Seventeenth-century philosopher John Locke stated that as much as 99 percent of the value of any

useful product can be attributed to the effects of labor. For Lockes intellectual heirs it was only a
short step to the labor theory of value, whose formulators held that 100 percent of the value of any
product is generated by labor (the human work needed to produce goods) and that therefore the
employer who appropriates any part of the products value as profit is practicing theft.

Although human effort is required to produce goods for the consumer market, effort is also invested in
making capital goods (tools, machines, etc.), which are used to facilitate the production of consumer
goods. In modern economies about one-third of the total output of consumer goods is attributable to
the use of capital goods. Approximately two-thirds of the income derived from this total output is paid
out to workers as wages and salaries, the remaining third serving as compensation to the owners of the
capital
goods. Moreover, part of this remaining third is received by workers who are shareholders, pension
beneficiaries, and the like. The labor theory of value systematically disregards the productive
contribution of capital goodsa failing for which Locke must bear part of the blame.

1. According to the author of the passage, which of the following is true of the distribution of the
income derived from the total output of consumer goods in a modern economy?
A. Workers receive a share of this income that is significantly smaller than the value of their labor as a
contribution to total output.
B. Owners of capital goods receive a share of this income that is significantly greater than the
contribution to total output attributable to the use of capital goods.
C. Owners of capital goods receive a share of this income that is no greater than the proportion of total
output attributable to the use of capital goods.
D. Owners of capital goods are not fully compensated for their investment because they pay out most
of their share of this income to workers as wages and benefits.
E. Workers receive a share of this income that is greater than the value of their labor because the labor
theory of value overestimates their contribution to total output.
[Obscure] Spoiler:

2. The author of the passage is primarily concerned with

A. criticizing Lockes economic theories
B. discounting the contribution of labor in a modern economy
C. questioning the validity of the labor theory of value
D. arguing for a more equitable distribution of business profits

E. contending that employers are overcompensated for capital goods

[Obscure] Spoiler:

3. Which of the following arguments would a proponent of the labor theory of value, as it is presented
in the first paragraph, be most likely to use in response to the statement that The labor theory of
value systematically disregards the productive contribution of capital goods?
A. The productive contributions of workers and capital goods cannot be compared because the
productive life span of capital goods is longer than that of workers.
B. The authors analysis of the distribution of income is misleading because only a small percentage of
workers are also shareholders.
C. Capital goods are valuable only insofar as they contribute directly to the production of consumer
goods.
D. The productive contribution of capital goods must be discounted because capital goods require
maintenance.
E. The productive contribution of capital goods must be attributed to labor because capital goods are
themselves products of labor.
[Obscure] Spoiler:

In his thought-provoking work, Philosophical Investigations, Ludwig Wittgenstein uses an easily

conceptualized scenario in an attempt to clarify some of the problems involved in thinking about the
mind
as something over and above the behaviors that it produces. Imagine, he says, that everyone has a
small
box in which they keep a beetle. No one is allowed to look in anyone elses box, only in their own. Over
time, people talk about what is in their boxes and the word beetle comes to stand for what is in
everyones box.
Through this curious example, Wittgenstein attempts to point out that the beetle is very much like
an individuals mind; no one can know exactly what it is like to be another person or experience things
from anothers perspectivelook in someone elses boxbut it is generally assumed that the mental
workings of other peoples minds are very similar to that of our own (everyone has a beetle which is
more or less similar to everyone elses). However, it does not really matterhe argueswhat is in the
box or whether everyone indeed has a beetle, since there is no way of checking or comparing. In a
sense, the word beetleif it is to have any sense or meaningsimply means what is in the box. From
this point of view, the mind is simply what is in the box, or rather what is in your head.
Wittgenstein argues that although we cannot know what it is like to be someone else, to say that
there must be a special mental entity called a mind that makes our experiences private, is wrong. His
rationale is that he considers language to have meaning because of public usage. In other words, when
we talk of having a mindor a beetlewe are using a term that we have learned through conversation
and public discourse (rooted in natural language). The word might be perceived differently in each of our
minds, but we all agree that it signifies something; this allows us to develop language for talking about
conceptualizations like color, mood, size and shape. Therefore, the word mind cannot be used to refer
specifically to some entity outside of our individualized conception, since we cannot see into other
peoples boxes.

Questions
1) Based on information in the passage, Wittgenstein apparently believes that
I. it is best to think of mental states as nothing over and above the behaviors they produce
II. the public use of language is responsible for misconceptions about the mind
III. through the use of precise language, it is possible to accurately describe the shared properties of
the mind
A. I only
B. II only
C. I and II only
D. II and III only
E. I, II, and III
2) Which of the following literary devices best describes Wittgensteins use of the beetle in a box
scenario?
A. Authorial intrusion, characterized by a point at which the author speaks out directly to the reader.
B. Aphorism, characterized by the use of a concise statement that is made in a matter of fact tone to
state a principle or an opinion that is generally understood to be a universal truth.
C. Amplification, characterized by the embellishment or extension of a statement in order to give it
greater worth or meaning.
D. Allegory, characterized by the use of symbolic representation to convey the meaning of an often
abstract concept.
E. Ambiguity, characterized by the expression of an idea in such a way that it becomes possible to
glean more than one meaning from it.
3) Wittgenstein would most likely disagree with which of the following statements?
A. It is impossible to know another persons thoughts.
B. The mind is a special mental substance.
C. The color green may actually look different to everybody.
D. Words do not always accurately represent the things they symbolize.
E. It takes time for public discourse to create a new word with a common meaning.

4) As used in paragraph 3, which is the best synonym for discourse?

A. exchange
B. conversation
C. announcement
D. knowledge
E. setting
5) Based on his use of the beetle in a box comparison in the passage, it can be inferred that
Wittgenstein might similarly compare a room full of people to a
A. deck of cards
B. box of chocolates
C. collection of rocks
D. library of books
E. group of drinking glasses filled with water

A collection 1:

(5)

The stylistic innovation in paining known as Impressionism began in the 1870s. The
Impressionists wanted to depict what they saw in nature, but they were inspired to portray
fragmentary moments by the increasingly fast pace of modern life. They concentrated on
the play of light over objects, people, and nature, breaking up seemingly solid surfaces,
stressing vivid contrast between colors in sunlight and shade, and depiction reflected light
in all of its possibilities. Unlike earlier artists, they did not want to observe the world from
indoors. They abandoned the studio, painting in the open air and recording spontaneous
Impressions of their subjects instead of making outside sketches and then moving indoors
to complete the work form memory.

(10)

Some of the Impressionists painting methods were affected by technological

advances. For example, the shift from the studio to the open air was made possible in
part by the advent of cheap rail travel, which permitted easy and quick access to the
countryside or seashore, as well as by newly developed chemical dyes and oils that led
to collapsible paint tubes, which enabled artists to finish their paintings on the spot.

(15)

Impressionism acquired its name not from supporters but from angry art lovers who
felt threatened by the new painting. The term Impressionism was born in 1874,when
a group of artists who had been working together organized an exhibition of their
paintings in order to draw public attention to their work. Reaction from the public and
press was immediate, and derisive. Among the 165 paintings exhibited was one called
Impression: Sunrise, by Claude Monet(1840-1926), Viewed through hostile eyes,
Monets painting of a rising sun over a misty, watery scene seemed messy, slapdash,
and an affront to good taste. Borrowing Monets title, art critics extended the term
Impressionism to the entire exhibit. In response, Monet and his 29 fellow artists in
the exhibit adopted the same name as a badge of their unity, despite individual differences.
From then until 1886 Impressionism had all the zeal of a church, as the painter Renoir
put it. Monet was faithful to the Impressionist creed until his death, although many of the
others moved on to new styles.

(20)

(25)

41. What aspect of painting in the nineteenth century does the passage mainly discuss?
(A) The impact of some artists resistance to the fast pace of life
(B) The differences between two major styles of art
(C) A technological advance in the materials used by artists
(D) A group of artists with a new technique and approach to art
42. The word depict in line 2 is closest in meaning to
(A) reorganize
(B) deform

(C) represent

(D) justify

43. According to the passage, which of the following was one of the distinguishing characteristics of
Impressionist painting?
(A) The emphasis on people rather than nature scenes
(B) The way the subjects were presented from multiple angles
(C) The focus on small solid objects
(D) The depiction of the effects of light and color
44. Which of the following is a significant way in which Impressionists were different from the artists that
preceded them?
(A) They began by making sketches of their subjects
(B) They painted their subjects out-of-doors
(C) They preferred to paint from memory

(D) They used subjects drawn from modern life

45. The word advent in line 12 is closest in meaning to
(A) achievement
(B) acceptance
(C) arrival

(D) advantage

46. The exhibition of paintings organized in 1874 resulted in all of the following EXCEPT
(A) attracting attention from the public
(B) a negative reaction from the press
(C) an immediate demand for the paintings exhibited
(D) creating a name for a new style of painting
47. The word affront in line 22 is closest in meaning to
(A) insult
(B) encouragement

(C) return

(D) credit

48. The rejection of the Impressionist exhibition by critics was caused by which of the following?
(A) The small number of paintings on display
(B) Lack of interest in exhibitions by young artists
(C) The similarity between all the paintings exhibited
(D) Anger about seemingly poorly painted art
49. The author mentions Renoir in line 25 to give an example of an artist who
(A) became as famous as Monet
(B) was consistently praised by art critics
(C) described the enthusiasm of the Impressionists for their work
(D) was in favor of a traditional style of painting
50. The word others in line 27 refers to
(A) art critics
(C) individual differences

(B) fellow artists

(D) new styles

Often enough the craft workers place of employment in ancient Greece was set in
rural isolation. Potter, for instance, found it convenient to locate their workshops near
their source of clay, regardless of its relation to the center of settlement, At Corinth and
Line Athens, however, two of the best-known potters quarters were situated on the cities
(5) outskirts, and potters and makers of terra-cotta figurines were also established well within
the city of Athens itself. The techniques of pottery manufacture had evolved well before
the Greek period, but marked stylistic developments occurred in shape and in decoration,
for example, in the interplay of black and other glazes with the red surface of the fired pot.
Athenian black-figure and red-figure decoration, which emphasized human figures rather
(10) than animal images, was adopted between 630 and 530 B.C.; its distinctive color and luster
were the result of the skillful adjustments of the kilns temperature during an extended
three-stage period if firing the clayware. Whether it was the potters or the vase-painters
who initiated changes in firing is unclear; the functions of making and decorating were
usually divided between them, but neither group can have been so specialized the they
(15) did not share in the concerns of the other.

(20)

(25)

The broad utility of terra-cotta was such that workers in clay could generally afford to
confine themselves to either decorated ware and housewares like cooking pots and storage
jars or building materials like roof tiles and drainpipes. Some sixth-and fifth-century B.C.
Athenian pottery establishments are known to have concentrated on a limited range of fine
ware, but a rural pottery establishment on the island of Thasos produced many types of
pottery and roof tiles too, presumably to meet local demand. Molds were used to create
particular effects for some products, such as relief-decorated vessels and figurines; for
other products such as roof tiles, which were needed in some quantity, they were used to
facilitate mass production. There were also a number of poor-quality figurines and painted
pots produced in quantity by easy, inexpensive means- as numerous featureless statuettes and
unattractive cases testify.

1. The passage mainly discusses ancient Greek pottery and its

(A) production techniques
(B) similarity to other crafts
(C) unusual materials
(D) resemblance to earlier pottery
2. The phrase regardless of in line 3 is closest in meaning to
(A) as a result of
(B) no matter what
(C) proud of

(D) according to

3. It can be inferred from the passage that most pottery establishments in ancient Greece were situated
(A) in city centers
(B) on the outskirts of cities
(C) where clay could be found
(D) near other potters workshops
4. The word marked in line 7 is closest in meaning to
(A) original
(B) attractive

(C) noticeable

(D) patterned

5. The word confine in line 17 is closest in meaning to

(A) adapt
(B) train

(C) restrict

(D) organize

6. It can be inferred from the passage that terra-cotta had which of the following advantages
(A) It did not break during the firing process.
(B) It was less expensive than other available materials.
(C) Its surface had a lasting shine.
(D) It could be used for many purposes.
7. The word presumably in line 21 is closest in meaning to

(A) frequently

(B) practically

8. The word they in line 23 refers to

(A) molds
(C) products

(C) preferably

(D) probably

(B) particular effects

(D) vessels and figurines

9. According to the passage, all of the following are true of ancient Greek potters and vase painters
EXCEPT:
(A) Their functions were so specialized that they lacked common concerns.
(B) They sometimes produced inferior ware.
(c) They produced pieces that had unusual color and shine.
(D) They decorated many of their works with human images.

The term art deco has come to encompass three distinct but related design trends
of the 1920s and 1930s. The first was what is frequently referred to as zigzag
moderne the exotically ornamental style of such skyscrapers as the Chrysler Building
Line in New York City and related structures such as the Paramount Theater in Oakland,
(5)
California The word zigzag alludes to the geometric and stylized ornamentation of
zigzags, angular patterns, abstracted plant and animal motifs, sunbursts, astrological
imagery, formalized fountains, and related themes that were applied in mosaic relief.
and mural form to the exterior and interior of the buildings. Many of these buildings were
shaped in the ziggurat form, a design resembling an ancient Mesopotamian temple tower
(10) that recedes in progressively smaller stages to the summit, creating a staircase-like effect.
The second manifestation of art deco was the 1930s streamlined moderne style a
Futuristic-looking aerodynamic style of rounded corners and horizontal bands known as
speed stripes. In architecture, these elements were frequently accompanied by round
windows, extensive use of glass block, and flat rooftops.
(15)

(20)

The third style, referred to as cither international stripped classicism, or simply

classical moderne, also came to the forefront during the Depression, a period of severe
economic difficult in the 1930s. This was amore conservative style, blending a
simplified modernistic style with a more austere form of geometric and stylized relief
sculpture and other ornament, including interior murals. May buildings in this style
were erected nationwide through government programs during the Depression.

Although art deco in its many forms was largely perceived as thoroughly modern,
it was strongly influenced by the decorative arts movements that immediately preceded
it. For example, like art nouveau (1890-1910), art deco also used plant motifs, but
regularized the forms into abstracted repetitive patterns rather than presenting them as
(25) flowing, asymmetrical foliage, Like the Viennese craftspeople of the Wiener Werkstatte,
art deco designers worked with exotic materials, geometricized shapes, and colorfully
ornate patterns. Furthermore, like the artisans of the Arts and Crafts Movement in England
and the United States, art deep practitioners considered it their mission to transform the
domestic environment through well-designed furniture and household accessories.
41. What aspect of art deco does the passage mainly discuss?
(A) The influence of art deco on the design of furniture and household accessories
(B) Ways in which government programs encouraged the development of art deco
(C) Architectural manifestations of art deco during the 1920s and 1930s
(D) Reasons for the popularity of art deco in New York and California
42. The word encompass in line 1 is closest in meaning to
(A) separate
(B) include
(C) replace
43. The phrase The first in line 2 refers to
(A) the term art deco
(C) the 1920s and 1930s

(D) enhance

(B) design trends

(D) skyscrapers

44. In line 9, the author mentions an ancient Mesopotamian temple tower in order to
(A) describe the exterior shape of certain art deco buildings
(B) explain the differences between ancient and modern architectural steles
(C) emphasize the extent of architectural advances
(D) argue for a return to more traditional architectural design
45. The streamlined moderne style is characterized by all of the following EXCEPT

(A) animal motifs

(C) round windows

(B) flat roofs

(D) speed stripes

46. The phrase came to the forefront in line 16 is closest in meaning to

(A) grew in complexity
(B) went through a process
(C) changed its approach
(D) became important
47. According to the passage, which of the following statements most accurately describes the
relationship between art deco and art nouveau?
(A) They were art forms that competed with each other for government support during the
Depression era.
(B) They were essentially the same art form.
(C) Art nouveau preceded art deco and influenced it.
(D) Art deco became important in the United States while art nouveau became popular in England.
48. According to the passage, a building having an especially ornate appearance would most probably
have been designed in the style of
(A) zigzag moderne
(B) streamlined moderne
(C) classical moderne
(D) the Arts and Crafts Movement
49. According to the passage, which of the following design trends is known by more than one name ?
(A) Zigzag moderne
(B) Streamlined moderne
(C) International stripped classicism
(D) Arts and Crafts Movement
50. The passage is primarily developed as
(A) the historical chronology of a movement
(B) a description of specific buildings that became famous for their unusual beauty
(C) an analysis of various trends within an artistic movement
(D) an argument of the advantages of one artistic form over another

A collection 2

During the seventeenth and eighteenth centuries, almost nothing was written about the
contributions of women during the colonial period and the early history of the newly
formed United States. Lacking the right to vote and absent from the seats of power, women
Line were not considered an important force in history. Anne Bradstreet wrote some significant
(5) poetry in the seventeenth century, Mercy Otis Warren produced the best contemporary
history of the American Revolution, and Abigail Adams penned important letters showing
she exercised great political influence over her husband, John, the second President of the
United States. But little or no notice was taken of these contributions. During these
centuries, women remained invisible in history books.
(10)

(15)

(20)

Throughout the nineteenth century, this lack of visibility continued, despite the efforts
of female authors writing about women. These writers, like most of their male counterparts,
were amateur historians. Their writings were celebratory in nature, and they were uncritical
in their selection and use of sources.
During the nineteenth century, however, certain feminists showed a keen sense of
history by keeping records of activities in which women were engaged. National, regional,
and local womens organizations compiled accounts of their doings. Personal
correspondence, newspaper clippings, and souvenirs were saved and stored. These sources
from the core of the two greatest collections of womens history in the United States one at
the Elizabeth and Arthur Schlesinger Library at Radcliffe College, and the other the Sophia
Smith Collection at Smith College. Such sources have provided valuable materials for later
Generations of historians.

Despite the gathering of more information about ordinary women during the nineteenth
Century, most of the writing about women conformed to the great women theory of
History, just as much of mainstream American history concentrated on great men. To
(25) demonstrate that women were making significant contributions to American life, female
authors singled out women leaders and wrote biographies, or else important women
produced their autobiographies. Most of these leaders were involved in public life as
reformers, activists working for womens right to vote, or authors, and were not
representative at all of the great of ordinary woman. The lives of ordinary people
(30) continued, generally, to be untold in the American histories being published.
10. What does the passage mainly discuss?
(A) The role of literature in early American histories
(B) The place of American women in written histories
(C) The keen sense of history shown by American women
(D)The great women approach to history used by American historians
11. The word contemporary in line 5 means that the history was
(A) informative
(B) written at that time
(C) thoughtful
(D) faultfinding
12. In the first paragraph, Bradstreet, Warren, and Adams are mentioned to show that
(A) a womans status was changed by marriage
(B) even the contributions of outstanding women were ignored
(C) only three women were able to get their writing published
(D) poetry produced by women was more readily accepted than other writing by women
13. The word celebratory in line 12 means that the writings referred to were
(A) related to parties
(B) religious
(C) serious

(D) full of praise

14. The word they in line 12 refers to

(A) efforts
(B) authors

(C) counterparts

(D) sources

15. In the second paragraph, what weakness in nineteenth-century histories does the author point out?
(A) They put too much emphasis on daily activities
(B) They left out discussion of the influence of money on politics.
(C) The sources of the information they were based on were not necessarily accurate.
(D) They were printed on poor-quality paper.
16. On the basis of information in the third paragraph, which of the following would most likely have been
collected by nineteenth-century feminist organizations?
(A) Newspaper accounts of presidential election results
(B) Biographies of John Adams
(C) Letters from a mother to a daughter advising her how to handle a family problem
(D) Books about famous graduates of the countrys first college
17. What use was made of the nineteenth-century womens history materials in the Schlesinger Library
and the Sophia Smith Collection?
(A) They were combined and published in a multivolume encyclopedia
(B) They formed the basis of college courses in the nineteenth century.
(C) They provided valuable information for twentiethcentury historical researchers.
(D) They were shared among womens colleges throughout the United States.
18. In the last paragraph, the author mentions all of the following as possible roles of nineteenth-century
great women EXCEPT
(A) authors
(B) reformers
(C) activists for womens rights
(D) politicians
19. The word representative in line 29 is closest in meaning to
(A) typical
(B) satisfied
(C) supportive

(D) distinctive

Question 20-29
The end of the nineteenth century and the early years of the twentieth century were
marked by the development of an international Art Nouveau style, characterized by sinuous
lines, floral and vegetable motifs, and soft evanescent coloration. The Art Nouveau style
Line was an eclectic one, bringing together elements of Japanese art, motifs of ancient cultures,
(5)
and natural forms. The glass objects of this style were elegant in outline, although often
deliberately distorted, with pale or iridescent surfaces. A favored device of the style was to
imitate the iridescent surface seen on ancient glass that had been buried. Much of the Art
Nouveau glass produced during the years of its greatest popularity had been generically
termed art glass. Art glass was intended for decorative purposes and relied for its effect
(10) on carefully chosen color combinations and innovative techniques.

(15)

(20)

(25)

France produced a number of outstanding exponents of the Art Nouveau style; among
the most celebrated was Emile Galle (1846-1904). In the United States, Louis Comfort
Tiffany (1843-1933) was the most noted exponent of this style, producing a great variety of
glass forms and surfaces, which were widely copied in their time and are highly prized
today. Tiffany was a brilliant designer, successfully combining ancient Egyptian, Japanese,
and Persian motifs.
The Art Nouveau style was a major force in the decorative arts from 1895 until 1915,
although its influence continued throughout the mid-1920s. It was eventually to be
overtaken by a new school of thought known as Functionalism that had been present since
the turn of the century. At first restricted to a small avant-garde group of architects and
designers, Functionalism emerged as the dominant influence upon designers after the First
World War. The basic tenet of the movement-that function should determine from-was
not a new concept. Soon a distinct aesthetic code evolved: from should be simple, surfaces
plain, and any ornament should be based on geometric relationships. This new design
concept, coupled with the sharp postwar reactions to the styles and conventions of the
preceding decades, created an entirely new public taste which caused Art Nouveau types of
glass to fall out of favor. The new taste demanded dramatic effects of contrast, stark outline
and complex textural surfaces.

20. What does paragraph 1 mainly discuss?

(A) Design elements in the Art Nouveau style
(B) The popularity of the Art Nouveau style
(C) Production techniques for art glass
(D) Color combinations typical of the Art Nouveau style
21. The word one in line 4 refers to
(A) century
(B) development

(C) style

(D) coloration

22. Para.1 mentions that Art Nouveau glass was sometimes similar to which aspect of ancient buried
glass
(A) The distortion of the glass
(B) The appearance of the glass surface
(C) The shapes of the glass objects
(D) The size of the glass objects
23. What is the main purpose of paragraph 2?
(A) To compare different Art Nouveau styles
(B) To give examples of famous Art Nouveau artists
(C) To explain why Art Nouveau glass was so popular in the United States
(D) To show the impact Art Nouveau had on other cultures around the world

24. The word prized in line 14 is closest in meaning to

(A) valued
(B) universal

(C) uncommon

25. The word overtaken in line 19 is closest in meaning to

(A) surpassed
(B) inclined
(C) expressed

(D) preserved

(D) applied

26. What does the author mean by stating that function should determine form (line 22)?
(A) A useful object should not be attractive.
(B) The purpose of an object should influence its form.

(C) The design of an object is considered more significant than its function.
(D) The form of an object should not include decorative elements.
27. It can be inferred from the passage that one reason Functionalism became popular was that it
(A) clearly distinguished between art and design
(B) appealed to people who liked complex painted designs
(C) reflected a common desire to break from the past
(D) was easily interpreted by the general public
28. Paragraph 3 supports which of the following statements about Functionalism?
(A) Its design concept avoided geometric shapes.
(B) It started on a small scale and then spread gradually.
(C) It was a major force in the decorative arts before the First World War.
(D) It was not attractive to architects all designers.
29. According to the passage, an object made in the Art Nouveau style would most likely include
(A) a flowered design
(B) bright colors
(C) modern symbols
(D) a textured surface

The Arts and Crafts Movement in the United States was responsible for sweeping changes in
attitudes toward the decorative arts, then considered the minor or household arts. Its focus on
decorative arts helped to induce United Slates museums and private collectors to begin collecting
Line furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early twentieth
(5)
centuries. The fact that artisans, who were looked on as mechanics or skilled workers in the
eighteenth century, are frequently considered artists today is directly attributable to the Arts and
Crafts Movement of the nineteenth century. The importance now placed on attractive and
harmonious home decoration can also be traced to this period, when Victorian interior
arrangements were revised to admit greater light and more freely flowing spaces.
(10)

(15)

(20)

(30)

The Arts and Crafts Movement reacted against mechanized processes that threatened
handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late nineteenth
century by British social critics John Ruskin and William Morris, the movement revered craft as a
form
of art. In a rapidly industrializing society, most Victorians agreed that art was an essential moral
ingredient in the home environment, and in many middle- and working-class homes craft was the
only
form of art, Ruskin and his followers criticized not only the degradation of artisans reduced to
machine
operators, but also the impending loss of daily contact with handcrafted objects, fashioned with
pride,
integrity, and attention to beauty.
In the United States as well as in Great Britain, reformers extolled the virtues of handcrafted
objects: simple, straightforward design; solid materials of good quality; and sound, enduring
construction techniques. These criteria were interpreted in a variety of styles, ranging from rational
and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated, the
consistent theme in virtually all Arts and Crafts design is nature.
The Arts and Crafts Movement was much more than a particular style; it was a philosophy of
domestic life. Proponents believed that if simple design, high-quality materials, and honest
construction were realized in the home and its appointments, then the occupants would enjoy moral
and therapeutic effects. For both artisan and consumer,
the Arts and Crafts doctrine was seen as a magical force against the undesirable effects of
industrialization.

41. The passage primarily focuses on nineteenth-century arts and crafts in terms of which of the
following?
(A) Their naturalistic themes
(B) Their importance in museum collections
(C) Their British origin
(D) Their role in an industrialized society
42. According to the passage, before the nineteenth century, artisans were thought to be
(A) defenders of moral standards
(B) creators of cheap merchandise
(C) skilled workers
(D) artists
43. It can be inferred from the passage that the Arts and Crafts Movement would have considered ail of
the following to be artists EXCEPT
(A) creators of textile designs
(B) people who produce handmade glass objects
(C) operators of machines that automatically cut legs, for furniture
(D) metalworkers who create unique pieces of jewelry

44. The word "revered" in line 12 is closest in meaning to

(A) respected
(B) described
(C) avoided

(D) created

45. According to paragraph 2, the handcrafted objects in the homes of middle- and working-class families
usually were
(A) made by members of the family
(B) the least expensive objects in their homes
(C) regarded as being morally uplifting
(D) thought to symbolize progress
46. The word "extolled" in line 18 is closest in meaning to
(A) exposed
(B) praised
(C) believed

(D) accepted

47. The author mentions all of the following as attributes of handcrafted objects EXCEPT
(A) the pride with which they were crafted
(B) the complexity of their design
(C) the long time that they lasted
(D) the quality of their materials
48. The word "consistent" in line 22 is closest in meaning to
(A) conservative
(B) considerable
(C) constant

(D) concrete

49. According to the passage, which of the following changes occurred at the same time as the Arts and
Crafts Movement?
(A) The creation of brighter and more airy spaces inside homes
(B) The rejection of art that depicted nature in a realistic manner
(C) A decline of interest in art museum collections
(D) An increase in the buying of imported art objects
50. Which of the following statements is supported by the passage?
(A) Private collectors in the nineteenth century concentrated on acquiring paintings.
(B) The Arts and Crafts Movement in the United States, unlike the one in Britain, did not react
strongly against mechanized processes.
(C) Handcrafted objects in the United States and Britain in the nineteenth century did not use
geometric designs.
(D) The Arts and Crafts Movement believed in the beneficial effect for people from being
surrounded by beautiful objects.

Perhaps the most obvious way artistic creation reflect how people live is by
mirroring the environment-the materials and technologies available to a culture.
Stone, wood, tree bark, clay, and sand are generally available materials. In addition,
Line depending on the locality, other resources may be accessible: shells, horns, gold,
(5)
copper, and silver. The different uses to which societies put these materials are of
interest to anthropologists who may ask, for example, why a people chooses to use
clay and not copper when both items are available. Although there are no conclusive
answers yet, the way in which a society views its environment is sometimes apparent
in its choice and use of artistic materials. The use of certain metals, for example, may
(10) be reserved for ceremonial objects of special importance. Or the belief in the
supernatural powers of a stone or tree may cause a sculptor to be sensitive to that
material.
What is particularly meaningful to anthropologist is the realization that although
the materials available to a society may to some extent limit or influence what it can do
(15) artistically, the materials by no means determine what is done. Why does the artist in
Japanese society rake sand into patterns; and the artist in Roman society melt sand to
form glass? Moreover, even when the same material is used in the same way by
members of different societies, the form or style of the work varies enormously from
culture to culture. A society may simply choose to represent objects or phenomena that
(20) are important to its population. An examination of the art of the Middle Ages tells us
something about the medieval preoccupation with theological doctrine. In addition to
revealing the primary concerns of a society, the content of that society's art may also
reflect the culture's social stratification.
1. According to the passage, gold, copper, and silver are
(A) more difficult to handle than wood and stone
(B) commonly used by artists in all societies
(C) essential to create ceremonial objects
(D) available only in specific locations
2. The word "conclusive" in line 7 is closest in meaning to
(A) definitive
(B) controversial
(C) concurrent

(D) realistic

3. The word "apparent" in line 8 is closest in meaning to

(A) attractive
(B) logical
(C) evident

(D) distinct

4. Why does the author mention the "supernatural powers of a stone or tree" in line 11?
(A) To show that some sculptors avoid working with specific materials
(B) To emphasize the unusual properties of certain materials
(C) As an example of how art can be influenced by cultural beliefs
(D) As an illustration of the impact of the environment on religious beliefs
5. The word "it" in line 14 refers to
(A) realization
(B) society

(C) extent

(D) influence

6. It can be inferred that the author mentions the Japanese and Roman societies because

(A) they influenced each other

(B) of their stable social conditions
(C) of the unique stylistic features of their art
(D) they used the same artistic material in very different ways
7. According to the passage, all of the following statements about sand are true EXCEPT
(A) It is used to create glass.
(B) Roman artists mix it into their paints.
(C) Its use varies from culture to culture.
(D) Japanese artists use it to create artistic patterns.
8. The word "Moreover" in line 17 is closest in meaning to
(A) similarly
(B) in addition
(C) in contrast

(D) frequently

9. The word "preoccupation" in line 21 is closest in meaning to

(A) involvement
(B) separation
(C) relationship

(D) argument

10. The word "primary" in line 22 is closest in meaning to

(A) discrete
(B) preliminary
(C) ideal

(D) fundamental

The development of jazz can be seen as part of the larger continuum of American
popular music, especially dance music. In the twenties, jazz became the hottest new
thing in dance music, much as ragtime had at the turn of the century, and as would
Line rhythm and blues in the fifties, rock in the fifties, and disco in the seventies.
(5)

(10)

But two characteristics distinguish jazz from other dance music. The first is
improvisation, the changing of a musical phrase according to the player's inspiration.
Like all artists, jazz musicians strive for an individual style, and the improvise or
paraphrase is a jazz musician's main opportunity to display his or her individuality.
In early jazz, musicians often improvised melodies collectively, thus creating a kind of
polyphony. There was little soloing as such, although some New Orleans players,
particularly cornet player Buddy Bolden, achieved local fame for their ability to improvise
a solo. Later the idea of the chorus-long or multichorus solo took hold. Louis Armstrong's
instrumental brilliance, demonstrated through extended solos, was a major influence in
this development.

(15)

Even in the early twenties, however, some jazz bands had featured soloists.
Similarly, show orchestras and carnival bands often included one or two such "get-off"
musicians. Unimproved, completely structured jazz does exist, but the ability of the
best jazz musicians to create music of great cohesion and beauty during performance
has been a hallmark of the music and its major source of inspiration and change.

(20)

The second distinguishing characteristic of jazz is a rhythmic drive that was initially
called "hot" and later "swing". In playing hot, a musician consciously departs from
strict meter to create a relaxed sense of phrasing that also emphasizes the underlying
rhythms. ("Rough" tone and use of moderate vibrato also contributed to a hot sound.)
Not all jazz is hot, however, many early bands played unadorned published arrangements
of popular songs. Still, the proclivity to play hot distinguished the jazz musician from
other instrumentalists.

(25)

41. The passage answers which of the following questions?

(A) Which early jazz musicians most Influenced rhythm and blues music?
(B) What are the differences between jazz and other forms of music?
(C) Why Is dancing closely related to popular music in the United States?
(D) What Instruments comprised a typical jazz band of the 1920's?
42. Which of the following preceded jazz as a popular music for dancing?
(A) Disco
(B) Rock
(C) Rhythm and blues

(D) Ragtime

43. According to the passage, jazz musicians are able to demonstrate their individual artistry mainly by?
(A) creating musical variations while performing
(B) preparing musical arrangements
(C) reading music with great skill
(D) being able to play all types of popular music
44. Which of the following was the function of "get-off" musicians (line 16)?
(A) Assist the other band members in packing up after a performance
(B) Teach dance routines created for new music
(C) Lead the band
(D) Provide solo performances in a band or orchestra

45. The word "cohesion" in line 18 is closest in meaning to

(A) sorrow
(B) fame
(C) unity

(D) vibration

46. The word "initially" in line 20 is closest in meaning to

(A) at first
(B) shortly
(C) alphabetically

(D) in fact

47. The word "consciously" in line 21 is closest in meaning to

(A) carelessly
(B) easily
(C) periodically

(D) purposely

48. The word "unadorned" in line 24 is closest in meaning to

(A) lovely
(B) plain
(C) disorganized

(D) inexpensive

49. Which of the following terms is defined in the passage?

(A) "improvisation" (line 6)
(B) "polyphony" (line 10)
(C) "cornet player (line 11)
(D) "multichorus (line 12)
50. The topic of the passage is developed primarily by means of
(A) dividing the discussion into two major areas
(B) presenting contrasting points of view
(C) providing biographies of famous musician
(D) describing historical events in sequence

Collection 3

(5)

(10)

(15)

(20)

In science, a theory is a reasonable explanation of observed events that are related.

A theory often involves an imaginary model that helps scientists picture the way an
observed event could be produced. A good example of this is found in the kinetic
molecular theory, in which gases are pictured as being made up of many small particles
that are in constant motion.
A useful theory, in addition to explaining past observations, helps to predict events
that have not as yet been observed. After a theory has been publicized, scientists design
experiments to test the theory. If observations confirm the scientists' predictions, the
theory is supported. If observations do not confirm the predictions, the scientists must
search further. There may be a fault in the experiment, or the theory may have to be
revised or rejected.
Science involves imagination and creative thinking as well as collecting information
and performing experiments. Facts by themselves are not science. As the mathematician
Jules Henri Poincare said: "Science is built with facts just as a house is built with
bricks, But a collection of facts cannot be called science any more than a pile of bricks
can be called a house."
Most scientists start an investigation by finding out what other scientists have
learned about a particular problem. After known facts have been gathered, the scientist
comes to the part of the investigation that requires considerable imagination. Possible
solutions to the problem are formulated. These possible solutions are called hypotheses.
In a way, any hypothesis is a leap into the unknown. It extents the scientist's
thinking beyond the known facts. The scientist plans experiments, performs calculations
and makes observations to test hypotheses. For without hypotheses, further investigation
lacks purpose and direction. When hypotheses are confirmed, they are incorporated
into theories.

1. The word "related" in line 1 is closest in meaning to

(A) connected
(B) described

(C) completed

2. The word "this" in line 3 refers to

(A) a good example
(C) the kinetic molecular theory

(B) an imaginary model

(D) an observed event

(D) identified

3. According to the second paragraph, a useful theory is one that helps scientists to
(A) find errors in past experiments
(B) make predictions
(C) observe events
(D) publicize new findings
4. The word "supported" in line 9 is closest in meaning to
(A) finished
(B) adjusted
(C) investigated
5. Bricks are mentioned in lines 14-16 to indicate how
(A) mathematicinans approach science
(B) building a house is like performing experiments
(C) science is more than a collection of facts
(D) scientific experiments have led to improved technology

(D) upheld

6. In the fourth paragraph, the author implies that imagination is most important to scientists when they
(A) evaluate previous work on a problem
(B) formulate possible solutions to a problem
(C) gather known facts
(D) close an investigation
7. In line 21, the author refers to a hypotheses as "a leap into the unknown" in order to show that
hypotheses
(A) are sometimes ill-conceived
(B) can lead to dangerous resultss
(C) go beyond available facts
(D) require effort to formulate
8. In the last paragraph, what does the author imply a major function of hypotheses?
(A) Sifting through known facts
(B) Communicating a scientist's thoughts to others
(C) Providing direction for scientific research
(D) Linking together different theories
9. Which of the following statements is supported by the passage?
(A) Theories are simply imaginary models of past events.
(B) It is better to revise a hypothesis than to reject it.
(C) A scientist's most difficult task is testing hypotheses.
(D) A good scientist needs to be creative.

Nineteenth-century writers in the United States, whether they wrote novels, short
stories, poems, or plays, were powerfully drawn to the railroad in its golden year. In
fact, writers responded to the railroads as soon as the first were built in the 1830's. By
Line the 1850's, the railroad was a major presence in the life of the nation. Writers such as
(5)
Ralph Waldo Emerson and Henry David Thoreau saw the railroad both as a boon to
democracy and as an object of suspicion. The railroad could be and was a despoiler of
nature; furthermore, in its manifestation of speed and noise, it might be a despoiler of
human nature as well. By the 1850's and 1860's, there was a great distrust among writer
and intellectuals of the rapid industrialization of which the railroad was a leading force.
(10) Deeply philosophical historians such as Henry Adams lamented the role that the new
frenzy for business was playing in eroding traditional values. A distrust of industry and
business continued among writers throughout the rest of the nineteenth century and into
the twentieth.
(15)

(20)

For the most part, the literature in which the railroad plays an important role belong
to popular culture rather than to the realm of serious art. One thinks of melodramas,
boys' books, thrillers, romances, and the like rather than novels of the first rank. In the
railroads' prime years, between 1890 and 1920, there were a few individuals in the
United States, most of them with solid railroading experience behind them, who made
a profession of writing about railroading-works offering the ambience of stations,
yards, and locomotive cabs. These writers, who can genuinely be said to have created a
genre, the "railroad novel." are now mostly forgotten, their names having faded from
memory. But anyone who takes the time to consult their fertile writings will still find a
treasure trove of information about the place of the railroad in the lift of the United
States.

23. With which of the following topics is the passage mainly concerned?
(A) The role of the railroad in the economy of the United States.
(B) Major nineteenth-century writers.
(C) The conflict between expanding industry and preserving nature.
(D) The railroad as a subject for literature.
24. The word "it" in line 7 refers to
(A) railroad
(B) manifestation

(C) speed

(D) nature

25. In the first paragraph, the author implies that writers' reactions to the development of railroads were
(A) highly enthusiastic
(B) both positive and negative
(C) unchanging
(D) disinterested
26. The word "lamented" in line 10 is closest in meaning to
(A) complained about
(B) analyzed
(C) explained

(D) reflected on

27. According to the passage, the railroad played a significant role in literature in all of the following kinds
of books EXCEPT
(A) thrillers
(B) boys' books
(C) important novels
(D) romances
28. The phrase "first rank" in line 16 is closest in meaning to
(A) largest category
(B) highest quality
(C) earliest writers
(D) most difficult language
29. The word "them" in line 18 refers to

(A) novels

(B) years

(C) individuals

(D) works

30. The author mentions all of the following as being true about the literature of railroads EXCEPT that
(A) many of its writers had experience working on railroads
(B) many of the books were set in railroad stations and yards
(C) the books were well known during the railroads' prime years.
(D) quite a few of the books are still popular today.
31. The words "faded from" in line 21 are closest in meaning to
(A) grew in
(B) disappeared from
(C) remained in
(D) developed from
32. What is the author's attitude toward the "railroad novels" and other books about railroads written
between 1890 and 1920?
(A) They have as much literary importance as the books written by Emerson, Thoreau, and Adams.
(B) They are good examples of the effects industry and business had on the literature of the United
States.
(C) They contributed to the weakening of traditional values.
(D) They are worth reading as sources of knowledge about the impact of railroads on life in the
United States.

There are many theories about the beginning of drama in ancient Greece. The one
most widely accepted today is based on the assumption that drama evolved from ritual.
The argument for this view goes as follows. In the beginning, human beings viewed
Line the natural forces of the world, even the seasonal changes, as unpredictable, and they
(5)
sought, through various means, to control these unknown and feared powers. Those
measures which appeared to bring the desired results were then retained and repeated
until they hardened into fixed rituals. Eventually stories arose which explained or
veiled the mysteries of the rites. As time passed some rituals were abandoned, but
the stories, later called myths, persisted and provided material for art and drama.
(10)

(15)

(20)

Those who believe that drama evolved out of ritual also argue that those rites
contained the seed of theater because music, dance, masks, and costumes were almost
always used. Furthermore, a suitable site had to be provided for performances, and
when the entire community did not participate, a clear division was usually made
between the "acting area" and the "auditorium". In addition, there were performers,
and, since considerable importance was attached to avoiding mistakes in the enactment
of rites, religious leaders usually assumed that task. Wearing masks and costumes, they
often impersonated other people, animals, or supernatural beings, and mimed the desired
effect success in hunt or battle, the coming rain, the revival of the Sun as an actor
might. Eventually such dramatic representations were separated from religious
activities.
Another theory traces the theater's origin from the human interest in storytelling.
According to this view, tales (about the hunt, war, or other feats) are gradually
elaborated, at first through the use of impersonation, action, and dialogue by a narrator
and then through the assumption of each of the roles by a different person. A closely
related theory traces theater to those dances that are primarily rhythmical and
gymnastic or that are imitations of animal movements and sounds.

31. What does the passage mainly discuss?

(A) The origins of theater
(C) The importance of storytelling

(B) The role of ritual in modern dance

(D) The variety of early religious activities

32. The word "they" in line 4 refers to

(A) seasonal changes
(C) theories

(B) natural forces

(D) human beings

33. What aspect of drama does the author discuss in the first paragraph?
(A) The reason drama is often unpredictable
(B) The seasons in which dramas were performed
(C) The connection between myths and dramatic plots
(D) The importance of costumes in early drama
34. Which of the following is NOT mentioned as a common element of theater and ritual?
(A) Dance
(B) Costumes
(C) Music
(D) Magic
35. The word "considerable" in line 15 is closest in meaning to
(A) thoughtful
(B) substantial
(C) relational
(D) ceremonial
36. The word "enactment" in line 15 is closest in meaning to
(A) establishment
(B) performance
(C) authorization

(D) season

37. The word "they" in line 16 refers to

(A) mistakes
(B) costumes

(C) animals

(D) performers

38. According to the passage, what is the main difference between ritual and drama?
(A) Ritual uses music whereas drama does not.
(B) Ritual is shorter than drama.
(C) Ritual requires fewer performers than drama.
(D) Ritual has a religious purpose and drama does not.
39. The passage supports which of the following statements?
(A) No one really knows how the theater began.
(B) Myths are no longer represented
dramatically.
(C) Storytelling is an important part of dance.
(D) Dramatic activities require the use of
costumes.
40. Where in the passage does the author discuss the separation of the stage and the audience?
(A) Lines 8-9
(B) Lines 12-14
(C) Lines 19-20
(D) Lines 22-24

Accustomed though we are to speaking of the films made before 1927 as "silent",
the film has never been, in the full sense of the word, silent. From the very beginning,
music was regarded as an indispensable accompaniment; when the Lumiere films were
Line shown at the first public film exhibition in the United States in February 1896, they
(5)
were accompanied by piano improvisations on popular tunes. At first, the music played
bore no special relationship to the films; an accompaniment of any kind was sufficient.
Within a very short time, however, the incongruity of playing lively music to a solemn
film became apparent, and film pianists began to take some care in matching their
pieces to the mood of the film.
(10)

As movie theaters grew in number and importance, a violinist, and perhaps a cellist,
would be added to the pianist in certain cases, and in the larger movie theaters small
orchestras were formed. For a number of years the selection of music for each film
program rested entirely in the hands of the conductor or leader of the orchestra, and
very often the principal qualification for holding such a position was not skill or taste
(15) so much as the ownership of a large personal library of musical pieces. Since the
conductor seldom saw the films until the night before they were to be shown (if,
indeed, the conductor was lucky enough to see them then), the musical arrangement
was normally improvised in the greatest hurry.
(20)

(25)

To help meet this difficulty, film distributing companies started the practice of
publishing suggestions for musical accompaniments. In 1909, for example, the Edison
Company began issuing with their films such indications of mood as "pleasant', "sad",
"lively". The suggestions became more explicit, and so emerged the musical cue sheet
containing indications of mood, the titles of suitable pieces of music, and precise
directions to show where one piece led into the next.
Certain films had music especially composed for them. The most famous of these
early special scores was that composed and arranged for D. W. Griffith's film Birth of
a Nation, which was released in 1915.

11. The passage mainly discusses music that was

(A) performed before the showing of a film
(B) played during silent films
(C) specifically composed for certain movie theaters
(D) recorded during film exhibitions
12. What can be inferred that the passage about the majority of films made after 1927?
(A) They were truly "silent".
(B) They were accompanied by symphonic orchestras.
(C) They incorporated the sound of the actors' voices.
(D) They corresponded to specific musical compositions.
13. The word "solemn" in line 7 is closest in meaning to
(A) simple
(B) serious

(C) short

(D) silent

14. It can be inferred that orchestra conductors who worked in movie theaters needed to

(A) be able to play many instruments

(C) be familiar with a wide variety of music
15. The word "them" in line 17 refers to
(A) years
(B) hands

(B) have pleasant voices

(D) be able to compose original music
(C) pieces

(D) films

16. According to the passage, what kind of business was the Edison Company?
(A) It produced electricity.
(B) It distributed films.
(C) It published musical arrangements.
(D) It made musical instruments.
17. It may be inferred from the passage that the first musical cue sheets appeared around
(A) 1896
(B) 1909
(C) 1915
(D) 1927
18. Which of the following notations is most likely to have been included on a musical cue sheet of the
early 1900's?
(A) "Calm, peaceful"
(B) "Piano, violin"
(C) "Key of C major"
(D) "Directed by D. W. Griffith"
19. The word "composed" in line 26 is closest in meaning to
(A) selected
(B) combined
(C) played
20. The word "scores" in line 26 is closest in meaning to
(A) totals
(B) successes
(C) musical compositions
(D) groups of musicians
21. The passage probably continues with a discussion of
(A) famous composers of the early twentieth century
(B) other films directed by D. W. Griffith
(C) silent films by other directors
(D) the music in Birth of a Nation

(D) created

Collection 4

Lin
e
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(10)

(15)

(20)

The medieval artists didnt know about perspective; they didnt want to make their
people look like real, individual people in a real, individual scene. They wanted to show the
truth, the eternal quality of their religious stories. So these artists didnt need to know
about perspective.
In the European Renaissance period, artists wanted to show the importance of the
individual person and his or her possessions and surroundings. A flat medieval style
couldnt show this level of reality and the artists needed a new technique. It was the Italian
artist Brunelleschi who discovered the technique of perspective drawing. At first the artists
of the Renaissance only had single-point perspective. Later they realized that they could
have two-pointed perspective and still later multi-point perspective.
With two-point perspective they could turn an object (like a building) at an angle to
the picture and draw two sides of it. The technique of perspective which seems so natural
to us now is an invented technique, a part of the grammar of painting. Like all bits of
grammar there are exceptions about perspective. For example, only vertical and horizontal
surfaces seem to meet on eye level. Sloping roof tops dont meet on eye level.
For 500 years, artists in Europe made use of perspective drawing in their pictures.
Nevertheless, there are a range of priorities that artists in displaying individual styles.
Crivelli wanted to show depth in his picture and he used a simple single-point perspective.
Cezanne always talked about space and volume. Van Gogh, like some of the other
painters of the Impressionist period, was interested in Japanese prints. And Japanese
artists until this century were always very strong designers of flat pictures. Picasso
certainly made pictures which have volume and depth. However, he wanted to keep our
eyes on the surface and to remind us that his paintings are paintings and not illusions.
It is technically easy to give an illusion of depth. However, a strong two dimensional
design is just as important as a feeling of depth, and perhaps more important.

(25)
20. The passage mainly discusses
(A) the difference between medieval and Renaissance art
(B) how the technique of perspective influenced the modern art
(C) the discovery of the technique of perspective
(D) the contribution of Renaissance artists
21. The word eternal in line 3 is closest in meaning to
(A) timeless
(B) infinite

(C) frequent

(D) constant

22. According to the passage, which is the main concern for medieval artists?
(A) the individual person and his/her possessions and surroundings
(B) real people, real scenes
(C) eternal timeless truth of the earth
(D) themes of religious stories
23. The discovery of perspective was the result of
(A) Renaissance artists to prove that the medieval artists could show level of reality
(B) the need to turn an object at an angle and draw more than one side of it
(C) the subject being shifted from religious stories to individual person and surroundings.
(D) natural evolution of human senses

24. The word it in line 12 refers to

(A) the picture
(B) perspective

(C) angle

(D) the object

25. The word Grammar in line 13 is closest in meaning to

(A) construction
(B) grammatical rules
(C) rules and regulations
(D) tones and volume
26. The authors purpose to give the example in line14-15 is to
(A) explain how perspective work in painting
(B) support two-pointed perspective
(C) illustrate that there are exceptions about perspective
(D) point out that the technique of perspective though seems so natural is an invented technique
27. The following artists priorities in style shift away from perspective EXCEPT
(A) Crivelli
(B) Cezanne
(C) Japanese artists

(D) Brunelleschi

28. The word Illusion in line 25 is closest in meaning to

(A) deception
(B) photograph
(C) decoration

(D) illustration

29. It can be inferred from the passage that Renaissance artists

(A) embraced the medieval style of eternal truth
(B) needed to develop a new approach towards painting to show a new level of reality
(C) were inspired by vertical and horizontal surfaces in inventing the technique of perspective
(D) saw two dimensional design more important than a feeling of depth

Lin
e
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(10)

(15)

(20)

(25)

Philosophy in the second half of the 19th century was based more on biology and
history than on mathematics and physics. Revolutionary thought drifted away from
metaphysics and epistemology and shifted more towards ideologies in science, politics,
and sociology. Pragmatism became the most vigorous school of thought in American
philosophy during this time, and it continued the empiricist tradition of grounding
knowledge on experience and stressing the inductive procedures of experimental science.
The three most important pragmatists of this period were the American philosophers
Charles Peirce (1839-1914), considered to be the first of the American pragmatists,
William James (1842-1910), the first great American psychologist, and John Dewey
(1859-1952), who further developed the pragmatic principles of Peirce and James into a
comprehensive system of thought that he called experimental naturalism, or
instrumentalism.
Pragmatism was generally critical of traditional western philosophy, especially the
notion that there are absolute truths and absolute values. In contrast, Josiah Royce (18551916), was a leading American exponent of idealism at this time, who believed in an
absolute truth and held that human thought and the external world were unified.
Pragmatism called for ideas and theories to be tested in practice, assessing whether they
produced desirable or undesirable results. Although pragmatism was popular for a time in
Europe, most agree that it epitomized the American faith in know-how and practicality, and
the equally American distrust of abstract theories and ideologies. Pragmatism is best
understood in its historical and cultural context. It arose during a period of rapid scientific
advancement, industrialization, and material progress; a time when the theory of evolution
suggested to many thinkers that humanity and society are in a perpetual state of progress.
This period also saw a decline in traditional religious beliefs and values. As a result, it
became necessary to rethink fundamental ideas about values, religion, science,
community, and individuality. Pragmatists regarded all theories and institutions as
tentative hypotheses and solutions. According to their critics, the pragmatists refusal to
affirm any absolutes carried negative implications for society, challenging the foundations
of societys institutions.

11. What is this passage primarily about?

(A) the evolution of philosophy in the second half of the 19th century
(B) the three most important American pragmatists of the late 19th century
(C) the differences between pragmatism and traditional western philosophy
(D) American pragmatism
12. Which of the following is true
(A) idealism was an important part of the pragmatic approach
(B) pragmatism was also known as traditional western philosophy
(C) pragmatism continued the empiricist tradition
(D) pragmatism is best understood independently of its historical and cultural context
13. Which of the following is true, according to the passage
(A) absolute truths and values are notions in western traditional philosophy
(B) John Dewey was the first great American psychologist
(C) the empiricist tradition is part of traditional western philosophy
(D) revolutionary thought was not pragmatic
14. The phrase at this time in line 14 refers to

(A) at the time traditional western philosophy was dominant in America

(B) at the time pragmatism was popular in Europe
(C) 1855-1916
(D) the second half of the 19th century
15. According to the passage, pragmatism was more popular in America than Europe because
(A) Americans had greater acceptance of the theory of evolution
(B) it epitomized the American faith in know-how and practicality
(C) Europe had a more traditional society based on a much longer history
(D) industrialization and material progress was occurring at a faster pace in America at that time
16. The word abstract in line 19 is closest in meaning to
(A) unclear
(B) not concrete
(C) new

(D) old

17. The word perpetual in line 22 is closest in meaning to

(A) challenging
(B) continuous
(C) declining

(D) secular

18. The word fundamental in line 24 is closest in meaning to

(A) new
(B) personal
(C) essential

(D) threatening

19. All of the following are true EXCEPT

(A) revolutionary thought shifted more towards ideologies in science, politics and sociology
(B) pragmatists regarded all theories and institutions as tentative hypotheses and solutions
(C) Josiah Royce was not a pragmatist
(D) pragmatism was based on the theory of evolution
20. Which of the following can be inferred from the passage?
(A) Josiah Royce considered Charles Peirce to be challenging the foundations of societys
institutions
(B) Charles Peirce considered Josiah Royce to be too influenced by the theory of evolution
(C) John Dewey would not have developed his system of thought called experimental naturalism
or instrumentalism without the pioneering work of Charles Peirce and William James
(D) Josiah Royce was a revolutionary thinker

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(10)

(15)

(20)

William Sydney Porter (1862-1910), who wrote under the pseudonym of O. Henry,
was born in North Carolina. His only formal education was to attend his Aunt Linas school
until the age of fifteen, where he developed his lifelong love of books. By 1881 he was a
licensed pharmacist. However, within a year, on the recommendation of a medical
colleague of his Fathers, Porter moved to La Salle County in Texas for two years herding
sheep. During this time, Websters Unabridged Dictionary was his constant companion,
and Porter gained a knowledge of ranch life that he later incorporated into many of his
short stories. He then moved to Austin for three years, and during this time the first
recorded use of his pseudonym appeared, allegedly derived from his habit of calling Oh,
Henry to a family cat. In 1887, Porter married Athol Estes. He worked as a draftsman,
then as a bank teller for the First National Bank.
In 1894 Porter founded his own humor weekly, the Rolling Stone, a venture that
failed within a year, and later wrote a column for the Houston Daily Post. In the meantime,
the First National Bank was examined, and the subsequent indictment of 1886 stated that
Porter had embezzled funds. Porter then fled to New Orleans, and later to Honduras,
leaving his wife and child in Austin. He returned in 1897 because of his wifes continued illhealth, however she died six months later. Then, in 1898 Porter was found guilty and
sentenced to five years imprisonment in Ohio. At the age of thirty five, he entered prison
as a defeated man; he had lost his job, his home, his wife, and finally his freedom. He
emerged from prison three years later, reborn as O. Henry, the pseudonym he now used
to hide his true identity. He wrote at least twelve stories in jail, and after re-gaining his
freedom, went to New York City, where he published more than 300 stories and gained
fame as Americas favorite short Story writer. Porter married again in 1907, but after
months of poor health, he died in New York City at the age of forty-eight in 1910. O.
Henrys stories have been translated all over the world.

1. Why did the author write the passage?

(A) because it is a tragic story of a gifted writer
(B) to outline the career of a famous American
(C) because of his fame as Americas favorite short story writer
(D) to outline the influences on O. Henrys writing
2. According to the passage, Porters Father was
(A) responsible for his move to La Salle County in Texas
(B) the person who gave him a life-long love of books
(C) a medical doctor
(D) a licensed pharmacist
3. The word allegedly in line 9 is closest in meaning to
(A) supposedly
(B) reportedly
(C) wrongly
4. Which of the following is true, according to the passage?
(A) both of Porters wives died before he died
(B) Porter left school at 15 to become a pharmacist
(C) Porter wrote a column for the Houston Daily Post called Rolling Stone
(D) the first recorded use of his pseudonym was in Austin
5. The word venture in line 12 is closest in meaning to
(A) challenging experiment
(C) speculative action

(B) bold initiative

(D) sorry experience

(D) mistakenly

6. The word subsequent in line 14 is closest in meaning to

(A) resulting
(B) police
(C) alleged

(D) official

7. Porter lost all of the following when he went to prison EXCEPT his
(A) home
(B) wife
(C) job

(D) books

8. According to the author, how many stories did Porter write while in prison for three years?
(A) more than 300
(B) 35
(C) at least 12
(D) over 20
9. The author implies which of the following is true?
(A) Porter would probably have written less stories if he had not been in prison for three years
(B) Porter was in poor health throughout his life
(C) O. Henry is as popular in many other countries as he is in America
(D) Porters wife might have lived longer if he had not left her in Austin when he fled.
10. Where in the passage does the author mention a habit of Porter that was to become very useful for
him later?
(A) lines 6-10
(B) lines 11-15
(C) lines 16-20
(D) lines 21-25

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(10)

(15)

(20)

(25)

Alexis de Tocqueville, the French political scientist, historian, philosopher and

politician, is most famous for a four-volume book he wrote called Democracy in America.
He came to America in 1831 to study the American form of democracy and what it might
mean to the rest of the world. After a visit of only nine months, he wrote a remarkable book
which is regarded as a classic. De Tocqueville had unusual powers of observation. He
described not only the democratic system of government and how it operated, but also its
effect on how Americans think, feel, and act. Many scholars believe he had a deeper
understanding of traditional American beliefs and values than anyone else who has written
about the United States. What is so remarkable is that many of these traits which he
observed nearly 200 years ago, are still visible and meaningful today. His observations are
also important because the timing of his visit, the 1830s, was before America was
industrialized. This was the era of the small farmer, the small businessman, and the
settling of the western frontier. It was the period of history when the traditional values of
the new country were newly established. In just a generation, some 40 years since the
adoption of the U.S. Constitution, the new form of government had already produced a
society of people with unique values. He was, however, a neutral observer and saw both
the good and bad sides of these qualities.
The first part of Democracy in America was written in 1831-32 and published in
1835. A highly positive and optimistic account of American government and society, the
book was very well received. He attempted to get a glimpse of the essence of American
society, all the while promoting his own philosophy: the equaling of the classes and the
inevitable depth of aristocratic privilege. The rest of the book he labored on for four years,
and in 1840 the second part was published. This was substantially more pessimistic than
the first, warning of the dangers despotism and governmental centralization, and applying
his ideas and criticisms more directly to France. As a result, it was not received as well as
the first part, except in England where it was acclaimed highly.

11. What is the passage primarily about?

(A) Alexis de Tocqueville
(B) Democracy in America
(C) the progress achieved in America within about 40 years after adoption of the U.S. Constitution
(D) the impact of the book Democracy in America
12. All of the following fields of professional interest and activity are used to describe de Tocqueville
EXCEPT
(A) philosopher
(B) author
(C) political scientist
(D) politician
13. According to the passage, when did de Tocqueville visit America
(A) 1830s
(B) 1831
(C) 1831-32
14. The phrase these traits in lines 9-10 refers to
(A) observations
(C) traditional American beliefs and values

(D) 1835

(B) how Americans think, feel, and act

(D) visible and meaningful observations

15. What in the passage is mentioned as being truly remarkable?

(A) many of his observations are still visible and meaningful today
(B) the book was so detailed and thorough after only such a comparatively short visit
(C) that the second volume should be so pessimistic in comparison with the first
(D) de Tocquevilles powers of observation
16. The word unique in line 16 is closest in meaning to
(A) clearly identifiable
(B) outstanding
(C) unmatched
(D) positive
17. The word neutral in line 16 is closest in meaning to
(A) impartial
(B) careful
(C) important

(D) thorough

18. Which of the following can be inferred from the passage?

(A) the English dont like the French
(B) the book was most important because it was the first time that American values had been
clearly documented
(C) de Tocqueville was a slow writer
(D) de Tocqueville was primarily motivated by an interest in his own country
19. The word glimpse in line 20 is closest in meaning to
(A) overview
(B) glance
(C) brief understanding
(D) quick conclusion
20. According to the passage, Democracy in America consisted of how many volumes?
(A) one
(B) two
(C) three
(D) four
21. Which of the following is true, according to the passage?
(A) the visit lasted only five months
(B) the visit coincided with American industrialization
(C) the first part was published in 1835; the second part in 1840
(D) the second part was more optimistic than the first