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Sporting Futures USA | SAT Prep | Critical Reading 1.4

SportingFutures USA 20 perguntas

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Perguntas do quiz (20)

  1. 1Read the following passage carefully and answer question at the bottom.


    1 We shall not understand what a book is, and why a
    2 book has the value many persons have, and is even
    3 less replaceable than a person, if we forget how
    4 important to it is its body, the building that has been
    5 built to hold its line of language safely together
    6 through many adventures and a long time. Words on
    7 a screen have visual qualities, to be sure, and these
    8 darkly limn their shape, but they have no materiality,
    9 they are only shadows, and when the light shifts they'll
    10 be gone. Off the screen they do not exist as words.
    11 They do not wait to be reseen, reread; they only wait
    12 to be remade, relit. I cannot carry them beneath a tree
    13 or onto a side porch; I cannot argue in their margins;
    14 I cannot enjoy the memory of my dismay when,
    15 perhaps after years, I return to my treasured copy of
    16 Treasure Island to find the jam I inadvertently smeared
    17 there still spotting a page precisely at the place where
    18 Billy Bones chases Black Dog out of the Admiral
    19 Benbow with a volley of oaths and where his cutlass
    20 misses its mark to notch the inn's wide sign instead.

    21 My copy, which I still possess, was of the cheapest.
    22 Published by M. A. Donohue & Co. of Chicago, it bears
    23 no date, and its coarse pages are jaundiced and brit-
    24 tle, yet they've outlived their manufacturer; they will out-
    25 live their reader--always comforting yet a bit sad. The
    26 pages, in fact, smell their age, their decrepitude, and
    27 the jam smear is like an ancient bruise; but like a scar
    28 recalling its accident, I remember the pounding in my
    29 chest when the black spot was pressed into Billy
    30 Bones's palm and Blind Pew appeared on the road
    31 in a passage that I knew even then was a piece of
    32 exemplary prose.

    33 That book and I loved each other, and I don't mean
    34 just its text: that book, which then was new, its cover
    35 slick and shiny, its paper agleam with the tossing sea
    36 and armed, as Long John Silver was, for a fight, its
    37 binding tight as the elastic of new underwear, not
    38 slack as it is now, after so many openings and clos-
    39 ings, so many dry years; that book would be borne off
    40 to my room, where it lived through my high school
    41 miseries in a dime-store bookcase, and it would
    42 accompany me to college too, and be packed in the
    43 duffel bag I carried as a sailor.

    44 Should we put these feelings for the object and its
    45 vicissitudes down to simple sentimental nostalgia?
    46 I think not; but even as a stimulus for reminiscence,
    47 a treasure more important than a dance card, or the
    48 photo that freezes you in at the edge of the Grand
    49 Canyon, because such a book can be a significant
    50 event in the history of your reading, and your reading
    51 (provided you are significant) should be an essential
    52 segment of your character and your life. Unlike the
    53 the love we've made or meals we've eaten, books
    54 congregate to form a record around us of what they've
    55 fed our stomachs or our brains. These are not a
    56 hunter's trophies but the living animals themselves.

    57 In the ideal logotopia, every person would possess
    58 his own library and add at least weekly if not daily to it.
    59 The walls of each home would seem made of books;
    60 wherever one looked one would only see spines;
    61 because every real book (as opposed to dictionaries,
    62 almanacs, and other compilations) is a mind, an
    63 imagination, a consciousness. Together they com-
    64 pose a civilization, or even several.
    65 A few of us are fortunate enough to live in Logotopia,
    66 to own our own library, but for many this is not possi-
    67 ble, and for them we need a free and open public
    68 institution with a balanced collection of books that it
    69 cares for and loans, with stacks where a visitor may
    70 wander, browse, and make discoveries; such an insti-
    71 tution empowers its public as few do. In fact, it has no
    72 rival, for the books in the public library are the books
    73 that may take temporary residence in yours or mine.
    74 We share their wealth the way we share the space of a
    75 public park. My high school had no library worthy of
    76 the name "book," so I would walk about a mile down-
    77 town to the public one to borrow, in almost every case,
    78 a new world. That's what a library does for its patrons.
    79 It extends the self. It is pure empowerment.

    80 The sciences, it is alleged, no longer use books;
    81 neither do the professions, since what everyone
    82 needs is data, data day and night, because data, like
    83 drugs, soothe the senses and encourage us to think
    84 we are, when at the peak of their heap, on top of the
    85 world. Of course, libraries contain books, and books
    86 contain information, but information has always been
    87 of minor importance, except to minor minds. What
    88 matters is how the information is arranged, how it is
    89 understood, and to what uses it is put. In short, what
    90 matters is the book the data's in.
    91 Frequently, one comes across comparisons of the
    92 electronic revolution with that of writing and printing,
    93 and these are usually accompanied by warnings to
    94 those suspicious of technology that objections to these
    95 forward marches are both fuddy-duddy and futile. But
    96 Plato's worries that writing would not reveal the writer
    97 the way the soul of a speaker was exposed; that
    98 spontaneity would be compromised; that words would
    99 be stolen, and words would be put in other mouths
    100 than those of their authors; that writing does not hear
    101 its reader's response; that lying, hypocrisy, false
    102 borrowing, ghostwriting, would increase so that the
    103 hollow heads of state would echo with hired words;
    104 and that, oddly, the advantages and powers of the book
    105 would give power and advantage to the rich, who would
    106 learn to read and would have the funds to acquire
    107 and keep such precious volumes safe: these fears
    108 were overwhelmingly realized.

    109 The advent of printing was opposed (as writing was)
    110 for a number of mean and self-serving reasons, but
    111 the fear that it would lead to the making of a million
    112 half-baked brains, and cause the illicit turning of a
    113 multitude of untrained heads, as a consequence of the
    114 unhindered spread of nonsense was a fear that was
    115 also well founded. The boast that the placement of
    116 books in many hands would finally overthrow supersti-
    117 tion was not entirely a hollow hope, however. The gift
    118 gave a million minds a chance at independence.


    Question: The primary purpose of the passage is to...
    1. Ahonor the role that books have played in the author's life.
    2. Bargue for the importance of re-reading treasured books.
    3. Cassert the continuing significance of books in an electronic age.
    4. Destablish a contrast between books and data.
    5. Eoutline how societal opinions of books have changed over time.
  2. 2Read the following passage carefully and answer question at the bottom.


    1 We shall not understand what a book is, and why a
    2 book has the value many persons have, and is even
    3 less replaceable than a person, if we forget how
    4 important to it is its body, the building that has been
    5 built to hold its line of language safely together
    6 through many adventures and a long time. Words on
    7 a screen have visual qualities, to be sure, and these
    8 darkly limn their shape, but they have no materiality,
    9 they are only shadows, and when the light shifts they'll
    10 be gone. Off the screen they do not exist as words.
    11 They do not wait to be reseen, reread; they only wait
    12 to be remade, relit. I cannot carry them beneath a tree
    13 or onto a side porch; I cannot argue in their margins;
    14 I cannot enjoy the memory of my dismay when,
    15 perhaps after years, I return to my treasured copy of
    16 Treasure Island to find the jam I inadvertently smeared
    17 there still spotting a page precisely at the place where
    18 Billy Bones chases Black Dog out of the Admiral
    19 Benbow with a volley of oaths and where his cutlass
    20 misses its mark to notch the inn's wide sign instead.

    21 My copy, which I still possess, was of the cheapest.
    22 Published by M. A. Donohue & Co. of Chicago, it bears
    23 no date, and its coarse pages are jaundiced and brit-
    24 tle, yet they've outlived their manufacturer; they will out-
    25 live their reader--always comforting yet a bit sad. The
    26 pages, in fact, smell their age, their decrepitude, and
    27 the jam smear is like an ancient bruise; but like a scar
    28 recalling its accident, I remember the pounding in my
    29 chest when the black spot was pressed into Billy
    30 Bones's palm and Blind Pew appeared on the road
    31 in a passage that I knew even then was a piece of
    32 exemplary prose.

    33 That book and I loved each other, and I don't mean
    34 just its text: that book, which then was new, its cover
    35 slick and shiny, its paper agleam with the tossing sea
    36 and armed, as Long John Silver was, for a fight, its
    37 binding tight as the elastic of new underwear, not
    38 slack as it is now, after so many openings and clos-
    39 ings, so many dry years; that book would be borne off
    40 to my room, where it lived through my high school
    41 miseries in a dime-store bookcase, and it would
    42 accompany me to college too, and be packed in the
    43 duffel bag I carried as a sailor.

    44 Should we put these feelings for the object and its
    45 vicissitudes down to simple sentimental nostalgia?
    46 I think not; but even as a stimulus for reminiscence,
    47 a treasure more important than a dance card, or the
    48 photo that freezes you in at the edge of the Grand
    49 Canyon, because such a book can be a significant
    50 event in the history of your reading, and your reading
    51 (provided you are significant) should be an essential
    52 segment of your character and your life. Unlike the
    53 the love we've made or meals we've eaten, books
    54 congregate to form a record around us of what they've
    55 fed our stomachs or our brains. These are not a
    56 hunter's trophies but the living animals themselves.

    57 In the ideal logotopia, every person would possess
    58 his own library and add at least weekly if not daily to it.
    59 The walls of each home would seem made of books;
    60 wherever one looked one would only see spines;
    61 because every real book (as opposed to dictionaries,
    62 almanacs, and other compilations) is a mind, an
    63 imagination, a consciousness. Together they com-
    64 pose a civilization, or even several.
    65 A few of us are fortunate enough to live in Logotopia,
    66 to own our own library, but for many this is not possi-
    67 ble, and for them we need a free and open public
    68 institution with a balanced collection of books that it
    69 cares for and loans, with stacks where a visitor may
    70 wander, browse, and make discoveries; such an insti-
    71 tution empowers its public as few do. In fact, it has no
    72 rival, for the books in the public library are the books
    73 that may take temporary residence in yours or mine.
    74 We share their wealth the way we share the space of a
    75 public park. My high school had no library worthy of
    76 the name "book," so I would walk about a mile down-
    77 town to the public one to borrow, in almost every case,
    78 a new world. That's what a library does for its patrons.
    79 It extends the self. It is pure empowerment.

    80 The sciences, it is alleged, no longer use books;
    81 neither do the professions, since what everyone
    82 needs is data, data day and night, because data, like
    83 drugs, soothe the senses and encourage us to think
    84 we are, when at the peak of their heap, on top of the
    85 world. Of course, libraries contain books, and books
    86 contain information, but information has always been
    87 of minor importance, except to minor minds. What
    88 matters is how the information is arranged, how it is
    89 understood, and to what uses it is put. In short, what
    90 matters is the book the data's in.
    91 Frequently, one comes across comparisons of the
    92 electronic revolution with that of writing and printing,
    93 and these are usually accompanied by warnings to
    94 those suspicious of technology that objections to these
    95 forward marches are both fuddy-duddy and futile. But
    96 Plato's worries that writing would not reveal the writer
    97 the way the soul of a speaker was exposed; that
    98 spontaneity would be compromised; that words would
    99 be stolen, and words would be put in other mouths
    100 than those of their authors; that writing does not hear
    101 its reader's response; that lying, hypocrisy, false
    102 borrowing, ghostwriting, would increase so that the
    103 hollow heads of state would echo with hired words;
    104 and that, oddly, the advantages and powers of the book
    105 would give power and advantage to the rich, who would
    106 learn to read and would have the funds to acquire
    107 and keep such precious volumes safe: these fears
    108 were overwhelmingly realized.

    109 The advent of printing was opposed (as writing was)
    110 for a number of mean and self-serving reasons, but
    111 the fear that it would lead to the making of a million
    112 half-baked brains, and cause the illicit turning of a
    113 multitude of untrained heads, as a consequence of the
    114 unhindered spread of nonsense was a fear that was
    115 also well founded. The boast that the placement of
    116 books in many hands would finally overthrow supersti-
    117 tion was not entirely a hollow hope, however. The gift
    118 gave a million minds a chance at independence.


    Question: The author mentions all of the following as examples of "Plato's worries" (line 96) about writing except that:
    1. Awriting would synthesize and solidify the privileges of the upper class.
    2. Bwriting could result in more instances of plagiarism.
    3. Cwriting is by its very nature planned and premeditated.
    4. Dwriters would not be able to get feedback from those who read their writing.
    5. Ewriting might spread nonsensical ideas in the heads of the ignorant.
  3. 3Read the following 2 passages carefully and answer the question.


    Passage 1

    1 Who will be the next American Idol? Rather, who will
    2 be the next target of suppressed American dreams, a
    3 vehicle through whom Americans experience vicar-
    4 ious catharsis? Perhaps the popularity of this national
    5 rock-star contest stems from our denial of our need
    6 for self-expression, a denial which is exacerbated by
    7 fifty-hour work weeks and the demands of our
    8 spouses, children, and family. The once-a-week
    9 hour-long session spent admiring talented youth
    10 seems to be the only time we allot ourselves to
    11 cleanse our emotional selves. Singing is, of course,
    12 historically understood to be the heart of human
    13 expression; perhaps many Americans have simply
    14 found the empathetic outlet they need in their
    15 stressful lives.


    Passage 2

    16 Last year, the hit show "American Idol," in which
    17 talented singers compete in hopes of signing a record
    18 deal, had over 10,000 discussion-based websites
    19 devoted to it. "There have never been so many web-
    20 sites created for a single show before," said Pat
    21 Mildred, an expert on Internet trafficking. Ironically,
    22 the majority of the posts were not show-related.
    23 "There was a lot of online dating," added Mildred. "It
    24 was more of a social-networking spot than anything
    25 else." Any long-time fan can attest to the social
    26 bonds that the show creates. "My family and I
    27 watched it every night," said Anne, a local eighth
    28 grader. "We never spend that much time together."


    Question: Which generalization about "American Idol" is supported by both passages?
    1. A"American Idol" has cannily used the Internet to increase its viewership.
    2. B"American Idol" has increased in popularity with each season it has aired.
    3. C"American Idol" inspires discussion amongst those who watch it.
    4. D"American Idol" is extremely popular.
    5. EViewers identify with the "American Idol" contestants.
  4. 4Read the following passage carefully and answer question at the bottom.


    1 Rebecca Benefiel stepped into the tiny dark room on
    2 the first floor of the House of Maius Castricius. Mosqui-
    3 toes whined. Huge moths flapped around her head.
    4 And - much higher on the ick meter - her flashlight
    5 revealed a desiccated corpse that looked as if it was
    6 struggling to rise from the floor. Nonetheless, she
    7 moved closer to the walls and searched for aberra-
    8 tions in the stucco. She soon found what she was
    9 looking for: a string of names and a cluster of num-
    10 bers, part of the vibrant graffiti chitchat carried on by the
    11 citizens of Pompeii before Mount Vesuvius erupted in
    12 A.D. 79 and buried their city in a light pumice stone
    13 called lapilli.

    14 "There are a few hazards to this work," laughs Benefiel,
    15 a 35-year old classicist from Washington and Lee
    16 University who has spent part of the past six summers
    17 in Pompeii. "Sometimes the guards forget to let me out
    18 of the buildings at the end of the day!" Regardless,
    19 she's always eager to return.

    20 Vesuvius dumped ashes and lapilli on Pompeii for 36
    21 hours, sealing the entire city up to an average height of
    22 20 feet. Since the 18th century, archaeologists have
    23 excavated about two-thirds, including some 109 acres
    24 of public buildings, stores and homes. The city's well-
    25 preserved first level has given archaeologists,
    26 historians and classicists an unparalleled view of the
    27 ancient world, brought to a halt in the middle of an
    28 ordinary day.

    29 From the very beginning, archaeologists noticed copi-
    30 ous amounts of graffiti on the outsides of buildings.
    31 In the late 1800s, scholars began making careful
    32 copies of Latin inscriptions throughout the ancient
    33 Roman world, including Pompeii, and cataloging them.
    34 This effort is a boon to scholars like Benefiel, since
    35 more than 90 percent of Pompeii's recorded graffiti
    36 have since been erased by exposure to the elements.

    37 Even though she studies this vast collection of
    38 inscriptions, Benefiel prefers to wander the ancient
    39 city and examine the remaining graffiti in context.
    40 Much of what remains is on protected interior walls,
    41 where servants, visitors and others took sharp
    42 instruments to the stucco and left their mark. "The
    43 graffiti would have been much more visible then
    44 than they are now," she says. "Many of these walls
    45 were brightly painted and highly decorated, and the
    46 graffiti let the underlying white plaster show through."

    47 In the ancient Roman world, graffiti was a respected
    48 form of writing - often interactive - not the kind of
    49 defacement we now see on rocky cliffs and bathroom
    50 stalls. Inside elite dwellings like that of Maius Castri-
    51 cius - a four-story home with panoramic windows
    52 overlooking the Bay of Naples that was excavated in
    53 the 1960s - she's examined 85 graffito. Some were
    54 greetings from friends, carefully incised around the
    55 edges of frescoes in the home's finest room. In a stair-
    56 well, people took turns quoting popular poems and
    57 adding their own clever twists. In other places, the
    58 graffiti include drawings: a boat, a peacock, a leaping
    59 deer.

    60 The 19th century effort to document ancient graffiti
    61 notwithstanding, scholars have historically ignored
    62 the phenomenon. The prevailing attitude was
    63 expressed by August Mau in 1899, who wrote, "The
    64 people with whom we should most eagerly desire to
    65 come into contact, the cultivated men and women of
    66 the ancient city, were not accustomed to scratch their
    67 names upon stucco or to confide their reflections and
    68 experiences to the surface of a wall." But Benefiel's
    69 observations show the opposite. "Everyone was doing
    70 it," she says.

    71 Benefiel's study of Pompeii's graffiti has revealed a
    72 number of surprises. She's found that declarations of
    73 love were every bit as common then as they are today
    74 and that it was acceptable for visitors to carve their
    75 opinions about the city into its walls. She's discovered
    76 that the people of Pompeii loved displaying their
    77 cleverness via graffiti, from poetry contests to playful
    78 recombinations of the letters that form Roman
    79 numerals.

    80 And she's found that Pompeians expressed far more
    81 goodwill than ill will. "They were much nicer in their
    82 graffiti than we are," she says. "There are lots of pair-
    83 ings with the word 'felicter,' which means 'happily.'
    84 When you pair it with someone's name, it means
    85 you're hoping things go well for that person. There are
    86 lots of graffiti that say 'Felicter Pompeii,' wishing the
    87 whole town well."


    Question: In which paragraph of the passage would the following sentence best fit?

    "Many scholars of the time felt that the inscriptions were an unreliable source upon which the societal composition of Pompeii could be reconstructed."
    1. Aparagraph six
    2. Bparagraph three
    3. Cparagraph five
    4. Dparagraph seven
    5. Eparagraph four
  5. 5Read The following passage carefully and answer.


    1 The Clean Water Act of 1990 makes a distinction
    2 between point and non-point sources of pollution. A
    3 point source is one that can be easily quantified, such
    4 as the discharge from a factory or from an electric-
    5 generating facility; point sources also include sources
    6 of urban runoff. A non-point source is more difficult to
    7 quantify and usually encompasses a greater area; for
    8 instance, pollution from agricultural fields is a non-
    9 point source. Point sources have more strict regulation
    10 and enforcement; therefore, cleaning up point sources
    11 of pollution has progressed more quickly. Non-point
    12 sources have been slower to improve, since looser
    13 laws govern their discharge.

    Question: As lines 2-6 and lines 6-9 are constructed, which of the following word(s) from lines 2-6 serves as a parallel to "agricultural fields" (line 8)?
    1. Apoint sources (line 5)
    2. Bdischarge (line 4)
    3. Cfactory (line 4)
    4. Done that can be easily quantified (line 3)
    5. Eurban runoff (line 6)
  6. 6Read the following passage carefully and answer question at the bottom.


    1 From his studies of the British Constitution, French
    2 political philosopher Montesquieu developed the the-
    3 ory of separation of powers. Montesquieu argued that
    4 the government, in order to guard against the arbitrary
    5 exercise of power, should be divided into three distinct
    6 departments: the executive, judiciary and legislature.
    7 The Founding Fathers utilized separation of powers as
    8 a basic tenet in forming the U.S. Constitution, which
    9 vests legislative powers in Congress, judicial powers
    10 in the Supreme Court and subsidiary courts, and
    11 executive powers in the president and his delegates.
    12 According to separation of powers, each branch has its
    13 own functions, which theoretically prevents any branch
    14 from encroaching upon another. Practice, however,
    15 necessitates some overlap between branches. The
    16 legislature may oppose and impeach members of the
    17 executive, and the president may veto legislation. The
    18 Supreme Court, whose members are appointed by the
    19 president and approved by Congress, can judge the
    20 actions of the other branches. Although one branch
    21 tends to dominate the others historically, the "checks
    22 and balances" of separation of powers ensures that
    23 power shifts between them.

    Question: From lines 1-3, we can infer that:
    1. Athe British Constitution was powerless.
    2. Bthe British government is divided into separate branches.
    3. CMontesquieu was not the first person to come up with the separation of powers.
    4. Dthe American government is merely a replicate of the British government.
    5. Ethe British government also has a judicial, executive, and legislative branch.
  7. 7Read the following passage carefully and answer question at the bottom.


    1 Introversion is a personality attitude identified by the
    2 Swiss psychologist Carl G. Jung. For people with a
    3 preference for introversion, internal processing of an
    4 experience is more important than the experience
    5 itself; hence, introverts seek a lot of time alone to do
    6 that processing. They can process in the presence of
    7 others, but they must be detached and quiet so their
    8 attention can be turned inward. A crucial thing to
    9 understand about a relationship with an introvert
    10 is not to take his or her need for "cave time" personally.
    11 It is like a need for food or sleep.

    12 Extroversion is also a personality attitude identified
    13 by Carl Jung. Extroverts are talkative, enthusiastic,
    14 sociable, and confident; they often have many friends.
    15 They are very interested in the external world and want
    16 to spend lots of their energy exploring it. They tend
    17 to act first and think later, unlike introverts, who usually
    18 do the opposite. They recharge by getting out of the
    19 house, going out and being active.

    20 Since we all have both an introvert and an extrovert
    21 inside of us, we may be presented with only the extro-
    22 verted side of someone when we first meet him or
    23 her. Once you get to know an introvert better, he or she
    24 may seem like a different person. The primary way to
    25 identify a preference for introversion is to look at where
    26 the person goes to recharge. If the person seeks soli-
    27 tude, he or she is probably an introvert. (Note that extro-
    28 verts have an introverted side that needs some quiet
    29 time too; it's just not their primary orientation.)

    30 Probably seventy-five percent of Americans are
    31 extroverts, as you might guess from even a cursory
    32 inspection of our advertising, news, and other
    33 aspects of our culture. Not all societies are so
    34 biased toward extroversion. American children
    35 with a propensity for introversion may not be allowed
    36 to indulge their preference; instead, they may be
    37 encouraged to put their books down and go outside,
    38 told by their parents to "get out there," "get involved,"
    39 and "just do it."

    40 Different eras and occasions of our life require us
    41 to be more extroverted than others. For example,
    42 adolescents, who are preparing to leave home
    43 and meet new people, tend to be extroverts. However,
    44 if an adolescent extrovert has not yet discovered
    45 his or her introverted self, he or she will probably
    46 find a healthy need for more downtime as he or she
    47 ages. Jung believed that the psyche seeks balance. A
    48 Jungian scholar writes, "Until we become thoroughly
    49 aware of the inadequacy of our extroverted state and of
    50 its insufficiency in regard to our deeper spiritual needs,
    51 we shall not achieve even a measure of individuation,
    52 through which a wider and more mature personality
    53 emerges."

    Question: Which statement best summarizes the description of introverts compared to that of extroverts?
    1. AIntroverts seek solitude, while extroverts seek external stimulation.
    2. BIntroverts are less accepted by society, while extroverts are successful leaders of society.
    3. CIntroverts enjoy indoor activities, while extroverts enjoy outdoor activities.
    4. DIntroverts are antisocial, while extroverts are overly sociable.
    5. EIntroverts are grown-up and sophisticated, while extroverts are immature and childish.
  8. 8Read the following passage carefully and answer question at the bottom.


    1 Being ashamed is a more ambivalent phenomenon
    2 than the sense of shame. If discretion-shame sustains
    3 the social ordering of the world, disgrace-shame is a
    4 painful experience of the disintegration of one's world.
    5 A break occurs in the self's relationship with itself
    6 and/or others. The self is no longer whole, but divided.
    7 It feels less than it wants to be, less than at its best it
    8 knows itself to be. Sartre finds the effect of this
    9 disruption so radical that he calls it an "internal
    10 hemorrhage, the regrouping of all the objects in my
    11 universe." Even when the advent of shame is less
    12 dramatic, there is a disruption nonetheless that
    13 manifests itself in a sense of confusion. The
    14 disorientation that triggers shame always involves a
    15 reflexive movement of consciousness. What is
    16 actually experienced is a relation of distance. In some
    17 cases the relation is interpersonal, between the self
    18 and others who look at it; at other times the relation
    19 occurs intrapersonally, as the self sees itself. In these
    20 instances, the persons concerned are initially unself-
    21 conscious, involved in, and given over to, an external
    22 situation. They are conscious not of themselves, but of
    23 the objects before them. But suddenly, the situation
    24 changes, the mood is broken, and they are made
    25 acutely aware of themselves as they are at that mo-
    26 ment. Something happens that turns their attention to
    27 themselves in such a way that they are not simply
    28 there, but see themselves there, and this seeing
    29 arouses shame.

    30 Shame opens up a new level of consciousness of the
    31 self. The undivided self in action gives way to the
    32 doubled self. Shame is an act of self-attention. Each of
    33 these elements of shame (disruption, disorientation,
    34 and painful self-consciousness) manifests the rela-
    35 tional character of the shame experience. This
    36 relational nature of shame, in turn, contains a revel-
    37 atory capacity. In the reflexive movement of conscious-
    38 ness, a part of the self is revealed to the self. Sartre
    39 has captured this quality of shame: "[Its] structure is
    40 intentional; it is a shameful apprehension of some-
    41 thing and this something is me. I am ashamed of
    42 what I am. Shame therefore realizes an intimate rela-
    43 tion of myself to myself. Through shame I have discov-
    44 ered an aspect of my being. I recognize that I am as the
    45 Other sees me."

    Question: The best meaning of the word "radical" (line 9) is ________.
    1. Aprofound
    2. Besoteric
    3. Cmeaningful
    4. Ddegrading
    5. Eludicrous
  9. 9Read the following passage carefully and answer question at the bottom


    1 Don Hedger had lived for four years on the top floor of
    2 an old house on the south side of Washington Square,
    3 and nobody had ever disturbed him. He occupied
    4 one big room with no outside exposure except on the
    5 north. His room was very cheerless, since he never
    6 got a ray of direct sunlight; the south corners were
    7 always in shadow. In the front corner, the one farther
    8 from the window, was a sink, and a table with two
    9 gas burners where he sometimes cooked his food.
    10 There, too, in the perpetual dusk, was the dog's bed,
    11 and often a bone or two for his comfort.

    12 The dog was a Boston bull terrier, and Hedger
    13 explained his surly disposition by the fact that he had
    14 been bred to the point where it told on his nerves. His
    15 name was Caesar III, and he had taken prizes at very
    16 exclusive dog shows. When he and his master went
    17 out to prowl about University Place, or to promenade
    18 along West Street, Caesar III was invariably fresh and
    19 shining. His pink skin showed through his mottled
    20 coat, which glistened as if it had just been rubbed with
    21 olive oil, and he wore a brass-studded collar, bought
    22 at the smartest saddler's. Hedger, as often as not, was
    23 hunched up in an old striped blanket coat, with a
    24 shapeless felt hat pulled over his bushy hair, wearing
    25 black shoes that had become gray, or brown ones
    26 that had become black, and he never put on gloves
    27 unless the day was biting cold.

    28 Early in May, Hedger learned that he was to have a
    29 new neighbor in the rear apartment. His studio was
    30 shut off from these rooms by double doors, which,
    31 though they were fairly tight, left him a good deal
    32 at the mercy of the occupant. The rooms had been
    33 leased, long before he came there, by a trained nurse
    34 who considered herself knowing in old furniture. She
    35 went to auction sales and bought up mahogany and
    36 dirty brass and stored it away here, where she meant
    37 to live when she retired from nursing. Meanwhile,
    38 she sub-let her rooms, with the precious furniture, to
    39 young people who came to New York to "write" or
    40 "paint"--who proposed to live by the sweat of the
    41 brow rather than of the hand, and who desired artistic
    42 surroundings. When Hedger first moved in, these
    43 rooms were occupied by a young man who tried to
    44 write plays,--and who kept on trying until a week ago,
    45 when the nurse had put him out for unpaid rent.
    46
    A few days after the playwright left, Hedger heard
    47 an ominous murmur of voices through the bolted
    48 double doors: the lady-like intonation of the nurse--
    49 doubtless exhibiting her treasures--and another voice,
    50 also a woman's, but very different; young, fresh,
    51 unguarded, confident. All the same, it would be very
    52 annoying to have a woman in there. The only bath-
    53 room on the floor was at the top of the stairs in the
    54 front hall, and he would always be running into her
    55 as he came or went from his bath. He would have to
    56 be more careful to see that Caesar didn't leave bones
    57 about the hall, too; and she might object when he
    58 cooked steak and onions on his gas burner.

    59 As soon as the talking ceased and the women left,
    60 he forgot them. He was absorbed in a study of para-
    61 dise fish at the Aquarium, staring out at people through
    62 the glass and green water of their tank. It was a
    63 highly gratifying idea; the incommunicability of one
    64 stratum of animal life with another,--though Hedger
    65 pretended it was only an experiment with unusual
    66 lighting. When he heard trunks knocking against the
    67 sides of the narrow hall, then he realized that she was
    68 moving in at once. Toward noon, groans and deep
    69 gasps and the creaking of ropes, made him aware
    70 that a piano was arriving. After the tramp of the
    71 movers died away down the stairs, somebody touched
    72 off a few scales and chords on the instrument, and
    73 then there was peace. Presently he heard her lock her
    74 door and go down the hall humming something; going
    75 out to lunch, probably. He stuck his brushes in a can
    76 of turpentine and put on his hat, not stopping to wash
    77 his hands. Caesar was smelling along the crack
    78 under the bolted doors.

    79 Hedger encouraged him. "Come along, Caesar.
    80 You'll soon get used to a new smell."

    81 In the hall stood an enormous trunk, behind the
    82 ladder that led to the roof, just opposite Hedger's
    83 door. The dog flew at it with a growl of hurt amaze-
    84 ment. They went down three flights of stairs and out
    85 into the brilliant May afternoon.

    86 Hedger strolled about the Square for the dog's health.
    87 The fountain had but lately begun operations for the
    88 season and was throwing up a mist of rainbow water.
    89 Plump robins were hopping about on the soil; the
    90 grass was newly cut and blindingly green. Looking
    91 up the Avenue through the Arch, one could see the
    92 young poplars with their bright, sticky leaves, and
    93 shining horses and carriages,--occasionally an auto-
    94 mobile, mis-shapen and sullen, like an ugly threat in
    95 a stream of things that were bright and beautiful and
    96 alive.

    97 While Caesar and his master were standing by the
    98 fountain, a girl approached them, crossing the Square.
    99 Hedger noticed her because she wore a lavender cloth
    100 suit and carried in her arms a big bunch of fresh lilacs.
    101 He saw that she was young and handsome,--beautiful,
    102 in fact. She, too, paused by the fountain and looked
    103 back through the Arch up the Avenue. She smiled
    104 rather patronizingly as she looked, and at the same
    105 time seemed delighted. Her slowly curving upper lip
    106 and half-closed eyes seemed to say: "You're gay,
    107 you're exciting, you are quite the right sort of thing;
    108 but you're none too fine for me!"

    109 In the moment she tarried, Caesar stealthily ap-
    110 proached her and sniffed at the hem of her lavender
    111 skirt, then he ran back to his master and lifted a face
    112 full of emotion and alarm, his lower lip twitching under
    113 his sharp white teeth and his hazel eyes pointed with
    114 a very definite discovery. He stood thus, motionless,
    115 while Hedger watched the lavender girl go up the
    116 steps and through the door of the house in which he
    117 lived.

    118 "You're right, my boy, it's she!"


    Question: Which of the following phrases, if read figuratively, helps develop the author's characterization of Hedger?
    1. A"as if it had just been rubbed with olive oil" (lines 20-21)
    2. B"like an ugly threat in a stream of things that were bright and beautiful" (lines 94-95)
    3. C"and who kept on trying until a week ago" (line 44)
    4. D"a mist of rainbow water" (line 88)
    5. E"a face full of emotion and alarm" (lines 111-112)
  10. 10Read the following passage carefully and answer question at the bottom.


    1 Don Hedger had lived for four years on the top floor of
    2 an old house on the south side of Washington Square,
    3 and nobody had ever disturbed him. He occupied
    4 one big room with no outside exposure except on the
    5 north. His room was very cheerless, since he never
    6 got a ray of direct sunlight; the south corners were
    7 always in shadow. In the front corner, the one farther
    8 from the window, was a sink, and a table with two
    9 gas burners where he sometimes cooked his food.
    10 There, too, in the perpetual dusk, was the dog's bed,
    11 and often a bone or two for his comfort.

    12 The dog was a Boston bull terrier, and Hedger
    13 explained his surly disposition by the fact that he had
    14 been bred to the point where it told on his nerves. His
    15 name was Caesar III, and he had taken prizes at very
    16 exclusive dog shows. When he and his master went
    17 out to prowl about University Place, or to promenade
    18 along West Street, Caesar III was invariably fresh and
    19 shining. His pink skin showed through his mottled
    20 coat, which glistened as if it had just been rubbed with
    21 olive oil, and he wore a brass-studded collar, bought
    22 at the smartest saddler's. Hedger, as often as not, was
    23 hunched up in an old striped blanket coat, with a
    24 shapeless felt hat pulled over his bushy hair, wearing
    25 black shoes that had become gray, or brown ones
    26 that had become black, and he never put on gloves
    27 unless the day was biting cold.

    28 Early in May, Hedger learned that he was to have a
    29 new neighbor in the rear apartment. His studio was
    30 shut off from these rooms by double doors, which,
    31 though they were fairly tight, left him a good deal
    32 at the mercy of the occupant. The rooms had been
    33 leased, long before he came there, by a trained nurse
    34 who considered herself knowing in old furniture. She
    35 went to auction sales and bought up mahogany and
    36 dirty brass and stored it away here, where she meant
    37 to live when she retired from nursing. Meanwhile,
    38 she sub-let her rooms, with the precious furniture, to
    39 young people who came to New York to "write" or
    40 "paint"--who proposed to live by the sweat of the
    41 brow rather than of the hand, and who desired artistic
    42 surroundings. When Hedger first moved in, these
    43 rooms were occupied by a young man who tried to
    44 write plays,--and who kept on trying until a week ago,
    45 when the nurse had put him out for unpaid rent.
    46
    A few days after the playwright left, Hedger heard
    47 an ominous murmur of voices through the bolted
    48 double doors: the lady-like intonation of the nurse--
    49 doubtless exhibiting her treasures--and another voice,
    50 also a woman's, but very different; young, fresh,
    51 unguarded, confident. All the same, it would be very
    52 annoying to have a woman in there. The only bath-
    53 room on the floor was at the top of the stairs in the
    54 front hall, and he would always be running into her
    55 as he came or went from his bath. He would have to
    56 be more careful to see that Caesar didn't leave bones
    57 about the hall, too; and she might object when he
    58 cooked steak and onions on his gas burner.

    59 As soon as the talking ceased and the women left,
    60 he forgot them. He was absorbed in a study of para-
    61 dise fish at the Aquarium, staring out at people through
    62 the glass and green water of their tank. It was a
    63 highly gratifying idea; the incommunicability of one
    64 stratum of animal life with another,--though Hedger
    65 pretended it was only an experiment with unusual
    66 lighting. When he heard trunks knocking against the
    67 sides of the narrow hall, then he realized that she was
    68 moving in at once. Toward noon, groans and deep
    69 gasps and the creaking of ropes, made him aware
    70 that a piano was arriving. After the tramp of the
    71 movers died away down the stairs, somebody touched
    72 off a few scales and chords on the instrument, and
    73 then there was peace. Presently he heard her lock her
    74 door and go down the hall humming something; going
    75 out to lunch, probably. He stuck his brushes in a can
    76 of turpentine and put on his hat, not stopping to wash
    77 his hands. Caesar was smelling along the crack
    78 under the bolted doors.

    79 Hedger encouraged him. "Come along, Caesar.
    80 You'll soon get used to a new smell."

    81 In the hall stood an enormous trunk, behind the
    82 ladder that led to the roof, just opposite Hedger's
    83 door. The dog flew at it with a growl of hurt amaze-
    84 ment. They went down three flights of stairs and out
    85 into the brilliant May afternoon.

    86 Hedger strolled about the Square for the dog's health.
    87 The fountain had but lately begun operations for the
    88 season and was throwing up a mist of rainbow water.
    89 Plump robins were hopping about on the soil; the
    90 grass was newly cut and blindingly green. Looking
    91 up the Avenue through the Arch, one could see the
    92 young poplars with their bright, sticky leaves, and
    93 shining horses and carriages,--occasionally an auto-
    94 mobile, mis-shapen and sullen, like an ugly threat in
    95 a stream of things that were bright and beautiful and
    96 alive.

    97 While Caesar and his master were standing by the
    98 fountain, a girl approached them, crossing the Square.
    99 Hedger noticed her because she wore a lavender cloth
    100 suit and carried in her arms a big bunch of fresh lilacs.
    101 He saw that she was young and handsome,--beautiful,
    102 in fact. She, too, paused by the fountain and looked
    103 back through the Arch up the Avenue. She smiled
    104 rather patronizingly as she looked, and at the same
    105 time seemed delighted. Her slowly curving upper lip
    106 and half-closed eyes seemed to say: "You're gay,
    107 you're exciting, you are quite the right sort of thing;
    108 but you're none too fine for me!"

    109 In the moment she tarried, Caesar stealthily ap-
    110 proached her and sniffed at the hem of her lavender
    111 skirt, then he ran back to his master and lifted a face
    112 full of emotion and alarm, his lower lip twitching under
    113 his sharp white teeth and his hazel eyes pointed with
    114 a very definite discovery. He stood thus, motionless,
    115 while Hedger watched the lavender girl go up the
    116 steps and through the door of the house in which he
    117 lived.

    118 "You're right, my boy, it's she!"


    Question: Don Hedger's "room" (line 4) can best be described as ________.
    1. Agloomy
    2. Bdisgraceful
    3. Cmorbid
    4. Dominous
    5. Eformidable

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Sporting Futures USA SAT Test Prep Program
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