Questions 1 and 2 are based on this passage. ?

Astronomers can measure any given star's radial velocity by examining its spectrum-light spread out into its constituent wavelengths. If an object is moving toward us, its spectral lines shift to shorter wavelengths; if it's moving away, the lines swing to longer avelengths. The higher the velocity, the greater the shift. Although this sort of spectral analysis is straightforward for nearby stars, it becomes far more difficult for distant stars in the Milky Way's outer halo.?Even large telescopes can't gather enough of their light.?For this reason, astronomer Ulrich Heber conjectures that there are probably several low-mass hypervelocity stars yet to be discovered. Although these diminutive objects live longer than B-type stars, which are extremely luminous and blue, they radiate much less light.

1. Which of the following statements best describes the organization of the passage??

A. An astronomical phenomenon is described, then an exception to that phenomenon is identified.?

B. A method of data collection is outlined, then its accuracy is challenged.?

C. An innovative method of analysis is described, then new findings based on this method are ?summarized.?

D. A problem with an instrument is identified, then a suggestion for correcting that problem is ?presented.?

E. A technique and its limitations are explained, then a prediction is stated.?

2. The passage indicates that compared to low-mass hypervelocity stars, B-type stars?

A. are less numerous in the Milky Way's outer halo?

B. burn out more quickly and are more luminous?

C. are in closer proximity to Earth's solar system?

D. are larger in size but emit light at similar wavelengths?

E. emit a more complex spectrum?

Questions 3 to 6 are based on this passage:?

In 1939, Dewan Sharar emphasized the appeal of Indian films depicting legends of gods and goddesses to a devoutly Hindu mass audience. The audiences for these early-twentieth-century mythological or pauranika films of pioneering filmmaker Dhundiraj Govind Phalke were assumed to resemble cinema’s mythical first audiences-the terrified spectators of the Lumiere Brothers'?Arrival of a Train at the Station, who reportedly reared?back in terror upon perceiving the cinematic train as the real thing. It is true that Phalke invited the spectator, through means such as the reactions of an on- screen audience, to relate to the image in the manner of a devotee before an idol, as in the Hindu religious practice of darshan. It is also undoubtedly true that many spectators did assume this particular viewing position. However, we need to be careful about assuming that this was the only spectatorial position or about ascribing to the Indian mass public a naive readiness to believe in the divinity and reality of the screen image. To begin with, Indian viewers were not unfamiliar with the reenactment of the pauranika myths; folk performances and Parsi theater provided an immediate context for the mythological films. Phalke himself called his films new plays or silent plays, contrasting them with the old or stage plays. A significant percentage of his audiences would probably have regarded a mythological film as another performance based on religious myth, albeit a relatively novel one, and one in which the absent presence of the performers added a uniquely thrilling dimension to the supernatural spectacles on display.?

Moreover, these early films' mode of presentation would have undermined any naively realist or purely religious reading. Contemporary audiences would have customarily encountered these films in a less-than-spiritual exhibition context, watching them in conjunction with topical newsreels, American serials, or live performances such as magic shows, comic skits, or exotic dances. [Phalke's flm] Raja Harishchandra, for instance, was first screened at Bombay's Coronation Cinema as part of an hour-and-a-half-long variety show featuring a dance by Miss Irene Delmar; a "comical sketch" by the McClements; and the talents of Alexandroff, "The Wonderful Foot- Juggler," in addition to the film. The discontinuity and variety of this form of cinema program were typical of exhibition practices in the first decades of cinema across the world. In his essay, "The Cult of Distraction: On Berlin 's Picture Palaces," Siegfried Kracauer writes about the role of the variety format of the cinema program in creating "a fragmented sequence of splendid sense impressions" or an aesthetic of distraction that undermined an illusionistic absorption in the images. Extending Kracauer's logic to the exhibition context of the early mythologicals, one can argue that the variety format would have had a similar effect.

3. The primary purpose of the passage is to?

A. situate certain early-twentieth-century Indian films in the wider context of international cinema?

B. argue against a particular theory regarding the reception of certain early-twentieth-century Indian ?films?

C. discount the argument that the way in which certain early-twentieth-century Indian films were?presented influenced how they were received?

D. compare the reception of certain early-twentieth-century Indian films with that of contemporary works in other countries?

E. present evidence documenting how certain early-twentieth-century Indian films were typically produced?

4. Which of the following circumstances is mentioned in the passage as a reason to doubt the?assumption that the original audiences for Phalke's mythological films resembled "cinema's ?mythical first audiences"??

A. The absence from Phalke's films of nonreligious material such as comic interludes or exotic dances?

B. The absence from Phalke's films of alarming subject matter such as an approaching train?

C. The exposure of Phalke's audiences to an on-screen audience evoking the practice of darshan?

D. The exposure of Phalke's audiences to similar subject matter presented in other forms?

E. The exposure of Phalke's audiences to similar reenactments of other subject matter?

5. Which of the following statements best describes the function of the highlighted sentences in?the context of the passage as a whole?

A. They provide evidence that supports a claim presented earlier in the passage.?

B. They offer support of the author's primary conclusion drawn late in the passage.?

C. They suggest similarities between two seemingly distinct artistic formats.?

D. They highlight problems with an assumption supporting an established theory.?

E. They introduce the author's rationale for proposing a new theory.?

6. The passage suggests that the heterogeneity of the material accompanying the premiere of Raja Harishchandra?

A. increased the likelihood of its audience seeing all of the features on the program?

B. increased the likelihood of its audience attending future film screenings?

C. reduced the likelihood of its audience reacting in a manner similar to audience reactions described by Siegfried Kracauer?

D. reduced the likelihood of its audience confusing the film's cinematic images with reality?

E. reduced the likelihood of its audience thinking that the production of films and that of stage plays?was similar?

Question 7 is based on this passage:?

Crows, herring gulls, and sparrows all live on the island of Firsten. Crows feed on sparrow eggs and therefore pose a threat to the sparrow population. Although gulls are not nearly as good at finding sparrow nests as crows are, sparrows typically also lose some eggs to gull predation. Nevertheless, sparrows that nest near gull nests tend to lose fewer eggs to predators than sparrows nesting far away from gull nests, since______.

7. Which of the following most logically completes the argument?

A. the presence of gulls frightens away crows

B. crows pose no threat to adult sparrows

C. gulls find sparrow nests by watching female sparrows enter the nest

D. there are far more crows on Firsten than there are sparrows

E. sparrows on Firsten typically hide their nests very carefully

Questions 8 - 10 are based on this passage:?

Many scholarly discussions of novelist Willa Cather (1873-1947) debate whether Cather belongs more to the nineteenth-century realist tradition or to the modernist revolution of the early twentieth century. While Cather's preoccupation with nineteenth-century agrarian culture has won her the respect of readers and critics, her dismast of modernity left her with a historically unstable position in the modernist canon.?Resistance to the changes?wrought by the twentieth century, of course, does not necessarily disqualify one from the "modernist" label. The impulse to reconnect with more primitive, earlier times is a hallmark of modernist aesthetics, shaping the search for meaning in a fragmented, disenchanted, mechanized world. Yet more often than not, [literary?critic] Phyllis Rose explains, the early twentieth-century atmosphere of experimentation and "making it new" and an attendant critical discourse that "valued complexity, ambiguity, even obscurity" resulted in Cather 's labeling as "naively traditional " and "essentially nostalgic and elegiac." In effect, in modernist studies she has been treated as a romantic regional writer, unconcerned with the international terrain so integral to modern thinking-at least until scholars, in the 1980s and 1990s, began reevaluating the historical record, demonstrating?her innovative departures from nineteenth-century fiction, including antiheroism, gender-bending, episodic narrative, antirealism, simple prose, emphasis on memory and time, and the exploration of immigration, empire, and race. Today it is not uncommon to encounter critics announcing Cather's newfound canonical status as a modernist-indicated most clearly by her inclusion in works such as The Cambridge Companion to American Modernism published in 2005.

8. The author would be most likely to agree with which of the following claims about Cather's?"preoccupation with nineteenth-century agrarian culture"??

A. It is regarded by some as evidence of an attitude toward the modern world that is characteristic of many modernist writers.?

B. Its definitive role in Cather's writing distinguishes Cather from most authors who were considered?to be central to the modernist literary tradition.

C. It was clearly an important element of Cather's early fiction but played little role in her later, more?mature novels.?

D. It has frequently been misinterpreted by the very readers and critics who are most strongly drawn?to Cather's fiction.?

E. Divergent interpretations of it have led critics to form diametrically opposed conclusions about the overall quality of Cather's literary output.?

9. The author mentions the "critical discourse" primarily to?

A. explain why some critics rejected the idea that any particular literary style was uniquely modernist?

B. challenge an assumption about the extent to which Cather's novels express a nostalgic view of the past?

C. suggest that most of Cather's readers have little in common with the scholarly commentators who?have written about her work?

D. demonstrate that literary critics' views about Cather's fiction diverge widely on certain points?

E. introduce an explanation of criteria used to determine whether Cather belonged in a particular literary category?

10. The reference to the highlighted work serves primarily to?

A. suggest that no major advances in Cather scholarship have been made since 2005?

B. describe an important milestone in a scholarly trend that began in the 1980s?

C. cite a publication that has significantly influenced many scholars’ views of Cather?

D. question the current critical consensus regarding a defining quality of modernism?

E. acknowledge that an author’s canonical status can be subject to arbitrary shifts