Questions 1 and 2 are based on this passage. ?

After Henry IV usurped the English throne from Richard II in 1399, evidence suggests the new king, censored records that portrayed the new regime unfavorably. While no censorship orders are?preserved, one chronicler mentions that Henry ordered all chronicles inspected. That not a single ?English chronicle is critical of the coup is a pretty good indication that Henry suppressed any hostile ?material. Moreover, the single voice with which the English chronicle praise Henry and defame Richard?after 1399 is challenged by the contrary version of events recorded in the French chronicles. For most?of the nineteenth and twentieth centuries, this discrepancy was attributed to French Anglophobia, but the accuracy and value of the French chronicle has now been reappraised.?

1. It can be inferred from the passage that many histories in the nineteenth century believed ?that the French chronicles?

A. overly praised Richard II during his reign?

B. were less meticulous than their English counterparts?

C. distorted their accounts of the events of 1399 because of antipathy toward England?

D. refused requests by those in power to have their chronicles inspected?

E. willfully ignored events in England in favor of recording happenings closer to home

Consider each of the choices separately and select all that apply.?

2. The passage mentions which of the following as evidence suggesting censorship on the part of Henry IV ??

A. Henry’s request to inspect the chronicles?

B. The uniformity of these chronicles’ criticism of Henry’s predecessor?

C. The disparity between accounts offered in English and French chronicles?

Questions 3 to 5 are based on this passage?

French filmmakers of the 1920s emphasized visual style rather than narrative continuity, which was?already dominant in the United States and elsewhere. Some critics have asserted that since these films flout?the cinematic conventions of Hollywood, they should be regarded as important modernist cinema. While?a welcome departure from the traditional denigration of 1920s French cinema, this claim overestimates or?distorts the achievement of such directors as Gance and L'Herbier, since the Hollywood conventions they?did not use were not yet fully established in France, where the Hollywood-style production practices that would have supported these conventions were lacking. Moreover, though 1920s French films should?indeed be judged by criteria other than those underlying the Hollywood aesthetic, their slighting of?Hollywood conventions does not, by itself, make them modernist or genuine revolutionary, since the?weight of nineteenth-century traditions of art and literature on these films—especially in subject matter?and ideological assumptions—cannot easily be disregarded.??

3. The author of the passage asserts which of the following about “this claim”??

A. It does not accurately consider the conditions of filmmaking in French in the 1920s.

B. It fails to depict adequately the achievements of directors other than Gance and L’Herbier.?

C. It underestimates the degree to which certain French directors were influenced by their Hollywood counterparts during the 1920s.?

D. It is equally as valid as the traditional view of 1920s French cinema.?

E. It has more merit than other recent, competing assessments of 1920s French cinema.?

4. The passage suggests that the author would most likely agree with the critics mentioned in the highlighted sentence about which of the following??

A. The difficulty of establishing criteria to replace those by which 1920s French films have traditionally been assessed?

B. The ways in which present-day directors would benefit from learning more about French films?of the 1920s?

C. The originality of the visual style of French cinema in the 1920s?

D. The need to evaluate 1920s French films by criteria different from those used to evaluate Hollywood films?

E. The desirability of filmmakers’ flouting the cinematic conventions of Hollywood?

5. The author of the passage states which of the following about the French cinema of the 1920s ??

A. The visual style of the films is more indebted to Hollywood conventions than many critics ?recognize.?

B. The achievements of the films in terms of visual style might have been greater if the director?had had the production resources available in Hollywood.?

C. The content and ideology of the film were influenced by nineteenth-century art and literature.?

D. The films would have been more successful had their conventional subject matter not been at odds with their unconventional visual style.?

E. The influence of nineteenth-century art on the visual style of the film differentiates them from?Hollywood films of the same era.?

Question 6 is based on this passage?

To reduce traffic congestion on Lochley city streets, a new road will be built to bypass the city. The road will offer a faster commute to nearly all people who live in suburbs and now commute via Lochley’s ?streets to their jobs in other suburbs. Those cars constitute one-quarter of the cars now using Lochley’s ?streets each weekday. Thus after the bypass road has been built, weekday traffic congestion on Lochley’s street will be substantially reduced.

6. Which of the following, if true, most strengthens the argument??

A. Only a relatively small reduction in traffic congestion could be achieved by widening existing streets in Lochley.?

B. Most of the suburban commuters now using city streets in traveling to jobs in other suburbs?travel one person to a car.?

C. Commuters who travel from homes in Lochley to jobs in the suburbs account for a small proportion of Lochley’s traffic.?

D. Few of the people who currently commute through Lochley stop there for shopping or other activities.?

E. After the bypass road is built, Lochley will perform more of its maintenance work on city streets on weekdays.?

Questions 7 to 8 are based on this passage?

Before feminist literary criticism emerged in the 1970s, the nineteenth-century United States writer Fanny Fern was regarded by most critics (when considered at all) as a prototype of weepy sentimentalism-a pious, insipid icon of conventional American culture. Feminist?reclamations?of Fern, by contrast, emphasize her "nonsentimental" qualities, particularly her?sharply humorous social criticism. Most feminist scholars find it difficult to reconcile Fern's sardonic social critiques with?her effusive celebrations of many conventional values. Attempting to resolve this contradiction, Harris concludes that Fern employed “flowery rhetoric" strategically to disguise her subversive goals beneath ?apparent conventionality. However, Tompkins proposes an alternative view of sentimentality itself, suggesting that sentimental writing could serve radical, rather than only conservative, ends by swaying readers emotionally, moving them to embrace social change.?

Consider each of the choices separately and select all that apply.?

7. The passage suggests which of the following about the “contradiction” mentioned in the highlighted sentence??

A. It was not generally addressed by critics before the 1970s.?

B. It is apparent in only a small number of Fern’s writings.?

C. It has troubled many feminist critics who study Ferns.?

8. It can be inferred from the passage that Tompkins would be most likely to agree with which of the following about the “critics” mentioned in the passage??

A. They accurately characterize the overall result Fern is aiming to achieve.?

B. They are not dismissive of Fern as some feminist critics have suggested.?

C. They exaggerate the extent to which Fern intended her writing to serve a social purpose.?

D. They wrongly assume that “sentimental” must be a pejorative term.?

E. They fail to recognize that sentimental rhetoric plays to readers’ emotions.

Questions 9 to 10 are based on this passage?

In 1995, after an absence of nearly 70 years, wolves were reintroduced into Yellowstone National?Park. During the wolf-free era, heavy browsing of aspen trees by elk populations spelled doom not only for the trees themselves but for a host of other creatures dependent on them, such as beavers, whose?population in Yellowstone crashed after wolves were removed. Without beavers to create ponds, ?wetland ecosystems—aquatic plants, amphibians, birds—were devastated. When wolves returned, ?grazers and browsers resumed normal patterns of behavior, preferring safer, open areas over the dense ?cover and stream sides where carnivores can lurk. Keeping elk wary and on the move, wolves gave aspen and other young trees the opportunity to grow and become reestablished.?

9. The passage asserts which of the following about beaver populations in Yellowstone??

A. They have rebounded since the reintroduction of wolves.?

B. They were adversely affected by the feeding habits of elk populations.?

C. They increased during the period when wolves disappeared from the park.?

D. They have historically had an adverse effect on the park’s wetland ecosystems.?

E. They are essential to the health of the park’s aspen trees.?

10. The author would be most likely to agree with which of the following claims about the reintroduction of wolves to Yellowstone??

A. It indirectly harmed some of the park’s amphibian habitats.?

B. It reduced the number of elk feeding along stream sides.?

C. It led to greater species diversity among the park’s grazers and browsers.?

D. It significantly increased competition for food among the park’s carnivores.?

E. It fostered the resurgence of tree species that once flourished in the park’s open areas.