Admission Tests Graduate Record Examinations GRE

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샘플문제 무료다운:

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최신 Graduate Record Examinations GRE 무료샘플문제:

1. Lohr's (i)_________the trappings of literary celebrity creates a Romantic aura tor him: by distancing himself from all public discourse about himself or his work. Lohr becomes an even greater, albeit more (ii)_________.
celebrity than most authors manage in all their interviews and memoirs.

A) refusal to wear
B) mysterious
C) inability to renounce
D) eagerness to understand
E) appealing
F) renowned

2. It is hardly (i)_________that Roland, raised to (ii)_________ostentation, is building a house that is the antithesis of opulence.

A) recognize
B) flout
C) undeniable
D) remarkable
E) irrevocable
F) savor

3. The highly dispersed nature of Panzaleo pottery throughout present-day Ecuador has led archaeologists to speculate about the pottery's origins and significance. Jijon y Caamano attributed the pottery's distribution to trade, and based on the large quantities of pottery recovered in the Ambato-Latacunga region of the central Ecuadorian highlands, he proposed that region as the probable locus of production. However. Porras suggests that inhabitants of the subtropical eastern Andean slopes, or montafta, were the original producers of Panzaleo.
Porras: theory involves the forced migration of the montaria population from their homeland in the Quijos River valley into the Ecuadorian highlands. The gradual exodus and ensuing dispersal of the makers of this ware could account for the diffuse distribution of the materials.
The passage cites evidence supporting which of the following hypotheses?

A) Porras' hypothesis about the dispersal of the original makers of Panzaleo porter)"
B) Jijon y Caamanos hypothesis about the probable locus of Panzaleo pottery production
C) Porras' hypothesis about the forced migration of certain peoples
D) Porrasr hypothesis about who the original producers of Panzaleo pottery were
E) Jijon y Caamaflos hypothesis about the relationship between trade and the distribution of Panzaleo pottery

4. Writing for the New York Times in 1971. Saul Braun claimed that - todays superhero is about as much like his predecessors as today's child is like his parents." In an unprecedented article on the state of American comics,
"Shazam! Here Comes Captain Relevant. Braun wove a story of an industry whose former glory producing jingoistic fantasies of superhuman power in the 1930s and 1940s had given way to a canny interest in revealing the power structures against which ordinary people and heroes alike struggled following World War II Quoting a description of a course on *Comparative Comics" at Brown University, he wrote, 'New heroes are different-they ponder moral questions, have emotional differences, and are just as neurotic as real people.
Captain America openly sympathizes with campus radicals.. Lois Lane apes John Howard Griffin and turns herself black to study racism, and everybody battles to save the environment."" Five years earlier. Esquire had presaged Braun s claims about comic books: generational appeal, dedicating a spread to the popularity of superhero comics among university students in their special 'College Issue." As one student explained. "My favorite is the Hulk. I identify with him, he's the outcast against the institution.'1 Only months after the NW York Times article saw print. Rolling Stone published a six-page expose on the inner workings of Marvel Comics, while Ms. Magazine emblazoned Wonder Woman on the cover of its premier issue-declaring s Wonder Woman for President'"" no less-and devoted an article to the origins of the latter-day feminist superhero.
Where little more than a decade before comics had signaled the moral and aesthetic degradation of American culture, by 1971 they had come of age as America's "native art::: taught on Ivy League campuses, studied by European scholars and filmmakers, and translated and sold around the world, they were now taken up as a new generation's critique of American society. The concatenation of these sentiments among such diverse publications revealed that the growing popularity and public interest in comics (and comic-book superheroes) spanned a wide demographic spectrum, appealing to middle-class urbamtes, college-age men. members of the counterculture, and feminists alike. At the heart of this newfound admiration for comics lay a glaring yet largely unremarked contradiction: the cultural regeneration of the comic-book medium was made possible by the revamping of a key American fantasy figure, the superhero, even as that figure was being lauded for its realism"" and social relevance."" As the title of Braun's article suggests, in the early 1970s, "relevance" became a popular buzzword denoting a shift in comic-book content from oblique narrative metaphors for social problems toward direct representations of racism and sexism, urban blight, and political corruption.
It can be inferred that the author of the passage regards the concatenation" of sentiments surrounding comics as evidence of

A) a concerted effort by the comics industry to revamp the comic book superhero
B) a consensus among critics that comics should be regarded as native art
C) the influence of international readers on the domestic popularity of comics
D) the capacity of comics to appeal to readers with a variety of social and political affiliations
E) the impact of the counterculture on the regeneration of the comic book medium

5. The relevance of the literary personality-a writer's distinctive attitudes, concerns, and artistic choices-to the analysis of a literary work is being scrutinized by various schools of contemporary criticism.
Deconstmctionists view the literary personality, like the writer's biographical personality, as irrelevant. The proper focus of literary analysis, they argue, is a work's intertextuality (interrelationship with other texts), subtexts (unspoken, concealed. or repressed discourses), and metatexts (self-referential aspects), not a perception of a writer's verbal and aesthetic "fingerprints." New historicists also devalue the literary personality, since, in their emphasis on a work's historical context, they credit a writer with only those insights and ideas that were generally available when the writer lived. However, to readers interested in literary detective work-say scholars of classical (Greek and Roman! literature who wish to reconstruct damaged texts or deduce a work's authorship- the literary personality sometimes provides vital clues.
It can be inferred from the passage that on the issue of how to analyze a literary work, the new historic its would most likely agree with the deconstructionists that

A) the writer's literary personality has little or no relevance
B) the writer's insights and ideas should be understood in terms of the writer's historical context
C) the critic should primarily focus on intertextuality. subtexts, and metatexts

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