there was just one author cannot be traced further back than about 520 BCE when the two poems-which had been committed to writing in their recognizable form sometime after the introduction of the alphabet to Greece in the 8^th century BCE-were recited by bards at the festival of Athena. Prior to this, there had already been some controversy regarding the authorship of the poems. In particular, an alternative tradition claimed that the Odyssey had been written by the poet Melesigenes, who then appropriated the name Homer.Likewise, leading Homericists now conjecture more specifically that one poet wrote the Iliad and that the Odyssey was composed sometime later by a second. This theory rests on two basic premises: (1) Each poem has its own well-defined and unified design that discredits the possibility it is merely a pastiche of shorter poems passed down orally and finally stabilized in written form; and (2) differences between the poems seem to point to separate authors. Scholars cite not only linguistic inconsistencies, including differences in vocabulary, but also discrepancies in background, underlying beliefs, ethics, and even geographical orientation. Intriguingly, researchers have also found evidence in the Odyssey of imitation of passages from the Iliad.A few skeptics, however, continue to insist that the stylistic similarities between the two epics ascribed to Homer are too striking to support a theory of multiple authorship. Far from clinging to idealistic notions of artistry or outdated modes of manuscript study, these single-author theorists have combined information technology and analysis of linguistic style to produce a legitimate body of evidence they can marshal against the prevailing trend.
West, Martin. "The Homeric Question Today," in Proceedings of the American Philosophical Society, Vol 155. No. 4, December 2011.
Based on the passage, the possible existence of Melesigenes is LEAST likely to support the claim that:

A)there were questions about Homer's identity even in antiquity.
B)different stories about the authorship of the epics circulated in antiquity.
C)there was more than one author of the Iliad and the Odyssey.
D)the concept of authorship was already important in antiquity.

Accepted Answer

The answer of Passage&#10;First of all, the notion that more...

Question 44

Passage&#10;Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.&#160; Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.&#160; Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal &#34;felt-experience,&#34; and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.&#160; After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction:&#160; sometimes the spectators were &#34;attuned&#34;; at other times they seemed &#34;aloof.&#34;&#160; Occasionally, performers feel as if they &#34;captured&#34; the audience; at other times, they perceive that they &#34;lost touch&#34; with the viewers entirely.&#160; One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.&#160; One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.&#160; In some instances, a single audience may be unmoved, regardless of how well a show is performed.&#160; In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.&#160; Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:&#34;The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.&#160; However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance&#8230;it's a very 'tangible' moment-it's all I can find as a word.&#34;Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by &#34;capturing&#34; the viewers in some poignant manner.&#160; According to this paradigm, there can be no performance without an audience.&#160; Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.&#160; Such collective encounters in a shared space and time present only the possibility-for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance:&#160; it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.&#160; Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.&#160; Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.&#160; This mutual &#34;transmission of affect&#34; induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.&#160; Entertainers can only know if the audience is &#34;present&#34; to the degree that they also embrace the mutual tension of the experience.&#160; In this way, the performer dutifully influences the audience, and the audience, in essence, &#34;re-affects&#34; the stage.&#10;Adapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016.&#10;Based on information found in the passage, which of the following would one LEAST expect to have observed in the theater throughout the twentieth century?&#10;A)Unique methods of incorporating audience members into the first act of a play.&#10;B)Audience members joining cast members on stage during the curtain call.&#10;C)Well-established boundaries between the performers on stage and the spectators.&#10;D)Live theatrical experiments involving spectators and performers.

Accepted Answer

The answer of Passage&#10;Throughout the twentieth century, the performer-spectator dynamic...

Question 45

Passage&#10;The 1929 stock market crash in the United States, also known as the Great Crash, affected virtually every American who had a stake in the financial market.&#160; In its wake, a deep economic crisis creating political and social unrest caused the United States government to create a strict financial regulatory system that worked effectively from the 1930s through the 1960s.In the late 1930s, as experts clamored to unravel the source of this financial disaster, British economist John Maynard Keynes organized a dynamic revolution in neoclassical macroeconomics, purporting that free markets could ultimately lead to more adequate employment, rather than the normative &#34;boom and bust&#34; cycle of fiscal recessions and depressions in the United States.&#160; However, Keynes also supported government interference, contending that a reduction in consumer spending due to economic hardship must be adequately supplemented by government expenditure.&#160; The American economics professor Hyman Minsky joined the Keynesian cause two decades later, adding that an accumulation of debt by the national government drives an unstable economy toward crisis, especially in the nongovernment sector.Preceding the Great Crash, the financial market was already unstable, which in hindsight has proven to be one of the many warning signs for emerging crises.&#160; Regrettably, these &#34;red flags&#34; were not characterized until after the collapse.&#160; To prevent another crash as experienced in 1929 and, to a lesser extent in 2008, changes must be made as financial markets expand and become more intricate.&#160; Many economists agree that the mainstream theory of financial markets, which is the foundation of support for the archaic New Financial Architecture (NFA), must be replaced by the realistic economic theories proposed by Keynes and Minsky.&#160; In opposition to singular market ownership, Keynesian economics points to a macroeconomic system wherein a &#34;mixed economy&#34; places the bulk of financial responsibility on households, to be supplemented by governmental spending when necessary.&#160; However, NFA regulations tout the practice of &#34;business as usual,&#34; allowing the market to cycle in and out of recessions.Progress has been made toward overall reform, however slowly.&#160; A January 2009 report from the Comptroller General's Office to the United States Congress was delivered in hopes of shaping potential regulatory reform efforts.&#160; These efforts &#34;seek to: 1) describe how regulation has evolved in banking, securities, thrifts, credit unions, futures, insurance, secondary mortgage markets and other important areas; (2) define several key changes in the financial sector in recent decades that have highlighted significant limitations and gaps in the existing regulatory system; and (3) present an evaluation framework that can be used by Congress and others to restructure regulatory reform.&#34;Also, there must be a broad political mandate in support of serious financial regulatory reforms.&#160; For too long, monetary elites such as lobbyists, private bankers, and commercial investors have controlled a potentially fragile financial system.&#160; Regulation is needed for remedying market failure and protecting the economy from an imminent collapse.These conjectures are meant to replace fragmented and complex arrangements of federal and state regulations-put into place over the past 150 years-that have not kept pace with major developments in financial markets and commercial products in recent decades.&#160; Without safeguards in place, the American financial market will face a continuous ebb and flow of prosperity and may be forced to face another crisis.&#10;Based on the passage, it is reasonable to conclude that the current financial market is significantly affected by the:&#10;A)Congressional response to regulatory reform efforts.&#10;B)sheer volume of financial products available.&#10;C)past major developments in the financial sector.&#10;D)innovatory changes in banking and insurance regulation.

Accepted Answer

The answer of Passage&#10;The 1929 stock market crash in the...

Question 46

Passage&#10;Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.&#160; Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.&#160; Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal &#34;felt-experience,&#34; and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.&#160; After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction:&#160; sometimes the spectators were &#34;attuned&#34;; at other times they seemed &#34;aloof.&#34;&#160; Occasionally, performers feel as if they &#34;captured&#34; the audience; at other times, they perceive that they &#34;lost touch&#34; with the viewers entirely.&#160; One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.&#160; One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.&#160; In some instances, a single audience may be unmoved, regardless of how well a show is performed.&#160; In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.&#160; Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:&#34;The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.&#160; However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance&#8230;it's a very 'tangible' moment-it's all I can find as a word.&#34;Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by &#34;capturing&#34; the viewers in some poignant manner.&#160; According to this paradigm, there can be no performance without an audience.&#160; Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.&#160; Such collective encounters in a shared space and time present only the possibility-for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance:&#160; it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.&#160; Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.&#160; Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.&#160; This mutual &#34;transmission of affect&#34; induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.&#160; Entertainers can only know if the audience is &#34;present&#34; to the degree that they also embrace the mutual tension of the experience.&#160; In this way, the performer dutifully influences the audience, and the audience, in essence, &#34;re-affects&#34; the stage.&#10;Adapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016.&#10;The author's attitude toward the comments of the &#34;well-known stage actor&#34; (Paragraph 3) can be best described as:&#10;A)assenting.&#10;B)adverse.&#10;C)impartial.&#10;D)affectionate.

Accepted Answer

The answer of Passage&#10;Throughout the twentieth century, the performer-spectator dynamic...

Question 47

Passage&#10;Although the primary canon in the history of political thought largely ignores the views of Immanuel Kant, he nevertheless was as important a political thinker as Rousseau, Locke, or even Aristotle.&#160; Working in the context of the Prussian Enlightenment, Kant championed the idea that the only innate right of human beings is freedom.&#160; Fittingly, the centerpiece of his political theory is that freedom can be the only basis for a just political state.A political theory that advances freedom as its core tenet may appear inherently problematic.&#160; The very existence of a political state would seem to require limitations on the freedoms of those within it.&#160; However, this presents no serious problem for Kant's theory.&#160; The Kantian notion of political freedom-which stands in stark contrast to the notion of transcendental freedom widely associated with Kant's nonpolitical writings-is restricted to the external relations between human persons.&#160; In its political sense, freedom refers to the innate right of every person to independence from being constrained by another's choice.&#160; In other words, every person has the innate right to make choices freely but only so long as these choices do not interfere with those of others.&#160; Laws that do not allow for political freedom are forbidden in Kant's view because within a just civil condition, the promulgation of a law requires that an entire people agree to be subjected to it.There are more substantive problems facing Kant's political theory.&#160; Most notable among these concerns is Kant's promotion of welfare legislation.&#160; As he says, &#34;The government is authorized to constrain the wealthy to provide the means of sustenance to those who are unable to provide for even their most necessary and basic needs.&#34;&#160; Given Kant's notion of political freedom, to enact such legislation would be catastrophic.&#160; Welfare legislation violates Kant's own criterion regarding laws promulgated within a just civil condition: Governmental interference of this kind is a prime example of legislation on which an entire people will be divided.This was an egregious error on Kant's part.&#160; At the same time, proponents of a Kantian conception of the state need neither embrace this result nor dismiss the possibility of consistently incorporating welfare legislation into their preferred brand of political theory.&#160; Although Kant did not explicitly advocate it himself, a Kantian may hold that public provision of welfare is necessary for the state to fulfill its primary function-namely, protecting the liberties of its citizens.&#160; For instance, if failing to adopt welfare legislation would threaten the continued existence, security, or stability of the state, then Kantians may justify such legislation on the grounds that it serves an instrumentally necessary role in upholding the fundamental aims and principles of Kantianism itself.&#160; It is interesting to note that followers of Kant will likely have independent reasons to accept something along these lines.&#160; Kant himself held that rational entities-such as persons, corporations, and states-have a duty of self-preservation, and thus are obligated to take measures to ensure their continued existence, security, and stability.There are still other issues surrounding a Kantian theory of the state.&#160; These will need to be dealt with separately, but they should not go overlooked.&#160; Breaking down the barriers that leave Kant outside the primary canon of political theory is a laudable task, which will take much effort to accomplish.&#10;Suppose a study was conducted over several democratic societies with large populations.&#160; In each society, the vast majority of citizens voted in favor of paying for assisted living services for the elderly.&#160; This information would most strongly challenge which of the following assumptions made in the passage?&#10;A)A political state is rational only if it supports welfare legislation.&#10;B)Political freedom conflicts with welfare legislation.&#10;C)Kantians who promote welfare legislation make an egregious error.&#10;D)Welfare legislation respects every person's innate right to free choice.

Accepted Answer

The answer of Passage&#10;Although the primary canon in the history...

Question 48

Passage&#10;Although the primary canon in the history of political thought largely ignores the views of Immanuel Kant, he nevertheless was as important a political thinker as Rousseau, Locke, or even Aristotle.&#160; Working in the context of the Prussian Enlightenment, Kant championed the idea that the only innate right of human beings is freedom.&#160; Fittingly, the centerpiece of his political theory is that freedom can be the only basis for a just political state.A political theory that advances freedom as its core tenet may appear inherently problematic.&#160; The very existence of a political state would seem to require limitations on the freedoms of those within it.&#160; However, this presents no serious problem for Kant's theory.&#160; The Kantian notion of political freedom-which stands in stark contrast to the notion of transcendental freedom widely associated with Kant's nonpolitical writings-is restricted to the external relations between human persons.&#160; In its political sense, freedom refers to the innate right of every person to independence from being constrained by another's choice.&#160; In other words, every person has the innate right to make choices freely but only so long as these choices do not interfere with those of others.&#160; Laws that do not allow for political freedom are forbidden in Kant's view because within a just civil condition, the promulgation of a law requires that an entire people agree to be subjected to it.There are more substantive problems facing Kant's political theory.&#160; Most notable among these concerns is Kant's promotion of welfare legislation.&#160; As he says, &#34;The government is authorized to constrain the wealthy to provide the means of sustenance to those who are unable to provide for even their most necessary and basic needs.&#34;&#160; Given Kant's notion of political freedom, to enact such legislation would be catastrophic.&#160; Welfare legislation violates Kant's own criterion regarding laws promulgated within a just civil condition: Governmental interference of this kind is a prime example of legislation on which an entire people will be divided.This was an egregious error on Kant's part.&#160; At the same time, proponents of a Kantian conception of the state need neither embrace this result nor dismiss the possibility of consistently incorporating welfare legislation into their preferred brand of political theory.&#160; Although Kant did not explicitly advocate it himself, a Kantian may hold that public provision of welfare is necessary for the state to fulfill its primary function-namely, protecting the liberties of its citizens.&#160; For instance, if failing to adopt welfare legislation would threaten the continued existence, security, or stability of the state, then Kantians may justify such legislation on the grounds that it serves an instrumentally necessary role in upholding the fundamental aims and principles of Kantianism itself.&#160; It is interesting to note that followers of Kant will likely have independent reasons to accept something along these lines.&#160; Kant himself held that rational entities-such as persons, corporations, and states-have a duty of self-preservation, and thus are obligated to take measures to ensure their continued existence, security, and stability.There are still other issues surrounding a Kantian theory of the state.&#160; These will need to be dealt with separately, but they should not go overlooked.&#160; Breaking down the barriers that leave Kant outside the primary canon of political theory is a laudable task, which will take much effort to accomplish.&#10;Which of the following assertions is supported by strong evidence in the passage?&#10;A)Kantian political theory justifies welfare legislation.&#10;B)There are still other, more notable problems facing Kant's view of the state.&#10;C)Contemporary political scholars largely ignore Kant's impact on political theory.&#10;D)The notion of transcendental freedom is widely associated with Kant's nonpolitical writings.

Accepted Answer

The answer of Passage&#10;Although the primary canon in the history...

Question 49

Passage
First of all, the notion that more than one author was responsible for the composition of the Iliad and the Odyssey may fail to account adequately for the artistic unity and linguistic cohesion that mark these two works. The idea of dual authorship instead privileges the inconsistencies between the texts stressed by late 19^th- and early 20^th-century scholars who suggested that the two epics are not, in fact, the work of a single poetic genius. The promulgation of this theory served to undermine an earlier fundamentalist faith in a consensus from antiquity: one and only one poet called Homer authored both poems.Second of all, even if more than one author existed under the guise of Homer, there is no denying that these epics represent the culmination of a long tradition of oral poetry-specifically, oral verse concerning the Trojan War. The existence of this oral tradition has sometimes been used to speculate that the texts we have of the Iliad and the Odyssey were merely strung together from shorter poems about warrior-heroes sung by itinerant bards to regale the aristocratic courts of ancient Greece. In this context, the name "Homer" has been explained as a generic designation signifying either a group of ancient singer-poets or an imaginary author to whom a collective body of oral poetry was attributed.That epic poems of more than 12,000 lines could have been recited from memory has been well documented. Research undertaken at the beginning of the 20^th century identified singers in the Balkans who could perform monumental epic poems from memory. These performers seemed to have memorized discrete episodes or sections of poetry, arranging these as they recited. Since then, it has been almost universally recognized that any theory about Homeric authorship must accommodate the oral tradition.Today many scholars find it unlikely that the same individual composed both Homeric epics. Compellingly, even the ancient consensus that there was just one author cannot be traced further back than about 520 BCE when the two poems-which had been committed to writing in their recognizable form sometime after the introduction of the alphabet to Greece in the 8^th century BCE-were recited by bards at the festival of Athena. Prior to this, there had already been some controversy regarding the authorship of the poems. In particular, an alternative tradition claimed that the Odyssey had been written by the poet Melesigenes, who then appropriated the name Homer.Likewise, leading Homericists now conjecture more specifically that one poet wrote the Iliad and that the Odyssey was composed sometime later by a second. This theory rests on two basic premises: (1) Each poem has its own well-defined and unified design that discredits the possibility it is merely a pastiche of shorter poems passed down orally and finally stabilized in written form; and (2) differences between the poems seem to point to separate authors. Scholars cite not only linguistic inconsistencies, including differences in vocabulary, but also discrepancies in background, underlying beliefs, ethics, and even geographical orientation. Intriguingly, researchers have also found evidence in the Odyssey of imitation of passages from the Iliad.A few skeptics, however, continue to insist that the stylistic similarities between the two epics ascribed to Homer are too striking to support a theory of multiple authorship. Far from clinging to idealistic notions of artistry or outdated modes of manuscript study, these single-author theorists have combined information technology and analysis of linguistic style to produce a legitimate body of evidence they can marshal against the prevailing trend.
West, Martin. "The Homeric Question Today," in Proceedings of the American Philosophical Society, Vol 155. No. 4, December 2011.
Based on the passage, the possible existence of Melesigenes is LEAST likely to support the claim that:

A)there were questions about Homer's identity even in antiquity.
B)different stories about the authorship of the epics circulated in antiquity.
C)there was more than one author of the Iliad and the Odyssey.
D)the concept of authorship was already important in antiquity.

Accepted Answer

The answer of Passage&#10;First of all, the notion that more...

Question 50

Passage
First of all, the notion that more than one author was responsible for the composition of the Iliad and the Odyssey may fail to account adequately for the artistic unity and linguistic cohesion that mark these two works. The idea of dual authorship instead privileges the inconsistencies between the texts stressed by late 19^th- and early 20^th-century scholars who suggested that the two epics are not, in fact, the work of a single poetic genius. The promulgation of this theory served to undermine an earlier fundamentalist faith in a consensus from antiquity: one and only one poet called Homer authored both poems.Second of all, even if more than one author existed under the guise of Homer, there is no denying that these epics represent the culmination of a long tradition of oral poetry-specifically, oral verse concerning the Trojan War. The existence of this oral tradition has sometimes been used to speculate that the texts we have of the Iliad and the Odyssey were merely strung together from shorter poems about warrior-heroes sung by itinerant bards to regale the aristocratic courts of ancient Greece. In this context, the name "Homer" has been explained as a generic designation signifying either a group of ancient singer-poets or an imaginary author to whom a collective body of oral poetry was attributed.That epic poems of more than 12,000 lines could have been recited from memory has been well documented. Research undertaken at the beginning of the 20^th century identified singers in the Balkans who could perform monumental epic poems from memory. These performers seemed to have memorized discrete episodes or sections of poetry, arranging these as they recited. Since then, it has been almost universally recognized that any theory about Homeric authorship must accommodate the oral tradition.Today many scholars find it unlikely that the same individual composed both Homeric epics. Compellingly, even the ancient consensus that there was just one author cannot be traced further back than about 520 BCE when the two poems-which had been committed to writing in their recognizable form sometime after the introduction of the alphabet to Greece in the 8^th century BCE-were recited by bards at the festival of Athena. Prior to this, there had already been some controversy regarding the authorship of the poems. In particular, an alternative tradition claimed that the Odyssey had been written by the poet Melesigenes, who then appropriated the name Homer.Likewise, leading Homericists now conjecture more specifically that one poet wrote the Iliad and that the Odyssey was composed sometime later by a second. This theory rests on two basic premises: (1) Each poem has its own well-defined and unified design that discredits the possibility it is merely a pastiche of shorter poems passed down orally and finally stabilized in written form; and (2) differences between the poems seem to point to separate authors. Scholars cite not only linguistic inconsistencies, including differences in vocabulary, but also discrepancies in background, underlying beliefs, ethics, and even geographical orientation. Intriguingly, researchers have also found evidence in the Odyssey of imitation of passages from the Iliad.A few skeptics, however, continue to insist that the stylistic similarities between the two epics ascribed to Homer are too striking to support a theory of multiple authorship. Far from clinging to idealistic notions of artistry or outdated modes of manuscript study, these single-author theorists have combined information technology and analysis of linguistic style to produce a legitimate body of evidence they can marshal against the prevailing trend.
West, Martin. "The Homeric Question Today," in Proceedings of the American Philosophical Society, Vol 155. No. 4, December 2011.
Based on the passage, the possible existence of Melesigenes is LEAST likely to support the claim that:

A)there were questions about Homer's identity even in antiquity.
B)different stories about the authorship of the epics circulated in antiquity.
C)there was more than one author of the Iliad and the Odyssey.
D)the concept of authorship was already important in antiquity.

Accepted Answer

The answer of Passage&#10;First of all, the notion that more...

Question 51

Passage&#10;The 1929 stock market crash in the United States, also known as the Great Crash, affected virtually every American who had a stake in the financial market.&#160; In its wake, a deep economic crisis creating political and social unrest caused the United States government to create a strict financial regulatory system that worked effectively from the 1930s through the 1960s.In the late 1930s, as experts clamored to unravel the source of this financial disaster, British economist John Maynard Keynes organized a dynamic revolution in neoclassical macroeconomics, purporting that free markets could ultimately lead to more adequate employment, rather than the normative &#34;boom and bust&#34; cycle of fiscal recessions and depressions in the United States.&#160; However, Keynes also supported government interference, contending that a reduction in consumer spending due to economic hardship must be adequately supplemented by government expenditure.&#160; The American economics professor Hyman Minsky joined the Keynesian cause two decades later, adding that an accumulation of debt by the national government drives an unstable economy toward crisis, especially in the nongovernment sector.Preceding the Great Crash, the financial market was already unstable, which in hindsight has proven to be one of the many warning signs for emerging crises.&#160; Regrettably, these &#34;red flags&#34; were not characterized until after the collapse.&#160; To prevent another crash as experienced in 1929 and, to a lesser extent in 2008, changes must be made as financial markets expand and become more intricate.&#160; Many economists agree that the mainstream theory of financial markets, which is the foundation of support for the archaic New Financial Architecture (NFA), must be replaced by the realistic economic theories proposed by Keynes and Minsky.&#160; In opposition to singular market ownership, Keynesian economics points to a macroeconomic system wherein a &#34;mixed economy&#34; places the bulk of financial responsibility on households, to be supplemented by governmental spending when necessary.&#160; However, NFA regulations tout the practice of &#34;business as usual,&#34; allowing the market to cycle in and out of recessions.Progress has been made toward overall reform, however slowly.&#160; A January 2009 report from the Comptroller General's Office to the United States Congress was delivered in hopes of shaping potential regulatory reform efforts.&#160; These efforts &#34;seek to: 1) describe how regulation has evolved in banking, securities, thrifts, credit unions, futures, insurance, secondary mortgage markets and other important areas; (2) define several key changes in the financial sector in recent decades that have highlighted significant limitations and gaps in the existing regulatory system; and (3) present an evaluation framework that can be used by Congress and others to restructure regulatory reform.&#34;Also, there must be a broad political mandate in support of serious financial regulatory reforms.&#160; For too long, monetary elites such as lobbyists, private bankers, and commercial investors have controlled a potentially fragile financial system.&#160; Regulation is needed for remedying market failure and protecting the economy from an imminent collapse.These conjectures are meant to replace fragmented and complex arrangements of federal and state regulations-put into place over the past 150 years-that have not kept pace with major developments in financial markets and commercial products in recent decades.&#160; Without safeguards in place, the American financial market will face a continuous ebb and flow of prosperity and may be forced to face another crisis.&#10;If the &#34;ebb and flow of prosperity&#34; were truly an inescapable aspect of the American stock market, this notion would most directly tend to challenge the assumption that:&#10;A)the implementation of a mixed economy would result in unbalanced consumer spending.&#10;B)execution of financial reform proposals would eventually cause economic instability.&#10;C)political mandates could be generated to protect an extremely volatile financial system.&#10;D)government economists would be able to operate efficiently without regulatory safeguards.

Accepted Answer

The answer of Passage&#10;The 1929 stock market crash in the...

Question 52

Passage&#10;The 1929 stock market crash in the United States, also known as the Great Crash, affected virtually every American who had a stake in the financial market.&#160; In its wake, a deep economic crisis creating political and social unrest caused the United States government to create a strict financial regulatory system that worked effectively from the 1930s through the 1960s.In the late 1930s, as experts clamored to unravel the source of this financial disaster, British economist John Maynard Keynes organized a dynamic revolution in neoclassical macroeconomics, purporting that free markets could ultimately lead to more adequate employment, rather than the normative &#34;boom and bust&#34; cycle of fiscal recessions and depressions in the United States.&#160; However, Keynes also supported government interference, contending that a reduction in consumer spending due to economic hardship must be adequately supplemented by government expenditure.&#160; The American economics professor Hyman Minsky joined the Keynesian cause two decades later, adding that an accumulation of debt by the national government drives an unstable economy toward crisis, especially in the nongovernment sector.Preceding the Great Crash, the financial market was already unstable, which in hindsight has proven to be one of the many warning signs for emerging crises.&#160; Regrettably, these &#34;red flags&#34; were not characterized until after the collapse.&#160; To prevent another crash as experienced in 1929 and, to a lesser extent in 2008, changes must be made as financial markets expand and become more intricate.&#160; Many economists agree that the mainstream theory of financial markets, which is the foundation of support for the archaic New Financial Architecture (NFA), must be replaced by the realistic economic theories proposed by Keynes and Minsky.&#160; In opposition to singular market ownership, Keynesian economics points to a macroeconomic system wherein a &#34;mixed economy&#34; places the bulk of financial responsibility on households, to be supplemented by governmental spending when necessary.&#160; However, NFA regulations tout the practice of &#34;business as usual,&#34; allowing the market to cycle in and out of recessions.Progress has been made toward overall reform, however slowly.&#160; A January 2009 report from the Comptroller General's Office to the United States Congress was delivered in hopes of shaping potential regulatory reform efforts.&#160; These efforts &#34;seek to: 1) describe how regulation has evolved in banking, securities, thrifts, credit unions, futures, insurance, secondary mortgage markets and other important areas; (2) define several key changes in the financial sector in recent decades that have highlighted significant limitations and gaps in the existing regulatory system; and (3) present an evaluation framework that can be used by Congress and others to restructure regulatory reform.&#34;Also, there must be a broad political mandate in support of serious financial regulatory reforms.&#160; For too long, monetary elites such as lobbyists, private bankers, and commercial investors have controlled a potentially fragile financial system.&#160; Regulation is needed for remedying market failure and protecting the economy from an imminent collapse.These conjectures are meant to replace fragmented and complex arrangements of federal and state regulations-put into place over the past 150 years-that have not kept pace with major developments in financial markets and commercial products in recent decades.&#160; Without safeguards in place, the American financial market will face a continuous ebb and flow of prosperity and may be forced to face another crisis.&#10;An opponent of John Maynard Keynes' and Hyman Minsky's theories would most likely be willing to support:&#10;A)the organization of neoclassical macroeconomics into a system with adequate employment.&#10;B)the idea that an accumulation of debt promotes an unhealthy national economy.&#10;C)a sharp change from rigid to free financial market regulations sponsored by the NFA.&#10;D)keeping regulations status quo, tolerating the &#34;boom and bust&#34; cycle as the economic norm.

Accepted Answer

The answer of Passage&#10;The 1929 stock market crash in the...

Question 53

Passage
First of all, the notion that more than one author was responsible for the composition of the Iliad and the Odyssey may fail to account adequately for the artistic unity and linguistic cohesion that mark these two works. The idea of dual authorship instead privileges the inconsistencies between the texts stressed by late 19^th- and early 20^th-century scholars who suggested that the two epics are not, in fact, the work of a single poetic genius. The promulgation of this theory served to undermine an earlier fundamentalist faith in a consensus from antiquity: one and only one poet called Homer authored both poems.Second of all, even if more than one author existed under the guise of Homer, there is no denying that these epics represent the culmination of a long tradition of oral poetry-specifically, oral verse concerning the Trojan War. The existence of this oral tradition has sometimes been used to speculate that the texts we have of the Iliad and the Odyssey were merely strung together from shorter poems about warrior-heroes sung by itinerant bards to regale the aristocratic courts of ancient Greece. In this context, the name "Homer" has been explained as a generic designation signifying either a group of ancient singer-poets or an imaginary author to whom a collective body of oral poetry was attributed.That epic poems of more than 12,000 lines could have been recited from memory has been well documented. Research undertaken at the beginning of the 20^th century identified singers in the Balkans who could perform monumental epic poems from memory. These performers seemed to have memorized discrete episodes or sections of poetry, arranging these as they recited. Since then, it has been almost universally recognized that any theory about Homeric authorship must accommodate the oral tradition.Today many scholars find it unlikely that the same individual composed both Homeric epics. Compellingly, even the ancient consensus that there was just one author cannot be traced further back than about 520 BCE when the two poems-which had been committed to writing in their recognizable form sometime after the introduction of the alphabet to Greece in the 8^th century BCE-were recited by bards at the festival of Athena. Prior to this, there had already been some controversy regarding the authorship of the poems. In particular, an alternative tradition claimed that the Odyssey had been written by the poet Melesigenes, who then appropriated the name Homer.Likewise, leading Homericists now conjecture more specifically that one poet wrote the Iliad and that the Odyssey was composed sometime later by a second. This theory rests on two basic premises: (1) Each poem has its own well-defined and unified design that discredits the possibility it is merely a pastiche of shorter poems passed down orally and finally stabilized in written form; and (2) differences between the poems seem to point to separate authors. Scholars cite not only linguistic inconsistencies, including differences in vocabulary, but also discrepancies in background, underlying beliefs, ethics, and even geographical orientation. Intriguingly, researchers have also found evidence in the Odyssey of imitation of passages from the Iliad.A few skeptics, however, continue to insist that the stylistic similarities between the two epics ascribed to Homer are too striking to support a theory of multiple authorship. Far from clinging to idealistic notions of artistry or outdated modes of manuscript study, these single-author theorists have combined information technology and analysis of linguistic style to produce a legitimate body of evidence they can marshal against the prevailing trend.
West, Martin. "The Homeric Question Today," in Proceedings of the American Philosophical Society, Vol 155. No. 4, December 2011.
Based on the passage, the possible existence of Melesigenes is LEAST likely to support the claim that:

A)there were questions about Homer's identity even in antiquity.
B)different stories about the authorship of the epics circulated in antiquity.
C)there was more than one author of the Iliad and the Odyssey.
D)the concept of authorship was already important in antiquity.

Accepted Answer

The answer of Passage&#10;First of all, the notion that more...

Question 54

Passage&#10;Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.&#160; Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.&#160; Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal &#34;felt-experience,&#34; and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.&#160; After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction:&#160; sometimes the spectators were &#34;attuned&#34;; at other times they seemed &#34;aloof.&#34;&#160; Occasionally, performers feel as if they &#34;captured&#34; the audience; at other times, they perceive that they &#34;lost touch&#34; with the viewers entirely.&#160; One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.&#160; One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.&#160; In some instances, a single audience may be unmoved, regardless of how well a show is performed.&#160; In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.&#160; Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:&#34;The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.&#160; However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance&#8230;it's a very 'tangible' moment-it's all I can find as a word.&#34;Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by &#34;capturing&#34; the viewers in some poignant manner.&#160; According to this paradigm, there can be no performance without an audience.&#160; Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.&#160; Such collective encounters in a shared space and time present only the possibility-for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance:&#160; it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.&#160; Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.&#160; Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.&#160; This mutual &#34;transmission of affect&#34; induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.&#160; Entertainers can only know if the audience is &#34;present&#34; to the degree that they also embrace the mutual tension of the experience.&#160; In this way, the performer dutifully influences the audience, and the audience, in essence, &#34;re-affects&#34; the stage.&#10;Adapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016.&#10;Assume a new actor is scheduled to appear in the musical &#34;West Side Story.&#34;&#160; The author of the passage would probably say it is most important for the inexperienced actor to:&#10;A)discuss audience engagement with fellow actors after the first performance.&#10;B)comprehend theater and the role of the audience from a historical perspective.&#10;C)assimilate an uncomfortable silence from the audience during a riveting scene.&#10;D)become accustomed to a derisive audience after making a blunder on stage.

Accepted Answer

The answer of Passage&#10;Throughout the twentieth century, the performer-spectator dynamic...

Question 55

Passage&#10;The 1929 stock market crash in the United States, also known as the Great Crash, affected virtually every American who had a stake in the financial market.&#160; In its wake, a deep economic crisis creating political and social unrest caused the United States government to create a strict financial regulatory system that worked effectively from the 1930s through the 1960s.In the late 1930s, as experts clamored to unravel the source of this financial disaster, British economist John Maynard Keynes organized a dynamic revolution in neoclassical macroeconomics, purporting that free markets could ultimately lead to more adequate employment, rather than the normative &#34;boom and bust&#34; cycle of fiscal recessions and depressions in the United States.&#160; However, Keynes also supported government interference, contending that a reduction in consumer spending due to economic hardship must be adequately supplemented by government expenditure.&#160; The American economics professor Hyman Minsky joined the Keynesian cause two decades later, adding that an accumulation of debt by the national government drives an unstable economy toward crisis, especially in the nongovernment sector.Preceding the Great Crash, the financial market was already unstable, which in hindsight has proven to be one of the many warning signs for emerging crises.&#160; Regrettably, these &#34;red flags&#34; were not characterized until after the collapse.&#160; To prevent another crash as experienced in 1929 and, to a lesser extent in 2008, changes must be made as financial markets expand and become more intricate.&#160; Many economists agree that the mainstream theory of financial markets, which is the foundation of support for the archaic New Financial Architecture (NFA), must be replaced by the realistic economic theories proposed by Keynes and Minsky.&#160; In opposition to singular market ownership, Keynesian economics points to a macroeconomic system wherein a &#34;mixed economy&#34; places the bulk of financial responsibility on households, to be supplemented by governmental spending when necessary.&#160; However, NFA regulations tout the practice of &#34;business as usual,&#34; allowing the market to cycle in and out of recessions.Progress has been made toward overall reform, however slowly.&#160; A January 2009 report from the Comptroller General's Office to the United States Congress was delivered in hopes of shaping potential regulatory reform efforts.&#160; These efforts &#34;seek to: 1) describe how regulation has evolved in banking, securities, thrifts, credit unions, futures, insurance, secondary mortgage markets and other important areas; (2) define several key changes in the financial sector in recent decades that have highlighted significant limitations and gaps in the existing regulatory system; and (3) present an evaluation framework that can be used by Congress and others to restructure regulatory reform.&#34;Also, there must be a broad political mandate in support of serious financial regulatory reforms.&#160; For too long, monetary elites such as lobbyists, private bankers, and commercial investors have controlled a potentially fragile financial system.&#160; Regulation is needed for remedying market failure and protecting the economy from an imminent collapse.These conjectures are meant to replace fragmented and complex arrangements of federal and state regulations-put into place over the past 150 years-that have not kept pace with major developments in financial markets and commercial products in recent decades.&#160; Without safeguards in place, the American financial market will face a continuous ebb and flow of prosperity and may be forced to face another crisis.&#10;The author claims that financial regulatory reform is necessary to:&#10;A)ensure that public assets are protected after the next stock market crash.&#10;B)protect citizens with a stake in the financial market from voting on detrimental Congressional laws.&#10;C)prevent the next possible economic crisis such as the Great Crash of 1929.&#10;D)shield complex and intricate investments from the hands of monetary elites.

Accepted Answer

The answer of Passage&#10;The 1929 stock market crash in the...

Question 56

Passage&#10;Throughout the twentieth century, the performer-spectator dynamic has been challenged both in artistic practice and from a theoretical perspective.&#160; Contextual Futurists, nonsensical Dadaists, and the surreal avant-garde theatrical experiments upended the conventional notion of passive spectatorship, paving the way for performers to disrupt the invisible wall between the artist and audience altogether.&#160; Most scholarly attention, however, has traditionally been directed toward one-way theatrical practices by which performers engage, transform, and heighten the bodily state of the audience through a framework of communal &#34;felt-experience,&#34; and not vice versa.The actors on stage are ostensibly the central object of attention, yet their communication with those in attendance is not solely a one-way discourse.&#160; After the curtain falls at the end of a performance, it is common to hear professional performers commentate on audience reaction:&#160; sometimes the spectators were &#34;attuned&#34;; at other times they seemed &#34;aloof.&#34;&#160; Occasionally, performers feel as if they &#34;captured&#34; the audience; at other times, they perceive that they &#34;lost touch&#34; with the viewers entirely.&#160; One could say that this jargon is merely an oversimplified and closed communication that reduces the true complexity and aesthetic dimensions of the theater experience.Nevertheless, performers are ultimately the vessels responsible for detecting and absorbing the moods, attitudes, and emotions of individuals, and these aspects are vital to the apparent success or failure of the performative process.&#160; One day, actors might find the audience energetic, welcoming, and appreciative; the next day, they may find a stiff, critical, and disconnected crowd, even when performing in the same production with unchanged levels of enthusiasm.&#160; In some instances, a single audience may be unmoved, regardless of how well a show is performed.&#160; In concert with this insight, the language used by artists from across the globe to portray such audience encounters is notably similar.&#160; Their predilection for tactile idiomatic expressions when describing the performer-audience connection is perfectly captured in these remarks from a well-known stage actor:&#34;The level of attention the audience gives to what is happening on stage provides a certain quality of stillness that makes it possible for a performer to know whether the audience is attuned or not.&#160; However, for the audience to be 'with' the performer, it must embrace a state of tension and immerse itself in the profundity of the performance&#8230;it's a very 'tangible' moment-it's all I can find as a word.&#34;Because the audience is the proclaimed foundation of a theatrical event, a staged play aims to affect the audience, usually by &#34;capturing&#34; the viewers in some poignant manner.&#160; According to this paradigm, there can be no performance without an audience.&#160; Despite this, the presence of spectators does not guarantee that a meaningful emotional, or affective, exchange will transpire.&#160; Such collective encounters in a shared space and time present only the possibility-for connection or disconnection; and, accordingly, an audience member must be physically present and willing to be affectively influenced.The audience serves an integral function in the performance:&#160; it activates, intensifies, and amplifies the circulation of emotional affect in a communal social space.&#160; Individually and collectively, each spectator is able to participate in the intrinsically variable theatrical plot.&#160; Affect is thereby experienced simultaneously through action, thought, and perception by both the artist and the audience.&#160; This mutual &#34;transmission of affect&#34; induces a corporeal sentiment that ultimately resonates as a palpably emotional atmosphere.&#160; Entertainers can only know if the audience is &#34;present&#34; to the degree that they also embrace the mutual tension of the experience.&#160; In this way, the performer dutifully influences the audience, and the audience, in essence, &#34;re-affects&#34; the stage.&#10;Adapted from Pais, A, Affective Resonance as the Function of the Audience. Published 2016.&#10;Suppose that the plays &#34;Shogun&#34; and &#34;The King and I&#34; are being performed at a Broadway theater in New York City.&#160; The passage suggests which of the following scenarios is LEAST probable?&#10;A)Performers are able to clearly gauge the audience's reaction during &#34;Shogun.&#34;&#10;B)Performers are capable of describing the audience's reaction to &#34;The King and I.&#34;&#10;C)Performers can predict the audience response to the upcoming show of &#34;Shogun.&#34;&#10;D)The audience members hold the actors responsible for the success of &#34;The King and I.&#34;

Accepted Answer

The answer of Passage&#10;Throughout the twentieth century, the performer-spectator dynamic...

Question 57

Passage&#10;The 1929 stock market crash in the United States, also known as the Great Crash, affected virtually every American who had a stake in the financial market.&#160; In its wake, a deep economic crisis creating political and social unrest caused the United States government to create a strict financial regulatory system that worked effectively from the 1930s through the 1960s.In the late 1930s, as experts clamored to unravel the source of this financial disaster, British economist John Maynard Keynes organized a dynamic revolution in neoclassical macroeconomics, purporting that free markets could ultimately lead to more adequate employment, rather than the normative &#34;boom and bust&#34; cycle of fiscal recessions and depressions in the United States.&#160; However, Keynes also supported government interference, contending that a reduction in consumer spending due to economic hardship must be adequately supplemented by government expenditure.&#160; The American economics professor Hyman Minsky joined the Keynesian cause two decades later, adding that an accumulation of debt by the national government drives an unstable economy toward crisis, especially in the nongovernment sector.Preceding the Great Crash, the financial market was already unstable, which in hindsight has proven to be one of the many warning signs for emerging crises.&#160; Regrettably, these &#34;red flags&#34; were not characterized until after the collapse.&#160; To prevent another crash as experienced in 1929 and, to a lesser extent in 2008, changes must be made as financial markets expand and become more intricate.&#160; Many economists agree that the mainstream theory of financial markets, which is the foundation of support for the archaic New Financial Architecture (NFA), must be replaced by the realistic economic theories proposed by Keynes and Minsky.&#160; In opposition to singular market ownership, Keynesian economics points to a macroeconomic system wherein a &#34;mixed economy&#34; places the bulk of financial responsibility on households, to be supplemented by governmental spending when necessary.&#160; However, NFA regulations tout the practice of &#34;business as usual,&#34; allowing the market to cycle in and out of recessions.Progress has been made toward overall reform, however slowly.&#160; A January 2009 report from the Comptroller General's Office to the United States Congress was delivered in hopes of shaping potential regulatory reform efforts.&#160; These efforts &#34;seek to: 1) describe how regulation has evolved in banking, securities, thrifts, credit unions, futures, insurance, secondary mortgage markets and other important areas; (2) define several key changes in the financial sector in recent decades that have highlighted significant limitations and gaps in the existing regulatory system; and (3) present an evaluation framework that can be used by Congress and others to restructure regulatory reform.&#34;Also, there must be a broad political mandate in support of serious financial regulatory reforms.&#160; For too long, monetary elites such as lobbyists, private bankers, and commercial investors have controlled a potentially fragile financial system.&#160; Regulation is needed for remedying market failure and protecting the economy from an imminent collapse.These conjectures are meant to replace fragmented and complex arrangements of federal and state regulations-put into place over the past 150 years-that have not kept pace with major developments in financial markets and commercial products in recent decades.&#160; Without safeguards in place, the American financial market will face a continuous ebb and flow of prosperity and may be forced to face another crisis.&#10;According to the passage, a Keynesian economist would recommend which of the following as an acceptable response during an economic crisis?&#10;A)An accumulation of secured debt by the national government&#10;B)An increase in governmental spending on consumer goods&#10;C)A decrease in government-supplemented consumer expenditures&#10;D)A governmental shift to a free market economy

Accepted Answer

The answer of Passage&#10;The 1929 stock market crash in the...

Question 58

Passage&#10;The 1929 stock market crash in the United States, also known as the Great Crash, affected virtually every American who had a stake in the financial market.&#160; In its wake, a deep economic crisis creating political and social unrest caused the United States government to create a strict financial regulatory system that worked effectively from the 1930s through the 1960s.In the late 1930s, as experts clamored to unravel the source of this financial disaster, British economist John Maynard Keynes organized a dynamic revolution in neoclassical macroeconomics, purporting that free markets could ultimately lead to more adequate employment, rather than the normative &#34;boom and bust&#34; cycle of fiscal recessions and depressions in the United States.&#160; However, Keynes also supported government interference, contending that a reduction in consumer spending due to economic hardship must be adequately supplemented by government expenditure.&#160; The American economics professor Hyman Minsky joined the Keynesian cause two decades later, adding that an accumulation of debt by the national government drives an unstable economy toward crisis, especially in the nongovernment sector.Preceding the Great Crash, the financial market was already unstable, which in hindsight has proven to be one of the many warning signs for emerging crises.&#160; Regrettably, these &#34;red flags&#34; were not characterized until after the collapse.&#160; To prevent another crash as experienced in 1929 and, to a lesser extent in 2008, changes must be made as financial markets expand and become more intricate.&#160; Many economists agree that the mainstream theory of financial markets, which is the foundation of support for the archaic New Financial Architecture (NFA), must be replaced by the realistic economic theories proposed by Keynes and Minsky.&#160; In opposition to singular market ownership, Keynesian economics points to a macroeconomic system wherein a &#34;mixed economy&#34; places the bulk of financial responsibility on households, to be supplemented by governmental spending when necessary.&#160; However, NFA regulations tout the practice of &#34;business as usual,&#34; allowing the market to cycle in and out of recessions.Progress has been made toward overall reform, however slowly.&#160; A January 2009 report from the Comptroller General's Office to the United States Congress was delivered in hopes of shaping potential regulatory reform efforts.&#160; These efforts &#34;seek to: 1) describe how regulation has evolved in banking, securities, thrifts, credit unions, futures, insurance, secondary mortgage markets and other important areas; (2) define several key changes in the financial sector in recent decades that have highlighted significant limitations and gaps in the existing regulatory system; and (3) present an evaluation framework that can be used by Congress and others to restructure regulatory reform.&#34;Also, there must be a broad political mandate in support of serious financial regulatory reforms.&#160; For too long, monetary elites such as lobbyists, private bankers, and commercial investors have controlled a potentially fragile financial system.&#160; Regulation is needed for remedying market failure and protecting the economy from an imminent collapse.These conjectures are meant to replace fragmented and complex arrangements of federal and state regulations-put into place over the past 150 years-that have not kept pace with major developments in financial markets and commercial products in recent decades.&#160; Without safeguards in place, the American financial market will face a continuous ebb and flow of prosperity and may be forced to face another crisis.&#10;The author of the passage would be most likely to agree that Congress should take which of the following actions after receiving the January 2009 Comptroller General's Office report?&#10;A)Maintain current arrangements of federal and state regulations.&#10;B)Offer a construct for crafting and evaluating regulatory reform proposals.&#10;C)Tightly regulate mergers and other financial acquisitions.&#10;D)Hire government officials who oppose the theories of Keynes and Minsky.

Accepted Answer

The answer of Passage&#10;The 1929 stock market crash in the...

Question 59

Passage&#10;Although the primary canon in the history of political thought largely ignores the views of Immanuel Kant, he nevertheless was as important a political thinker as Rousseau, Locke, or even Aristotle.&#160; Working in the context of the Prussian Enlightenment, Kant championed the idea that the only innate right of human beings is freedom.&#160; Fittingly, the centerpiece of his political theory is that freedom can be the only basis for a just political state.A political theory that advances freedom as its core tenet may appear inherently problematic.&#160; The very existence of a political state would seem to require limitations on the freedoms of those within it.&#160; However, this presents no serious problem for Kant's theory.&#160; The Kantian notion of political freedom-which stands in stark contrast to the notion of transcendental freedom widely associated with Kant's nonpolitical writings-is restricted to the external relations between human persons.&#160; In its political sense, freedom refers to the innate right of every person to independence from being constrained by another's choice.&#160; In other words, every person has the innate right to make choices freely but only so long as these choices do not interfere with those of others.&#160; Laws that do not allow for political freedom are forbidden in Kant's view because within a just civil condition, the promulgation of a law requires that an entire people agree to be subjected to it.There are more substantive problems facing Kant's political theory.&#160; Most notable among these concerns is Kant's promotion of welfare legislation.&#160; As he says, &#34;The government is authorized to constrain the wealthy to provide the means of sustenance to those who are unable to provide for even their most necessary and basic needs.&#34;&#160; Given Kant's notion of political freedom, to enact such legislation would be catastrophic.&#160; Welfare legislation violates Kant's own criterion regarding laws promulgated within a just civil condition: Governmental interference of this kind is a prime example of legislation on which an entire people will be divided.This was an egregious error on Kant's part.&#160; At the same time, proponents of a Kantian conception of the state need neither embrace this result nor dismiss the possibility of consistently incorporating welfare legislation into their preferred brand of political theory.&#160; Although Kant did not explicitly advocate it himself, a Kantian may hold that public provision of welfare is necessary for the state to fulfill its primary function-namely, protecting the liberties of its citizens.&#160; For instance, if failing to adopt welfare legislation would threaten the continued existence, security, or stability of the state, then Kantians may justify such legislation on the grounds that it serves an instrumentally necessary role in upholding the fundamental aims and principles of Kantianism itself.&#160; It is interesting to note that followers of Kant will likely have independent reasons to accept something along these lines.&#160; Kant himself held that rational entities-such as persons, corporations, and states-have a duty of self-preservation, and thus are obligated to take measures to ensure their continued existence, security, and stability.There are still other issues surrounding a Kantian theory of the state.&#160; These will need to be dealt with separately, but they should not go overlooked.&#160; Breaking down the barriers that leave Kant outside the primary canon of political theory is a laudable task, which will take much effort to accomplish.&#10;What is the primary purpose of the passage?&#10;A)To illustrate that Kant's political theory has been largely ignored in favor of other political thinkers&#10;B)To provide arguments in favor of adopting a Kantian view of the state&#10;C)To defend a Kantian conception of the state from two of its perceived shortcomings&#10;D)To show that political scholars should pay attention to Kant's political theory

Accepted Answer

The answer of Passage&#10;Although the primary canon in the history...

Question 60

Passage
First of all, the notion that more than one author was responsible for the composition of the Iliad and the Odyssey may fail to account adequately for the artistic unity and linguistic cohesion that mark these two works. The idea of dual authorship instead privileges the inconsistencies between the texts stressed by late 19^th- and early 20^th-century scholars who suggested that the two epics are not, in fact, the work of a single poetic genius. The promulgation of this theory served to undermine an earlier fundamentalist faith in a consensus from antiquity: one and only one poet called Homer authored both poems.Second of all, even if more than one author existed under the guise of Homer, there is no denying that these epics represent the culmination of a long tradition of oral poetry-specifically, oral verse concerning the Trojan War. The existence of this oral tradition has sometimes been used to speculate that the texts we have of the Iliad and the Odyssey were merely strung together from shorter poems about warrior-heroes sung by itinerant bards to regale the aristocratic courts of ancient Greece. In this context, the name "Homer" has been explained as a generic designation signifying either a group of ancient singer-poets or an imaginary author to whom a collective body of oral poetry was attributed.That epic poems of more than 12,000 lines could have been recited from memory has been well documented. Research undertaken at the beginning of the 20^th century identified singers in the Balkans who could perform monumental epic poems from memory. These performers seemed to have memorized discrete episodes or sections of poetry, arranging these as they recited. Since then, it has been almost universally recognized that any theory about Homeric authorship must accommodate the oral tradition.Today many scholars find it unlikely that the same individual composed both Homeric epics. Compellingly, even the ancient consensus that there was just one author cannot be traced further back than about 520 BCE when the two poems-which had been committed to writing in their recognizable form sometime after the introduction of the alphabet to Greece in the 8^th century BCE-were recited by bards at the festival of Athena. Prior to this, there had already been some controversy regarding the authorship of the poems. In particular, an alternative tradition claimed that the Odyssey had been written by the poet Melesigenes, who then appropriated the name Homer.Likewise, leading Homericists now conjecture more specifically that one poet wrote the Iliad and that the Odyssey was composed sometime later by a second. This theory rests on two basic premises: (1) Each poem has its own well-defined and unified design that discredits the possibility it is merely a pastiche of shorter poems passed down orally and finally stabilized in written form; and (2) differences between the poems seem to point to separate authors. Scholars cite not only linguistic inconsistencies, including differences in vocabulary, but also discrepancies in background, underlying beliefs, ethics, and even geographical orientation. Intriguingly, researchers have also found evidence in the Odyssey of imitation of passages from the Iliad.A few skeptics, however, continue to insist that the stylistic similarities between the two epics ascribed to Homer are too striking to support a theory of multiple authorship. Far from clinging to idealistic notions of artistry or outdated modes of manuscript study, these single-author theorists have combined information technology and analysis of linguistic style to produce a legitimate body of evidence they can marshal against the prevailing trend.
West, Martin. "The Homeric Question Today," in Proceedings of the American Philosophical Society, Vol 155. No. 4, December 2011.
Based on the passage, the possible existence of Melesigenes is LEAST likely to support the claim that:

A)there were questions about Homer's identity even in antiquity.
B)different stories about the authorship of the epics circulated in antiquity.
C)there was more than one author of the Iliad and the Odyssey.
D)the concept of authorship was already important in antiquity.

Accepted Answer

The answer of Passage&#10;First of all, the notion that more...

Question 61

Passage
First of all, the notion that more than one author was responsible for the composition of the Iliad and the Odyssey may fail to account adequately for the artistic unity and linguistic cohesion that mark these two works. The idea of dual authorship instead privileges the inconsistencies between the texts stressed by late 19^th- and early 20^th-century scholars who suggested that the two epics are not, in fact, the work of a single poetic genius. The promulgation of this theory served to undermine an earlier fundamentalist faith in a consensus from antiquity: one and only one poet called Homer authored both poems.Second of all, even if more than one author existed under the guise of Homer, there is no denying that these epics represent the culmination of a long tradition of oral poetry-specifically, oral verse concerning the Trojan War. The existence of this oral tradition has sometimes been used to speculate that the texts we have of the Iliad and the Odyssey were merely strung together from shorter poems about warrior-heroes sung by itinerant bards to regale the aristocratic courts of ancient Greece. In this context, the name "Homer" has been explained as a generic designation signifying either a group of ancient singer-poets or an imaginary author to whom a collective body of oral poetry was attributed.That epic poems of more than 12,000 lines could have been recited from memory has been well documented. Research undertaken at the beginning of the 20^th century identified singers in the Balkans who could perform monumental epic poems from memory. These performers seemed to have memorized discrete episodes or sections of poetry, arranging these as they recited. Since then, it has been almost universally recognized that any theory about Homeric authorship must accommodate the oral tradition.Today many scholars find it unlikely that the same individual composed both Homeric epics. Compellingly, even the ancient consensus that there was just one author cannot be traced further back than about 520 BCE when the two poems-which had been committed to writing in their recognizable form sometime after the introduction of the alphabet to Greece in the 8^th century BCE-were recited by bards at the festival of Athena. Prior to this, there had already been some controversy regarding the authorship of the poems. In particular, an alternative tradition claimed that the Odyssey had been written by the poet Melesigenes, who then appropriated the name Homer.Likewise, leading Homericists now conjecture more specifically that one poet wrote the Iliad and that the Odyssey was composed sometime later by a second. This theory rests on two basic premises: (1) Each poem has its own well-defined and unified design that discredits the possibility it is merely a pastiche of shorter poems passed down orally and finally stabilized in written form; and (2) differences between the poems seem to point to separate authors. Scholars cite not only linguistic inconsistencies, including differences in vocabulary, but also discrepancies in background, underlying beliefs, ethics, and even geographical orientation. Intriguingly, researchers have also found evidence in the Odyssey of imitation of passages from the Iliad.A few skeptics, however, continue to insist that the stylistic similarities between the two epics ascribed to Homer are too striking to support a theory of multiple authorship. Far from clinging to idealistic notions of artistry or outdated modes of manuscript study, these single-author theorists have combined information technology and analysis of linguistic style to produce a legitimate body of evidence they can marshal against the prevailing trend.
West, Martin. "The Homeric Question Today," in Proceedings of the American Philosophical Society, Vol 155. No. 4, December 2011.
Based on the passage, the possible existence of Melesigenes is LEAST likely to support the claim that:

A)there were questions about Homer's identity even in antiquity.
B)different stories about the authorship of the epics circulated in antiquity.
C)there was more than one author of the Iliad and the Odyssey.
D)the concept of authorship was already important in antiquity.

Accepted Answer

The answer of Passage&#10;First of all, the notion that more...

Question 62

Passage&#10;No one would argue that much good has ever come out of the crucible of war, and certainly not from the kinds of atrocities that characterized the Second World War.&#160; However, the horror of the Dutch famine that occurred toward the end of the war, what in the Netherlands is commonly called the Hongerwinter, has provided epidemiologists a unique opportunity to research the long-term health effects of nutritional deficiency in utero on a specific cohort of individuals.Because it was so widespread-affecting as many as 4.5 million people in the German-occupied Netherlands-but limited in duration and swiftly followed by a return to prosperity, the Dutch famine constituted a highly aberrant situation of deprivation in a modern, developed nation.&#160; The devastation began in September 1944 when Allied Airborne Forces failed to seize control of the bridge that crosses the Rhine River at Arnhem.&#160; To impede German ground troops and assist the Allies, the Dutch government then ordered a railway strike, prompting the Germans to retaliate with an embargo that cut off food and fuel supplies to the central and western provinces of the Netherlands, including the country's largest urban centers.&#160; Even after the embargo ended, railways remained dismantled and the Germans continued to requisition goods, stalling supplies.&#160; This already dire situation was exacerbated by war-ravaged agricultural regions and an unusually harsh winter that froze the canals.&#160; As the fighting dragged on, food rations dwindled.&#160; Faced with escalating scarcity, urban dwellers desperately scoured the countryside seeking anything edible for which they could trade their valuables.&#160; Many were reduced to eating tulip bulbs and grass.&#160; The death toll from starvation alone reached 20,000.The famine was among the best documented in modern history, and the Dutch Hunger Winter Study has been the first study to examine the long-term consequences of intrauterine starvation.&#160; The study compared 422 individuals exposed to adverse intrauterine conditions with 463 siblings who were the products of pregnancies that either came to term before the famine began or occurred afterward.&#160; The initial results, published in 1976, revealed that, among other health consequences, individuals exposed to deprivation during early gestation had much higher than normal rates of obesity as adults.&#160; Research by scientists from both the Netherlands and the US, together with new information from the field of epigenetics (the study of changes in gene expression barring alteration of the genetic code), now suggests that nutritional restriction during early gestation effectively inactivates specific genes.Additional studies have shown that genetic expression can be altered through the addition of a methyl group, an organic compound consisting of one carbon and three hydrogen atoms, to a DNA molecule.&#160; This methylation can modify gene expression without altering the DNA sequence.&#160; In other words, it changes an individual's phenotype, or the observable genetic expression, but does not change the genome.&#160; With this discovery, scientists now theorize that in individuals whose mothers suffered near-starvation during the early stages of pregnancy, DNA methylation silenced specific genes that normally help boost the rate at which the body consumes cellular energy.&#160; The inactivation of these genes lowers metabolism, causing an increased tendency toward adult obesity.Other factors such as diet, environment, and even stress have been shown to alter methylation patterns on genes.&#160; Furthermore, it has now been documented that the offspring of the Hunger Winter babies frequently exhibit the same health problems as their parents, including not only obesity, but also diabetes and cardiovascular disease.&#160; Thus, with the advancement of genomics, this unfortunate period of starvation in the Netherlands offers strong evidence that DNA methylation is heritable-invaluable knowledge that can be used to understand a multitude of disease processes.&#10;The Hunger Winter babies and their siblings had offspring who are now well into adulthood.&#160; Based on the passage, being able to also study these offspring long-term was most useful to the epidemiologists because it allowed them to:&#10;A)estimate the offspring's likelihood of obesity, diabetes, and cardiovascular disease in adulthood.&#10;B)determine the current methylation patterns of the offspring.&#10;C)hypothesize that different health outcomes in the adult offspring correlate to the differences in their methylation patterns.&#10;D)ascertain at which stages of the offspring's lives the effects of methylation were most pronounced.

Accepted Answer

The answer of Passage&#10;No one would argue that much good...

Question 63

Passage
First of all, the notion that more than one author was responsible for the composition of the Iliad and the Odyssey may fail to account adequately for the artistic unity and linguistic cohesion that mark these two works. The idea of dual authorship instead privileges the inconsistencies between the texts stressed by late 19^th- and early 20^th-century scholars who suggested that the two epics are not, in fact, the work of a single poetic genius. The promulgation of this theory served to undermine an earlier fundamentalist faith in a consensus from antiquity: one and only one poet called Homer authored both poems.Second of all, even if more than one author existed under the guise of Homer, there is no denying that these epics represent the culmination of a long tradition of oral poetry-specifically, oral verse concerning the Trojan War. The existence of this oral tradition has sometimes been used to speculate that the texts we have of the Iliad and the Odyssey were merely strung together from shorter poems about warrior-heroes sung by itinerant bards to regale the aristocratic courts of ancient Greece. In this context, the name "Homer" has been explained as a generic designation signifying either a group of ancient singer-poets or an imaginary author to whom a collective body of oral poetry was attributed.That epic poems of more than 12,000 lines could have been recited from memory has been well documented. Research undertaken at the beginning of the 20^th century identified singers in the Balkans who could perform monumental epic poems from memory. These performers seemed to have memorized discrete episodes or sections of poetry, arranging these as they recited. Since then, it has been almost universally recognized that any theory about Homeric authorship must accommodate the oral tradition.Today many scholars find it unlikely that the same individual composed both Homeric epics. Compellingly, even the ancient consensus that there was just one author cannot be traced further back than about 520 BCE when the two poems-which had been committed to writing in their recognizable form sometime after the introduction of the alphabet to Greece in the 8^th century BCE-were recited by bards at the festival of Athena. Prior to this, there had already been some controversy regarding the authorship of the poems. In particular, an alternative tradition claimed that the Odyssey had been written by the poet Melesigenes, who then appropriated the name Homer.Likewise, leading Homericists now conjecture more specifically that one poet wrote the Iliad and that the Odyssey was composed sometime later by a second. This theory rests on two basic premises: (1) Each poem has its own well-defined and unified design that discredits the possibility it is merely a pastiche of shorter poems passed down orally and finally stabilized in written form; and (2) differences between the poems seem to point to separate authors. Scholars cite not only linguistic inconsistencies, including differences in vocabulary, but also discrepancies in background, underlying beliefs, ethics, and even geographical orientation. Intriguingly, researchers have also found evidence in the Odyssey of imitation of passages from the Iliad.A few skeptics, however, continue to insist that the stylistic similarities between the two epics ascribed to Homer are too striking to support a theory of multiple authorship. Far from clinging to idealistic notions of artistry or outdated modes of manuscript study, these single-author theorists have combined information technology and analysis of linguistic style to produce a legitimate body of evidence they can marshal against the prevailing trend.
West, Martin. "The Homeric Question Today," in Proceedings of the American Philosophical Society, Vol 155. No. 4, December 2011.
Based on the passage, the possible existence of Melesigenes is LEAST likely to support the claim that:

A)there were questions about Homer's identity even in antiquity.
B)different stories about the authorship of the epics circulated in antiquity.
C)there was more than one author of the Iliad and the Odyssey.
D)the concept of authorship was already important in antiquity.

Accepted Answer

The answer of Passage&#10;First of all, the notion that more...

Question 64

Passage&#10;The word &#34;edutainment&#34; refers to educational entertainment, media designed to educate while entertaining the audience.&#160; One of the more successful of such enterprises was Square One, a television show that aired in the 1980s and 1990s.&#160; Focusing on mathematics, Square One aimed to instruct elementary school children in a way that captured their attention and made them eager to learn.&#160; Such objectives are common to most attempts at teaching.&#160; But well-made educational entertainment goes a step further than simply trying to make learning enjoyable; ideally, the program is of a quality such that audiences find it worthwhile to watch for its entertainment value alone.Square One approached this goal in a number of ways, its iconic music videos being one of the most memorable.&#160; Songs like &#34;Angle Dance&#34; and &#34;Less Than Zero&#34; described concepts such as acuteness or negative numbers, while the lyrics of &#34;Archimedes&#34; lauded the mathematical insights of that famous thinker.&#160; Most of the songs contained humorous elements: the exhausted singers of &#34;That's Infinity&#34; tried vainly to reach the largest number, while &#34;Eight Percent of My Love&#34; saw a boy serenade his girlfriend about the small fraction of love he could give her (having already given away 92 percent to friends, the USA, his bicycle, and other things).&#160; All of the songs boasted high production values and talented performers, subconsciously encouraging viewers to continue humming their lessons to themselves even after the show's closing credits.The creativity of these songs featured popular culture aspects that were often more noticeable to parents than to the child viewers themselves.&#160; For instance, adults could easily guess that &#34;Ghost of a Chance&#34; (a song about probability) was inspired by Michael Jackson's &#34;Thriller,&#34; and &#34;Juan Cougar&#34; was a reference to an actual singer, John Cougar Mellencamp.&#160; Other parts of the show included similar references.&#160; Details such as these functioned as a bonus, however, as the target audience found the material compelling despite not grasping all the references that elicited smiles from their elders.&#160; Cabot and Marshmallow's &#34;What's in a Name?&#34; was comedic even without knowledge of the famous Abbott and Costello &#34;Who's on First?&#34; skit from which it was derived.&#160; The math-based detective work of &#34;Mathnet&#34; was amusing and instructional even to those too young to have seen Dragnet.In addition to the music, skits, cartoons, and parodies constituting many of the program's segments, game shows were another way in which Square One imparted instruction.&#160; The prizes were unexciting (everyday apparel bearing the Square One logo), but that was to be expected for a production that aired on public broadcasting.&#160; Of course, the prizes were also not the point.&#160; Part of the draw of a commercial game show may be a fabulous package of expensive prizes and money, but the game shows of Square One focused on education.In light of that distinction, one can imagine the most typical criticism of any educational entertainment program.&#160; Education and entertainment are, at their cores, not aimed at the same ends.&#160; Whether it is the worse crime to be insufficiently didactic or to be excessively didactic may depend on whom one asks; either way, one might worry that a work attempting to impart both amusement and instruction would ultimately fail in at least one of those objectives.&#160; Yet Square One was that rare instance in which both goals were met.&#160; Many children who disliked mathematics in school still enjoyed viewing a show with songs and skits about the subject, and for those who already enjoyed mathematics, all the better.&#160; Teachers had good reason to be happy about the show's existence, and its lively presentation of educational concepts can surely be credited with the improved academic performance of many students.&#10;The claim in Paragraph 1 that a well-made educational entertainment program would be &#34;worthwhile to watch for its entertainment value alone&#34; suggests that:&#10;A)the program's content would emphasize entertainment over the educational aspect.&#10;B)viewers would respond to the program differently than they would to a non-educational program.&#10;C)the program's viewership would not be diminished by its educational content.&#10;D)educators would have good reason to be happy about the program's existence.

Accepted Answer

The answer of Passage&#10;The word &#34;edutainment&#34; refers to educational entertainment,...

Deck 4: Critical Analysis & Reasoning Skills