Questions 1 and 2 are based on this passage.?

George Milner cites three primary problems with the labeling of Cahokia, the large archaeological site by the Mississippi River, as a state rather than a chiefdom. First, finds at Cahokia are essentially similar to finds at other Mississippi chiefdoms, except that the amount of earth moved in building the mounds at Cahokia was greater than elsewhere. Second, fewer people lived at Cahokia than is commonly estimated (Milner estimates that there were only a few thousand inhabitants; more common estimates are 10,000 or 20,000 inhabitants): therefore, extensive taxes, trade, and tribute were not necessary to support them. Finally, while there is evidence of extensive earth movement, craftwork, trade, and elites at Cahokia, this does not indicate that Cahokia was politically centralized, economically specialized, or aggressively expansionistic.

1.?The primary purpose of the passage is to

A. underscore a characterization

B. outline a challenge

C. point out an ambiguity

D. discuss an oversimplification

E. define a category

2. The passage implies that political centralization is a feature that

A. has not historically tended to emerge in centers with fewer than 20,000 inhabitants

B. distinguished other Mississippi chiefdoms from Cahokia

C. is considered characteristic of states but not of chiefdoms

D. often results from aggressive expansionism and economic specialization?

E. has historically been necessary for extensive trade to occur

Questions 3 to 6 are based on this passage:

When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles I, he introduced an entirely new way of representing dress in portraiture. In women’s portraits, he enhanced sleeves and collars, and added lavish drapery and jewels. For the first time, an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.

Van Dyck’s?Portrait of Thomas Killigrew and William, Lord Crofts?(1638) demonstrates how the artist relaxed and unbuttoned men’s dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew, a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting; Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew’s right hand depicts two funerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.

Art historians have interpreted the clothing depicted in this portrait, particularly Crofts’ doublet, which is worn unbuttoned in back, as an allusion to the subjects’ grief-stricken distraction. It is true that Killigrew’s dress includes references to his loss—he wears a cross inscribed with his wife’s initials. There is an intuitive nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, this reading of the costumes as a sign of grief does not take into account the seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire; Crofts’ dress would be quite appropriate for a formal portrait. Though black clothing, such as that worn by Crofts, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mourning, no shiny surfaces, such as Crofts’ satin doublet, would be permitted. The unbuttoned slit on Crofts’ doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse, who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s, a certain calculated looseness was conventional in men’s formal dress. Ribeiro, for example, cites the writings of moralists objecting to this style.

Killigrew’s attire, though even looser than Crofts’, should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew’s “undress” lends this portrait a distinctive intimacy, it might also refer to Killigrew’s literary career. Many of Van Dyck’s other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew’s loss but also of his solace: he had but to express his grief in writing.

3. The author of the passage suggests that if the cited “art historians” had taken account of seventeenth-century fashion, they would have been more likely to?

A. recognize that the clothing worn by the subjects in the?Portrait?contributes to an atmosphere of intimacy in the painting

B. recognize the event to which Van Dyck’s approach to portraiture represented a departure from the practices of other artists

C. recognize that Crofts’ manner of dress in the?Portrait?was appropriate for a formal portrait

D. conclude that the doublet worn by Crofts in the?Portrait?is not made of satin

E. be able to distinguish between the significance of the unbuttoned doublet depicted in the Portrait?and that of the one depicted in a fashion print by Bosse

4.?The author of the passage suggests which of the following about Killigrew’s disheveled attire in the?Portrait of Thomas Killigrew and William, Lord Crofts???

A. It resembles clothing worn by subjects in melancholic states in other paintings in the period.

B. It resembles the clothing worn by subjects in other Van Dyck paintings who were associated with literature.

C. It includes shiny materials that were not considered appropriate for the first stage of mourning.

D. It reflects the distraction and inattentiveness to dress typical of a person in a state of mourning.

E. It has been regarded by art historians as evidence that Van Dyck chose the clothing worn by the subjects in the painting.

5. The author’s reference to the “cross” worn by Killigrew serves primarily as?

A. a concession of partial agreement with a point made by other art historians about the?Portrait

B. evidence supporting the author’s main point about the significance of Killigrew’s state of dress in the?Portrait

C. an example of the kind of detail overlooked by other art historians who have commented on the?Portrait

D. an example of the type of adornment that was rarely seen in portraiture before Van Dyck

E. an illustration of the way in which Van Dyck used emblematic as well as realistic elements in this portraits

6. Which of the following best describes the function of the last sentence of the passage?

A. It suggests that a certain detail of the painting should not be understood as emblematic.

B. It calls attention to a detail of the painting that art historians have generally overlooked.

C. It offers support for the author’s interpretation of the significance of Killigrew’s clothing.

D. It introduces evidence to support the author’s view of the appropriateness of Crofts’ manner of dress.

E. It casts doubt on the way that art historians have interpreted the relationship between the two subjects in the painting.

Questions 7 is based on this passage:

All the music from fourteenth-century Europe for which written scores survive is so complex and is written in such difficult notation that it could have been played only by musicians whose lives were dedicated solely to such performance. Yet fourteenth-century European accounts, which in this respect probably give accurate portrayals of their times, describes many members of the nobility who excelled not only in musical performance, but also in dancing, poetry, and painting.

7. The statements given, if true, most strongly support which of the following?

A. Some members of the nobility in fourteenth-century Europe abandoned other activities in order to become professional musicians.

B. There were styles of music performed in the fourteenth-century for which no written scores survive.

C. Professional musicians in fourteenth-century Europe had more highly developed skills than do the most skilled professional musicians today.

D. The fourteenth-century European accounts that describe members of the nobility as excelling in musical performance do not specify the amount of time these members devoted to music.

E. Professional musicians in fourteenth-century Europe did not perform for gathering of members of the nobility.

Questions 8 - 10 are based on this passage.

Insect pollinators often restrict their visits to flowers of the same plant species on a single foraging trip, even when flowers of other species are available. In 1876 Darwin suggested that the reason for this behavior (generally referred to as flower constancy) is that pollinators forage more efficiently if they continue foraging on flowers they have recently learned to handle. Darwin’s hypothesis implies that learning additional flower-handling techniques interferes with a pollinator’s ability to recall previously learned flower-handling methods. Evidence for interference in butterflies switching between flowers of two plant species seems to be conclusive. In bumblebees, laboratory experiments have also provided some evidence of interference when the bees switch between flowers of two plant species, but the small size of the interference effects suggest that foraging bumblebees experience less difficulty switching between two plant species than butterflies do. This is consistent with field observations showing that individual bumblebees often visit two available plant species on a single trip. However, the fact that multiple specializations on more than two plant species are rarely observed in the field in bumblebees suggests that switching among several species may result in larger interference effects, which may limit the number of flower types that can be maintained in a bee’s foraging repertoire at any time.?

8. The primary purpose of the passage is to

A. cast doubt on Darwin’s hypothesis regarding flower constancy

B. demonstrate that the flower-handling techniques of bumblebees are superior to those of butterflies

C. analyze the impact on plant species of pollinators’ learning additional flower-handling techniques

D. show that Darwin’s hypothesis regarding flower constancy is consistent with observations of pollinator behavior

E. discuss differences between laboratory and field evidence regarding interference in pollinators

9. The passage suggests that which of the following is true of the “evidence for interference”?

A. It is undermined by evidence from laboratory experiments involving interference in bumblebees.

B. It is less useful regarding the nature of flower constancy in pollinators than is evidence regarding bumblebees.

C. It calls into question an assumption underlying Darwin’s understanding of interference in pollinators.

D. It indicates that some butterfly species exhibit a larger interference effect than others.

E. It supports Darwin’s hypothesis regarding flower constancy.?

10. Select the sentence that introduces a theory regarding the possible advantage of flower constancy.?