Analysis and Synthesis in Single-Answer Questions - GRE Verbal
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Adapted from Seven Discourses Delivered in the Royal Academy By the President by Joshua Reynolds (1778)
All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness, or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms—and which, by a long habit of observing what any set of objects of the same kind have in common, that alone can acquire the power of discerning what each wants in particular. This long laborious comparison should be the first study of the painter who aims at the greatest style. By this means, he acquires a just idea of beautiful forms; he corrects nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences, and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original—and what may seem a paradox, he learns to design naturally by drawing his figures unlike to any one object. This idea of the perfect state of nature, which the artist calls the ideal beauty, is the great leading principle by which works of genius are conducted. By this, Phidias acquired his fame. He wrought upon a sober principle what has so much excited the enthusiasm of the world—and by this method you, who have courage to tread the same path, may acquire equal reputation.
The author does NOT view imperfections in nature as .
Adapted from Seven Discourses Delivered in the Royal Academy By the President by Joshua Reynolds (1778)
All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness, or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms—and which, by a long habit of observing what any set of objects of the same kind have in common, that alone can acquire the power of discerning what each wants in particular. This long laborious comparison should be the first study of the painter who aims at the greatest style. By this means, he acquires a just idea of beautiful forms; he corrects nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences, and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original—and what may seem a paradox, he learns to design naturally by drawing his figures unlike to any one object. This idea of the perfect state of nature, which the artist calls the ideal beauty, is the great leading principle by which works of genius are conducted. By this, Phidias acquired his fame. He wrought upon a sober principle what has so much excited the enthusiasm of the world—and by this method you, who have courage to tread the same path, may acquire equal reputation.
The author does NOT view imperfections in nature as .
The author notes that "all the objects" in nature have "blemishes and defects." The author also notes that the "most beautiful forms" have a "weakness, minuteness, or imperfection." The only answer choice that makes sense with the passage is "abhorrent," meaning distasteful or offensive.
The author notes that "all the objects" in nature have "blemishes and defects." The author also notes that the "most beautiful forms" have a "weakness, minuteness, or imperfection." The only answer choice that makes sense with the passage is "abhorrent," meaning distasteful or offensive.
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Adapted from The Significance of the Frontier in American History by Frederick Jackson Turner (1893)
But the larger part of what has been distinctive and valuable in America's contribution to the history of the human spirit has been due to this nation's peculiar experience in extending its type of frontier into new regions—and in creating peaceful societies with new ideals in the successive vast and differing geographic provinces which together make up the United States. Directly or indirectly these experiences shaped the life of both the Eastern and Western States, and even reacted upon the Old World, influencing the direction of its thought and progress. This experience has been fundamental in the economic, political, and social characteristics of the American people and in their conceptions of their destiny.
Writing at the close of 1796, the French minister to the United States, M. Adet, reported to his government that Jefferson could not be relied on to be devoted to French interests, and he added that "Jefferson, I say, is American, and by that name, he cannot be sincerely our friend. An American is the born enemy of all European peoples." Obviously erroneous as are these words, there was an element of truth in them. If we would understand this element of truth, we must study the transforming influence of the American wilderness, remote from Europe, and by its resources and its free opportunities affording the conditions under which a new people, with new social and political types and ideals, could arise to play its own part in the world, and to influence Europe.
The author views the frontier as being .
Adapted from The Significance of the Frontier in American History by Frederick Jackson Turner (1893)
But the larger part of what has been distinctive and valuable in America's contribution to the history of the human spirit has been due to this nation's peculiar experience in extending its type of frontier into new regions—and in creating peaceful societies with new ideals in the successive vast and differing geographic provinces which together make up the United States. Directly or indirectly these experiences shaped the life of both the Eastern and Western States, and even reacted upon the Old World, influencing the direction of its thought and progress. This experience has been fundamental in the economic, political, and social characteristics of the American people and in their conceptions of their destiny.
Writing at the close of 1796, the French minister to the United States, M. Adet, reported to his government that Jefferson could not be relied on to be devoted to French interests, and he added that "Jefferson, I say, is American, and by that name, he cannot be sincerely our friend. An American is the born enemy of all European peoples." Obviously erroneous as are these words, there was an element of truth in them. If we would understand this element of truth, we must study the transforming influence of the American wilderness, remote from Europe, and by its resources and its free opportunities affording the conditions under which a new people, with new social and political types and ideals, could arise to play its own part in the world, and to influence Europe.
The author views the frontier as being .
The author outright states that the frontier "experience has been fundamental" for the American people. The author also argues that this frontier experience has affected Europe.
The author outright states that the frontier "experience has been fundamental" for the American people. The author also argues that this frontier experience has affected Europe.
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"A Short History of Recent Zoos" by Will Floyd
Throughout the twentieth century, zoos underwent large-scale transformations. Before World War I, zoos were small parts of larger municipal parks, and featured sparse cages with little room for their inhabitants. This model held sway until mid-century, with many zoos struggling to remain open during the Great Depression and World War II. The successful zoos survived through making themselves cheap family entertainment. In the 1960s, zoos began to change in drastic ways. With the growing strength of environmental and animal rights movements, the public clamored for more naturalistic and spacious environments in which the animals could live.
The most emblematic of these transformations was the development of the Los Angeles Zoo. In 1966, the cramped and antiquated zoo used grants from the city government to move to a brand-new facility. Although the zoo moved just two miles away, the new location was exponentially bigger, and it featured fresh landscapes that resembled the animals’ natural habitats, instead of dilapidated cages. As the Los Angeles Zoo developed, it was able to work on preservation and conservation efforts for endangered species. New educational programs also became key elements of the Zoo’s mission. Now the old Zoo’s cages stand as ruins and reminders of what past generations saw when they visited years ago.
The author would suggest a new zoo should .
"A Short History of Recent Zoos" by Will Floyd
Throughout the twentieth century, zoos underwent large-scale transformations. Before World War I, zoos were small parts of larger municipal parks, and featured sparse cages with little room for their inhabitants. This model held sway until mid-century, with many zoos struggling to remain open during the Great Depression and World War II. The successful zoos survived through making themselves cheap family entertainment. In the 1960s, zoos began to change in drastic ways. With the growing strength of environmental and animal rights movements, the public clamored for more naturalistic and spacious environments in which the animals could live.
The most emblematic of these transformations was the development of the Los Angeles Zoo. In 1966, the cramped and antiquated zoo used grants from the city government to move to a brand-new facility. Although the zoo moved just two miles away, the new location was exponentially bigger, and it featured fresh landscapes that resembled the animals’ natural habitats, instead of dilapidated cages. As the Los Angeles Zoo developed, it was able to work on preservation and conservation efforts for endangered species. New educational programs also became key elements of the Zoo’s mission. Now the old Zoo’s cages stand as ruins and reminders of what past generations saw when they visited years ago.
The author would suggest a new zoo should .
The author's main point throughout the passage is that zoos have changed for the better by becoming bigger, with more naturalistic environments, and through a focus on various kinds of programs. In particular, the author highlights the Los Angeles Zoo's conservation, preservation, and educational programs. It is safe to presume that the author views these as key elements of a modern zoo.
The author's main point throughout the passage is that zoos have changed for the better by becoming bigger, with more naturalistic environments, and through a focus on various kinds of programs. In particular, the author highlights the Los Angeles Zoo's conservation, preservation, and educational programs. It is safe to presume that the author views these as key elements of a modern zoo.
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"The Chemistry of Cooking" by Will Floyd
Molecular gastronomy is a new take on cooking that has spread like wildfire through the culinary world in the last few decades. At its core, molecular gastronomy seeks to redefine and reimagine how food is cooked in restaurant kitchens, using technology, chemistry, and physics to transform pedestrian dishes into surprising forms and textures. These techniques create mystifying dining experiences, while using intimately familiar flavors. Chefs who use molecular gastronomy do not wish merely to be chemists or engineers, but are chefs above all else. To create a special dining experience, the chef begins first and foremost with the dish they wish to serve. Tools like an anti-griddle, a flat top that instantly freezes anything that touches it, or maltodextrin, an additive that can turn liquids into powder, are not there simply to play with the food. A molecular gastronomist will first think of the dish they want to serve, like fried chicken and mashed potatoes. Next, they will find a way to get the same flavors and textures in a unique way. The chicken might not be fried, but go through a process that will give it a crispy skin and juicy meat while never broaching hot oil. The mashed potatoes could become a light sauce, and then be put on an anti-griddle to give a new look, texture, and temperature. While the diner will have something that might look like a dessert or a soup, in actuality what they are having is a homestyle dish that they remember from childhood. This sense of familiarity is the ultimate goal of any chef utilizing molecular gastronomy.
A criticism of molecular gastronomy can be best summarized as .
"The Chemistry of Cooking" by Will Floyd
Molecular gastronomy is a new take on cooking that has spread like wildfire through the culinary world in the last few decades. At its core, molecular gastronomy seeks to redefine and reimagine how food is cooked in restaurant kitchens, using technology, chemistry, and physics to transform pedestrian dishes into surprising forms and textures. These techniques create mystifying dining experiences, while using intimately familiar flavors. Chefs who use molecular gastronomy do not wish merely to be chemists or engineers, but are chefs above all else. To create a special dining experience, the chef begins first and foremost with the dish they wish to serve. Tools like an anti-griddle, a flat top that instantly freezes anything that touches it, or maltodextrin, an additive that can turn liquids into powder, are not there simply to play with the food. A molecular gastronomist will first think of the dish they want to serve, like fried chicken and mashed potatoes. Next, they will find a way to get the same flavors and textures in a unique way. The chicken might not be fried, but go through a process that will give it a crispy skin and juicy meat while never broaching hot oil. The mashed potatoes could become a light sauce, and then be put on an anti-griddle to give a new look, texture, and temperature. While the diner will have something that might look like a dessert or a soup, in actuality what they are having is a homestyle dish that they remember from childhood. This sense of familiarity is the ultimate goal of any chef utilizing molecular gastronomy.
A criticism of molecular gastronomy can be best summarized as .
The question asks for a criticism of molecular gastronomy. Looking over all of the answer choices, all but one choice state a fact about molecular gastronomy or are a compliment to molecular gastronomy. Only "it is bringing unnecessary and unhelpful tools to a kitchen" is truly a criticism.
The question asks for a criticism of molecular gastronomy. Looking over all of the answer choices, all but one choice state a fact about molecular gastronomy or are a compliment to molecular gastronomy. Only "it is bringing unnecessary and unhelpful tools to a kitchen" is truly a criticism.
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"Political Representation" by Will Floyd
Pundits often decry the gridlock in Washington, D.C. Partisanship frequently makes legislators oppose bills they have supported in the past. Political grandstanding regularly takes the place of reasoned compromise or deal-making. Many political scientists are trying to find ways to resolve these issues within constitutional boundaries. One of the more popular suggestions is a different voting system called proportional representation. Proportional representation operates under the theory that each vote will help place a candidate in the legislature, rather than the current winner take all method of elections in the United States. Under proportional representation, candidates do not run for a specific seat in a particular district, but instead are part of a ranked list of candidates for each political party; therefore, if a political party receives thirty percent of the votes, thirty percent of the seats will be held by this party. Critics of proportional representation claim the system gives too much power to fringe candidates and political parties, whose only goal would be to destroy the political system. This cynical view of proportional representation stems from the example of countries currently using proportional representation. As it is, political scientists who do argue for proportional representation are trying to find a way around the current problems that exist in the United States’ political system, and feel a third party might create new pressures on the two party system currently causing such problems. The advocates of proportional representation do not argue that proportional representation is a perfect system, but also argue that we are not currently using a perfect system and that we need something to change.
The author would agree with the statement that .
"Political Representation" by Will Floyd
Pundits often decry the gridlock in Washington, D.C. Partisanship frequently makes legislators oppose bills they have supported in the past. Political grandstanding regularly takes the place of reasoned compromise or deal-making. Many political scientists are trying to find ways to resolve these issues within constitutional boundaries. One of the more popular suggestions is a different voting system called proportional representation. Proportional representation operates under the theory that each vote will help place a candidate in the legislature, rather than the current winner take all method of elections in the United States. Under proportional representation, candidates do not run for a specific seat in a particular district, but instead are part of a ranked list of candidates for each political party; therefore, if a political party receives thirty percent of the votes, thirty percent of the seats will be held by this party. Critics of proportional representation claim the system gives too much power to fringe candidates and political parties, whose only goal would be to destroy the political system. This cynical view of proportional representation stems from the example of countries currently using proportional representation. As it is, political scientists who do argue for proportional representation are trying to find a way around the current problems that exist in the United States’ political system, and feel a third party might create new pressures on the two party system currently causing such problems. The advocates of proportional representation do not argue that proportional representation is a perfect system, but also argue that we are not currently using a perfect system and that we need something to change.
The author would agree with the statement that .
The author's own opinions are largely kept away from the passage, but by discussing proportional representation in the manner it does, some thoughts can be deduced. The use of "a third party might create new pressures" as the final word in the argument does indicate this idea is close to what the author truly believes.
The author's own opinions are largely kept away from the passage, but by discussing proportional representation in the manner it does, some thoughts can be deduced. The use of "a third party might create new pressures" as the final word in the argument does indicate this idea is close to what the author truly believes.
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Adapted from "Ramblings in Cheapside" by Samuel Butler (1890)
Walking the other day in Cheapside I saw some turtles in Mr. Sweeting’s window, and was tempted to stay and look at them. As I did so I was struck not more by the defenses with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defensefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself—"catching on” through them to things that are thus both turtle and not turtle at one and the same time—these holes stultify the armor, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence one-sidedness, than of that quick sense of relative importance and their changes, which is the main factor of good living.
The turtle obviously had no sense of proportion; it differed so widely from myself that I could not comprehend it; and as this word occurred to me, it occurred also that until my body comprehended its body in a physical material sense, neither would my mind be able to comprehend its mind with any thoroughness. For unity of mind can only be consummated by unity of body; everything, therefore, must be in some respects both knave and fool to all that which has not eaten it, or by which it has not been eaten. As long as the turtle was in the window and I in the street outside, there was no chance of our comprehending one another.
What can be known from the passage about Cheapside?
Adapted from "Ramblings in Cheapside" by Samuel Butler (1890)
Walking the other day in Cheapside I saw some turtles in Mr. Sweeting’s window, and was tempted to stay and look at them. As I did so I was struck not more by the defenses with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defensefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself—"catching on” through them to things that are thus both turtle and not turtle at one and the same time—these holes stultify the armor, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence one-sidedness, than of that quick sense of relative importance and their changes, which is the main factor of good living.
The turtle obviously had no sense of proportion; it differed so widely from myself that I could not comprehend it; and as this word occurred to me, it occurred also that until my body comprehended its body in a physical material sense, neither would my mind be able to comprehend its mind with any thoroughness. For unity of mind can only be consummated by unity of body; everything, therefore, must be in some respects both knave and fool to all that which has not eaten it, or by which it has not been eaten. As long as the turtle was in the window and I in the street outside, there was no chance of our comprehending one another.
What can be known from the passage about Cheapside?
The only reference to Cheapside in the entire passage is in the first sentence, "Walking the other day in Cheapside I saw some turtles in Mr. Sweeting’s window." This indicates that Cheapside is a few things: a place in which one can walk around; an area with at least one shop; and a place that is somewhat familiar to the author's intended audience. The only answer choice that can be deduced from this information is that "it has a commercial section with many stores."
The only reference to Cheapside in the entire passage is in the first sentence, "Walking the other day in Cheapside I saw some turtles in Mr. Sweeting’s window." This indicates that Cheapside is a few things: a place in which one can walk around; an area with at least one shop; and a place that is somewhat familiar to the author's intended audience. The only answer choice that can be deduced from this information is that "it has a commercial section with many stores."
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Adapted from The Significance of the Frontier in American History by Frederick Jackson Turner (1893)
But the larger part of what has been distinctive and valuable in America's contribution to the history of the human spirit has been due to this nation's peculiar experience in extending its type of frontier into new regions—and in creating peaceful societies with new ideals in the successive vast and differing geographic provinces which together make up the United States. Directly or indirectly these experiences shaped the life of both the Eastern and Western States, and even reacted upon the Old World, influencing the direction of its thought and progress. This experience has been fundamental in the economic, political, and social characteristics of the American people and in their conceptions of their destiny.
Writing at the close of 1796, the French minister to the United States, M. Adet, reported to his government that Jefferson could not be relied on to be devoted to French interests, and he added that "Jefferson, I say, is American, and by that name, he cannot be sincerely our friend. An American is the born enemy of all European peoples." Obviously erroneous as are these words, there was an element of truth in them. If we would understand this element of truth, we must study the transforming influence of the American wilderness, remote from Europe, and by its resources and its free opportunities affording the conditions under which a new people, with new social and political types and ideals, could arise to play its own part in the world, and to influence Europe.
It can be inferred from the passage that .
Adapted from The Significance of the Frontier in American History by Frederick Jackson Turner (1893)
But the larger part of what has been distinctive and valuable in America's contribution to the history of the human spirit has been due to this nation's peculiar experience in extending its type of frontier into new regions—and in creating peaceful societies with new ideals in the successive vast and differing geographic provinces which together make up the United States. Directly or indirectly these experiences shaped the life of both the Eastern and Western States, and even reacted upon the Old World, influencing the direction of its thought and progress. This experience has been fundamental in the economic, political, and social characteristics of the American people and in their conceptions of their destiny.
Writing at the close of 1796, the French minister to the United States, M. Adet, reported to his government that Jefferson could not be relied on to be devoted to French interests, and he added that "Jefferson, I say, is American, and by that name, he cannot be sincerely our friend. An American is the born enemy of all European peoples." Obviously erroneous as are these words, there was an element of truth in them. If we would understand this element of truth, we must study the transforming influence of the American wilderness, remote from Europe, and by its resources and its free opportunities affording the conditions under which a new people, with new social and political types and ideals, could arise to play its own part in the world, and to influence Europe.
It can be inferred from the passage that .
The author's main point is that the frontier has shaped American in unique ways. Whether this is right or wrong, it indicates America always had more frontiers. All of the other choices are directly contradicted in the passage.
The author's main point is that the frontier has shaped American in unique ways. Whether this is right or wrong, it indicates America always had more frontiers. All of the other choices are directly contradicted in the passage.
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Adapted from The Frontier in American History, by Frederick Jackson Turner
But the larger part of what has been distinctive and valuable in America's contribution to the history of the human spirit has been due to this nation's peculiar experience in extending its type of frontier into new regions—and in creating peaceful societies with new ideals in the successive vast and differing geographic provinces which together make up the United States. Directly or indirectly these experiences shaped the life of both the Eastern and Western States, and even reacted upon the Old World, influencing the direction of its thought and progress. This experience has been fundamental in the economic, political, and social characteristics of the American people and in their conceptions of their destiny.
Writing at the close of 1796, the French minister to the United States, M. Adet, reported to his government that Jefferson could not be relied on to be devoted to French interests, and he added that "Jefferson, I say, is American, and by that name, he cannot be sincerely our friend. An American is the born enemy of all European peoples." Obviously erroneous as are these words, there was an element of truth in them. If we would understand this element of truth, we must study the transforming influence of the American wilderness, remote from Europe, and by its resources and its free opportunities affording the conditions under which a new people, with new social and political types and ideals, could arise to play its own part in the world, and to influence Europe.
It can be inferred from the passage that the author believes the French .
Adapted from The Frontier in American History, by Frederick Jackson Turner
But the larger part of what has been distinctive and valuable in America's contribution to the history of the human spirit has been due to this nation's peculiar experience in extending its type of frontier into new regions—and in creating peaceful societies with new ideals in the successive vast and differing geographic provinces which together make up the United States. Directly or indirectly these experiences shaped the life of both the Eastern and Western States, and even reacted upon the Old World, influencing the direction of its thought and progress. This experience has been fundamental in the economic, political, and social characteristics of the American people and in their conceptions of their destiny.
Writing at the close of 1796, the French minister to the United States, M. Adet, reported to his government that Jefferson could not be relied on to be devoted to French interests, and he added that "Jefferson, I say, is American, and by that name, he cannot be sincerely our friend. An American is the born enemy of all European peoples." Obviously erroneous as are these words, there was an element of truth in them. If we would understand this element of truth, we must study the transforming influence of the American wilderness, remote from Europe, and by its resources and its free opportunities affording the conditions under which a new people, with new social and political types and ideals, could arise to play its own part in the world, and to influence Europe.
It can be inferred from the passage that the author believes the French .
The French are only mentioned by quoting the French ambassador from 1796, regarding his dislike of Jefferson. The author only agrees with the Ambassador to say the French and Americans are different, although the author believes it is due to the frontier.
The French are only mentioned by quoting the French ambassador from 1796, regarding his dislike of Jefferson. The author only agrees with the Ambassador to say the French and Americans are different, although the author believes it is due to the frontier.
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"A Short History of Recent Zoos" by Will Floyd
Throughout the twentieth century, zoos underwent large-scale transformations. Before World War I, zoos were small parts of larger municipal parks, and featured sparse cages with little room for their inhabitants. This model held sway until mid-century, with many zoos struggling to remain open during the Great Depression and World War II. The successful zoos survived through making themselves cheap family entertainment. In the 1960s, zoos began to change in drastic ways. With the growing strength of environmental and animal rights movements, the public clamored for more naturalistic and spacious environments in which the animals could live.
The most emblematic of these transformations was the development of the Los Angeles Zoo. In 1966, the cramped and antiquated zoo used grants from the city government to move to a brand-new facility. Although the zoo moved just two miles away, the new location was exponentially bigger, and it featured fresh landscapes that resembled the animals’ natural habitats, instead of dilapidated cages. As the Los Angeles Zoo developed, it was able to work on preservation and conservation efforts for endangered species. New educational programs also became key elements of the Zoo’s mission. Now the old Zoo’s cages stand as ruins and reminders of what past generations saw when they visited years ago.
It can be inferred from the passage that the Great Depression .
"A Short History of Recent Zoos" by Will Floyd
Throughout the twentieth century, zoos underwent large-scale transformations. Before World War I, zoos were small parts of larger municipal parks, and featured sparse cages with little room for their inhabitants. This model held sway until mid-century, with many zoos struggling to remain open during the Great Depression and World War II. The successful zoos survived through making themselves cheap family entertainment. In the 1960s, zoos began to change in drastic ways. With the growing strength of environmental and animal rights movements, the public clamored for more naturalistic and spacious environments in which the animals could live.
The most emblematic of these transformations was the development of the Los Angeles Zoo. In 1966, the cramped and antiquated zoo used grants from the city government to move to a brand-new facility. Although the zoo moved just two miles away, the new location was exponentially bigger, and it featured fresh landscapes that resembled the animals’ natural habitats, instead of dilapidated cages. As the Los Angeles Zoo developed, it was able to work on preservation and conservation efforts for endangered species. New educational programs also became key elements of the Zoo’s mission. Now the old Zoo’s cages stand as ruins and reminders of what past generations saw when they visited years ago.
It can be inferred from the passage that the Great Depression .
The Great Depression is only mentioned once, and in connection with World War II. This means the passage says almost nothing about what the Great Depression truly was. What the passage does note is that "zoos were struggling to remain open," during the Great Depression.
The Great Depression is only mentioned once, and in connection with World War II. This means the passage says almost nothing about what the Great Depression truly was. What the passage does note is that "zoos were struggling to remain open," during the Great Depression.
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"Developments in Understanding Ancient Greek Art" by Will Floyd
Most people imagine stark white temples and plain marble statues as the ideal of ancient Greek art. Nothing could be further from the truth, as the ancient Greeks lavished their statues, sculptures, and buildings with bright colors. The common misconception of plainly adorned Hellenic art can be blamed on the ancient Greeks’ biggest proponents in history. Enlightenment-era classicists eagerly visited ancient ruins in the eighteenth century and saw artifacts that had been weathered to plain white stone through decades of neglect. By the time nineteenth-century archaeologists found proof that the Parthenon and images of the Gods were meant to be in vivid hues, eminent scholars in Europe refused to countenance that pure white marble was not antiquity’s aesthetic paradigm. Widespread acknowledgement of the ancient Greeks’ adoration of bright colors only came in the late twentieth and twenty-first centuries, as scientific tests proved ancient statuary and buildings had once been covered in polychrome paint.
It can be inferred from the passage that .
"Developments in Understanding Ancient Greek Art" by Will Floyd
Most people imagine stark white temples and plain marble statues as the ideal of ancient Greek art. Nothing could be further from the truth, as the ancient Greeks lavished their statues, sculptures, and buildings with bright colors. The common misconception of plainly adorned Hellenic art can be blamed on the ancient Greeks’ biggest proponents in history. Enlightenment-era classicists eagerly visited ancient ruins in the eighteenth century and saw artifacts that had been weathered to plain white stone through decades of neglect. By the time nineteenth-century archaeologists found proof that the Parthenon and images of the Gods were meant to be in vivid hues, eminent scholars in Europe refused to countenance that pure white marble was not antiquity’s aesthetic paradigm. Widespread acknowledgement of the ancient Greeks’ adoration of bright colors only came in the late twentieth and twenty-first centuries, as scientific tests proved ancient statuary and buildings had once been covered in polychrome paint.
It can be inferred from the passage that .
The passage details an argument about Greek art that has lasted centuries. This strongly indicates that the Greeks were highly influential among subsequent cultures. Another helpful strategy for this question is to be extremely wary of words like "always," "only," "never," or "all."
The passage details an argument about Greek art that has lasted centuries. This strongly indicates that the Greeks were highly influential among subsequent cultures. Another helpful strategy for this question is to be extremely wary of words like "always," "only," "never," or "all."
Compare your answer with the correct one above
"Developments in Understanding Ancient Greek Art" by Will Floyd
Most people imagine stark white temples and plain marble statues as the ideal of ancient Greek art. Nothing could be further from the truth, as the ancient Greeks lavished their statues, sculptures, and buildings with bright colors. The common misconception of plainly adorned Hellenic art can be blamed on the ancient Greeks’ biggest proponents in history. Enlightenment-era classicists eagerly visited ancient ruins in the eighteenth century and saw artifacts that had been weathered to plain white stone through decades of neglect. By the time nineteenth-century archaeologists found proof that the Parthenon and images of the Gods were meant to be in vivid hues, eminent scholars in Europe refused to countenance that pure white marble was not antiquity’s aesthetic paradigm. Widespread acknowledgement of the ancient Greeks’ adoration of bright colors only came in the late twentieth and twenty-first centuries, as scientific tests proved ancient statuary and buildings had once been covered in polychrome paint.
It can be inferred from the passage that Enlightenment-era classicists .
"Developments in Understanding Ancient Greek Art" by Will Floyd
Most people imagine stark white temples and plain marble statues as the ideal of ancient Greek art. Nothing could be further from the truth, as the ancient Greeks lavished their statues, sculptures, and buildings with bright colors. The common misconception of plainly adorned Hellenic art can be blamed on the ancient Greeks’ biggest proponents in history. Enlightenment-era classicists eagerly visited ancient ruins in the eighteenth century and saw artifacts that had been weathered to plain white stone through decades of neglect. By the time nineteenth-century archaeologists found proof that the Parthenon and images of the Gods were meant to be in vivid hues, eminent scholars in Europe refused to countenance that pure white marble was not antiquity’s aesthetic paradigm. Widespread acknowledgement of the ancient Greeks’ adoration of bright colors only came in the late twentieth and twenty-first centuries, as scientific tests proved ancient statuary and buildings had once been covered in polychrome paint.
It can be inferred from the passage that Enlightenment-era classicists .
The author does blame "Enlightenment era classicists" for misrepresenting Greek art as always utilizing plain white marble; however, the author is also careful to note that they did this because they were "the ancient Greeks' biggest proponents in history," and greatly appreciated the achievements of the ancient Greeks.
The author does blame "Enlightenment era classicists" for misrepresenting Greek art as always utilizing plain white marble; however, the author is also careful to note that they did this because they were "the ancient Greeks' biggest proponents in history," and greatly appreciated the achievements of the ancient Greeks.
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"The Chemistry of Cooking" by Will Floyd
Molecular gastronomy is a new take on cooking that has spread like wildfire through the culinary world in the last few decades. At its core, molecular gastronomy seeks to redefine and reimagine how food is cooked in restaurant kitchens, using technology, chemistry, and physics to transform pedestrian dishes into surprising forms and textures. These techniques create mystifying dining experiences, while using intimately familiar flavors. Chefs who use molecular gastronomy do not wish merely to be chemists or engineers, but are chefs above all else. To create a special dining experience, the chef begins first and foremost with the dish they wish to serve. Tools like an anti-griddle, a flat top that instantly freezes anything that touches it, or maltodextrin, an additive that can turn liquids into powder, are not there simply to play with the food. A molecular gastronomist will first think of the dish they want to serve, like fried chicken and mashed potatoes. Next, they will find a way to get the same flavors and textures in a unique way. The chicken might not be fried, but go through a process that will give it a crispy skin and juicy meat while never broaching hot oil. The mashed potatoes could become a light sauce, and then be put on an anti-griddle to give a new look, texture, and temperature. While the diner will have something that might look like a dessert or a soup, in actuality what they are having is a homestyle dish that they remember from childhood. This sense of familiarity is the ultimate goal of any chef utilizing molecular gastronomy.
It can be inferred from the passage that fried chicken and mashed potatoes .
"The Chemistry of Cooking" by Will Floyd
Molecular gastronomy is a new take on cooking that has spread like wildfire through the culinary world in the last few decades. At its core, molecular gastronomy seeks to redefine and reimagine how food is cooked in restaurant kitchens, using technology, chemistry, and physics to transform pedestrian dishes into surprising forms and textures. These techniques create mystifying dining experiences, while using intimately familiar flavors. Chefs who use molecular gastronomy do not wish merely to be chemists or engineers, but are chefs above all else. To create a special dining experience, the chef begins first and foremost with the dish they wish to serve. Tools like an anti-griddle, a flat top that instantly freezes anything that touches it, or maltodextrin, an additive that can turn liquids into powder, are not there simply to play with the food. A molecular gastronomist will first think of the dish they want to serve, like fried chicken and mashed potatoes. Next, they will find a way to get the same flavors and textures in a unique way. The chicken might not be fried, but go through a process that will give it a crispy skin and juicy meat while never broaching hot oil. The mashed potatoes could become a light sauce, and then be put on an anti-griddle to give a new look, texture, and temperature. While the diner will have something that might look like a dessert or a soup, in actuality what they are having is a homestyle dish that they remember from childhood. This sense of familiarity is the ultimate goal of any chef utilizing molecular gastronomy.
It can be inferred from the passage that fried chicken and mashed potatoes .
The point of bringing up fried chicken and mashed potatoes is so that the author can demonstrate how molecular gastronomy plays with a diner's expectations. A key component of these expectations is that the dish may look unfamiliar, but have the taste of "a homestyle dish that they remember from childhood."
The point of bringing up fried chicken and mashed potatoes is so that the author can demonstrate how molecular gastronomy plays with a diner's expectations. A key component of these expectations is that the dish may look unfamiliar, but have the taste of "a homestyle dish that they remember from childhood."
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"Science Fiction and Society" by Will Floyd
Science fiction and fantasy novels are often seen as pure escapism; however, many authors use the fantastic or futuristic aspects of their work to comment on contemporary problems. Normally this is done by including things that seem quite familiar to a reader, but giving them small twists rooted in the author’s fabricated world. Subjects like racism are often hard for certain writers to analyze without causing an uproar among certain readers. By subverting the prejudice to being directed against a space alien, a completely unfamiliar being, a science fiction author can reinterpret why humans possess hatred for other groups. This can take the form of prejudice against things that people in reality are not normally prejudiced against. These analyses show the erratic and arbitrary nature of racism.
Fantasy books can offer a similar level of surprise for readers who think they know what the usual course of events would be in the regular world. By making the fantasy the focus of what's occurring in the narrative, love stories, war stories, and simple tales of overcoming obstacles can become pleasantly mystifying. Fantasy authors can create interesting takes on basic morality by simply injecting a small amount of magic into an old tale. Black-and-white approaches to good and evil seem much less trite and hackneyed when set in a fantastical, magical world. The ability for an audience to get lost in a magical world changes the expectations of the reader. Often, the threat of destruction in a beloved fantasy world will seem a darker occurrence than the threat to the world in which they live. This attachment to a created world allows science fiction and fantasy authors to discuss serious issues in a different manner to authors in other genres.
It can be inferred from the passage that science fiction is .
"Science Fiction and Society" by Will Floyd
Science fiction and fantasy novels are often seen as pure escapism; however, many authors use the fantastic or futuristic aspects of their work to comment on contemporary problems. Normally this is done by including things that seem quite familiar to a reader, but giving them small twists rooted in the author’s fabricated world. Subjects like racism are often hard for certain writers to analyze without causing an uproar among certain readers. By subverting the prejudice to being directed against a space alien, a completely unfamiliar being, a science fiction author can reinterpret why humans possess hatred for other groups. This can take the form of prejudice against things that people in reality are not normally prejudiced against. These analyses show the erratic and arbitrary nature of racism.
Fantasy books can offer a similar level of surprise for readers who think they know what the usual course of events would be in the regular world. By making the fantasy the focus of what's occurring in the narrative, love stories, war stories, and simple tales of overcoming obstacles can become pleasantly mystifying. Fantasy authors can create interesting takes on basic morality by simply injecting a small amount of magic into an old tale. Black-and-white approaches to good and evil seem much less trite and hackneyed when set in a fantastical, magical world. The ability for an audience to get lost in a magical world changes the expectations of the reader. Often, the threat of destruction in a beloved fantasy world will seem a darker occurrence than the threat to the world in which they live. This attachment to a created world allows science fiction and fantasy authors to discuss serious issues in a different manner to authors in other genres.
It can be inferred from the passage that science fiction is .
The author actually mentions very few specifics about the full definition of "science fiction." Among the specifics that are mentioned, however, are the use of "futuristic aspects." "aliens," and "technology."
The author actually mentions very few specifics about the full definition of "science fiction." Among the specifics that are mentioned, however, are the use of "futuristic aspects." "aliens," and "technology."
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"Political Representation" by Will Floyd
Pundits often decry the gridlock in Washington, D.C. Partisanship frequently makes legislators oppose bills they have supported in the past. Political grandstanding regularly takes the place of reasoned compromise or deal-making. Many political scientists are trying to find ways to resolve these issues within constitutional boundaries. One of the more popular suggestions is a different voting system called proportional representation. Proportional representation operates under the theory that each vote will help place a candidate in the legislature, rather than the current winner take all method of elections in the United States. Under proportional representation, candidates do not run for a specific seat in a particular district, but instead are part of a ranked list of candidates for each political party; therefore, if a political party receives thirty percent of the votes, thirty percent of the seats will be held by this party. Critics of proportional representation claim the system gives too much power to fringe candidates and political parties, whose only goal would be to destroy the political system. This cynical view of proportional representation stems from the example of countries currently using proportional representation. As it is, political scientists who do argue for proportional representation are trying to find a way around the current problems that exist in the United States’ political system, and feel a third party might create new pressures on the two party system currently causing such problems. The advocates of proportional representation do not argue that proportional representation is a perfect system, but also argue that we are not currently using a perfect system and that we need something to change.
It can be inferred from the passage that political scientists who advocate proportional representation .
"Political Representation" by Will Floyd
Pundits often decry the gridlock in Washington, D.C. Partisanship frequently makes legislators oppose bills they have supported in the past. Political grandstanding regularly takes the place of reasoned compromise or deal-making. Many political scientists are trying to find ways to resolve these issues within constitutional boundaries. One of the more popular suggestions is a different voting system called proportional representation. Proportional representation operates under the theory that each vote will help place a candidate in the legislature, rather than the current winner take all method of elections in the United States. Under proportional representation, candidates do not run for a specific seat in a particular district, but instead are part of a ranked list of candidates for each political party; therefore, if a political party receives thirty percent of the votes, thirty percent of the seats will be held by this party. Critics of proportional representation claim the system gives too much power to fringe candidates and political parties, whose only goal would be to destroy the political system. This cynical view of proportional representation stems from the example of countries currently using proportional representation. As it is, political scientists who do argue for proportional representation are trying to find a way around the current problems that exist in the United States’ political system, and feel a third party might create new pressures on the two party system currently causing such problems. The advocates of proportional representation do not argue that proportional representation is a perfect system, but also argue that we are not currently using a perfect system and that we need something to change.
It can be inferred from the passage that political scientists who advocate proportional representation .
The political scientists who support proportional representation are only elaborated on through their positions. Few specific details are really given about the political scientists themselves, but it is mentioned in the opening sentences that there are many problems in the political system.
The political scientists who support proportional representation are only elaborated on through their positions. Few specific details are really given about the political scientists themselves, but it is mentioned in the opening sentences that there are many problems in the political system.
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"Political Representation" by Will Floyd
Pundits often decry the gridlock in Washington, D.C. Partisanship frequently makes legislators oppose bills they have supported in the past. Political grandstanding regularly takes the place of reasoned compromise or deal-making. Many political scientists are trying to find ways to resolve these issues within constitutional boundaries. One of the more popular suggestions is a different voting system called proportional representation. Proportional representation operates under the theory that each vote will help place a candidate in the legislature, rather than the current winner take all method of elections in the United States. Under proportional representation, candidates do not run for a specific seat in a particular district, but instead are part of a ranked list of candidates for each political party; therefore, if a political party receives thirty percent of the votes, thirty percent of the seats will be held by this party. Critics of proportional representation claim the system gives too much power to fringe candidates and political parties, whose only goal would be to destroy the political system. This cynical view of proportional representation stems from the example of countries currently using proportional representation. As it is, political scientists who do argue for proportional representation are trying to find a way around the current problems that exist in the United States’ political system, and feel a third party might create new pressures on the two party system currently causing such problems. The advocates of proportional representation do not argue that proportional representation is a perfect system, but also argue that we are not currently using a perfect system and that we need something to change.
It can be inferred from the passage that the "gridlock in Washington, D.C." stems from .
"Political Representation" by Will Floyd
Pundits often decry the gridlock in Washington, D.C. Partisanship frequently makes legislators oppose bills they have supported in the past. Political grandstanding regularly takes the place of reasoned compromise or deal-making. Many political scientists are trying to find ways to resolve these issues within constitutional boundaries. One of the more popular suggestions is a different voting system called proportional representation. Proportional representation operates under the theory that each vote will help place a candidate in the legislature, rather than the current winner take all method of elections in the United States. Under proportional representation, candidates do not run for a specific seat in a particular district, but instead are part of a ranked list of candidates for each political party; therefore, if a political party receives thirty percent of the votes, thirty percent of the seats will be held by this party. Critics of proportional representation claim the system gives too much power to fringe candidates and political parties, whose only goal would be to destroy the political system. This cynical view of proportional representation stems from the example of countries currently using proportional representation. As it is, political scientists who do argue for proportional representation are trying to find a way around the current problems that exist in the United States’ political system, and feel a third party might create new pressures on the two party system currently causing such problems. The advocates of proportional representation do not argue that proportional representation is a perfect system, but also argue that we are not currently using a perfect system and that we need something to change.
It can be inferred from the passage that the "gridlock in Washington, D.C." stems from .
The passage mentions "gridlock in Washington, D.C." in the very first sentence, then disusses "partisanship" and "political grandstanding." Later in the passage, the key argument for proportional representation is given as allowing third parties to put pressure on the current two parties that share power.
The passage mentions "gridlock in Washington, D.C." in the very first sentence, then disusses "partisanship" and "political grandstanding." Later in the passage, the key argument for proportional representation is given as allowing third parties to put pressure on the current two parties that share power.
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A Short History of the Electric Guitar, by Will Floyd
Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.
Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.
It can be inferred from the passage that "honky-tonk and boogie-woogie combos" .
A Short History of the Electric Guitar, by Will Floyd
Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.
Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.
It can be inferred from the passage that "honky-tonk and boogie-woogie combos" .
The passage actually gives very little information on what "honky-tonk and boogie-woogie combos" actually sounded like. It does mention they wanted to play "faster and louder" on their guitars, which they also wanted to be "cheaper, sturdier, and better intonated," but larger perspectives on the music are difficult to infer. What is clear is that "big bands were antiquated" after World War II, and that "honky-tonk and boogie-woogie combos" filled their space, indicating the music was quite different.
The passage actually gives very little information on what "honky-tonk and boogie-woogie combos" actually sounded like. It does mention they wanted to play "faster and louder" on their guitars, which they also wanted to be "cheaper, sturdier, and better intonated," but larger perspectives on the music are difficult to infer. What is clear is that "big bands were antiquated" after World War II, and that "honky-tonk and boogie-woogie combos" filled their space, indicating the music was quite different.
Compare your answer with the correct one above
A Short History of the Electric Guitar, by Will Floyd
Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.
Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.
It can be inferred from the passage that the Bigsby and Rickenbacker companies .
A Short History of the Electric Guitar, by Will Floyd
Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.
Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.
It can be inferred from the passage that the Bigsby and Rickenbacker companies .
The Bigsby and Rickenbacker companies are only mentioned in one sentence in the entire passage, where it is noted they too made a small run of electric solid-body guitars. From this, it can be inferred that they had some success, but never achieved anywhere near the level of Leo Fender's company.
The Bigsby and Rickenbacker companies are only mentioned in one sentence in the entire passage, where it is noted they too made a small run of electric solid-body guitars. From this, it can be inferred that they had some success, but never achieved anywhere near the level of Leo Fender's company.
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Baseball, Then and Now, by Will Floyd
The twenty-first-century baseball fan would hardly recognize the nineteenth-century version of the national pastime. The massive stadiums, pristine uniforms, and even most articles of equipment integral to the modern game were all unfamiliar to players in the late-nineteenth-century.
The current number of balls and strikes that each batter is allowed was not settled until the 1890s. Fielding gloves were not utilized until the 1880s. Players could even call for a high or low pitch as recently as 1900. The biggest misconception about nineteenth-century baseball from a modern point-of-view is assuming all pitching was done the way it is now. In fact, until 1893 pitchers operated out of a box a mere 45 feet away. The short distance was no problem, as the original rules for pitching required an underhand motion. As athletes have done for centuries, pitchers of the nineteenth century figured out ways to throw harder and circumvent the rules. Eventually, pitchers were taking a running start from 45 feet away and throwing overhand. Baseball players and administrators quickly realized that such pitching was a safety hazard at 45 feet, and it creates a tedious game in which no one could score. Baseball pushed the pitcher back to sixty feet and six inches, introduced the pitcher’s mound, and the slab the pitcher must be rooted to, pushing baseball closer to its modern form. These changes in baseball’s early years made the game the treasured sport it is today.
It can be inferred from the passage that nineteenth-century sports .
Baseball, Then and Now, by Will Floyd
The twenty-first-century baseball fan would hardly recognize the nineteenth-century version of the national pastime. The massive stadiums, pristine uniforms, and even most articles of equipment integral to the modern game were all unfamiliar to players in the late-nineteenth-century.
The current number of balls and strikes that each batter is allowed was not settled until the 1890s. Fielding gloves were not utilized until the 1880s. Players could even call for a high or low pitch as recently as 1900. The biggest misconception about nineteenth-century baseball from a modern point-of-view is assuming all pitching was done the way it is now. In fact, until 1893 pitchers operated out of a box a mere 45 feet away. The short distance was no problem, as the original rules for pitching required an underhand motion. As athletes have done for centuries, pitchers of the nineteenth century figured out ways to throw harder and circumvent the rules. Eventually, pitchers were taking a running start from 45 feet away and throwing overhand. Baseball players and administrators quickly realized that such pitching was a safety hazard at 45 feet, and it creates a tedious game in which no one could score. Baseball pushed the pitcher back to sixty feet and six inches, introduced the pitcher’s mound, and the slab the pitcher must be rooted to, pushing baseball closer to its modern form. These changes in baseball’s early years made the game the treasured sport it is today.
It can be inferred from the passage that nineteenth-century sports .
The main point of the passage is that nineteenth century baseball is nothing like the modern game. In particular, the author stresses the many rules changes baseball underwent, which indicates that nineteenth-century sports "were still developing their rules and traditions."
The main point of the passage is that nineteenth century baseball is nothing like the modern game. In particular, the author stresses the many rules changes baseball underwent, which indicates that nineteenth-century sports "were still developing their rules and traditions."
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"Unseen Characters" by Will Floyd
Many plays, films, and television shows use the storytelling device of the unseen character. As the name implies, this trope involves a character the audience never directly encounters, but instead only hears about through the words of other characters. A common assumption is that a character that never speaks or is visible to the viewers of a play or film would only be a minor element, left to be the butt of jokes or as a simple way to add depth to a major character. In fact, unseen characters are frequently quite important, and further the plot because of their absence. The most notable instance of such a character is Godot in Samuel Beckett’s play Waiting for Godot. The two main characters in the play, Vladimir and Estragon, sit patiently by a tree, expecting Godot to come by at any moment. Three other characters, Lucky, Pozzo, and a boy, all speak to Vladimir and Estragon, with Godot never alighting on the stage. Nonetheless, Godot’s machinations in making the men wait—along with his supposed intentions—drive the play’s narrative. Godot, never seen or heard from directly, becomes the largest force in the created world of the play. This use of an unseen character creates an added mystery and increases the tension between the two main characters. Beckett uses the unseen character not as a gimmick or cheap ploy, but instead as the central focus of his play.
"The created world of the play" mentioned in the passage refers to .
"Unseen Characters" by Will Floyd
Many plays, films, and television shows use the storytelling device of the unseen character. As the name implies, this trope involves a character the audience never directly encounters, but instead only hears about through the words of other characters. A common assumption is that a character that never speaks or is visible to the viewers of a play or film would only be a minor element, left to be the butt of jokes or as a simple way to add depth to a major character. In fact, unseen characters are frequently quite important, and further the plot because of their absence. The most notable instance of such a character is Godot in Samuel Beckett’s play Waiting for Godot. The two main characters in the play, Vladimir and Estragon, sit patiently by a tree, expecting Godot to come by at any moment. Three other characters, Lucky, Pozzo, and a boy, all speak to Vladimir and Estragon, with Godot never alighting on the stage. Nonetheless, Godot’s machinations in making the men wait—along with his supposed intentions—drive the play’s narrative. Godot, never seen or heard from directly, becomes the largest force in the created world of the play. This use of an unseen character creates an added mystery and increases the tension between the two main characters. Beckett uses the unseen character not as a gimmick or cheap ploy, but instead as the central focus of his play.
"The created world of the play" mentioned in the passage refers to .
The "created world of the play" is used to describe a place where Godot is "the largest force." As it is Godot's "machinations" driving this, and Godot is a fictional character, then the correct answer must refer to the fictional universe in which the play takes place, provided by the play's author.
The "created world of the play" is used to describe a place where Godot is "the largest force." As it is Godot's "machinations" driving this, and Godot is a fictional character, then the correct answer must refer to the fictional universe in which the play takes place, provided by the play's author.
Compare your answer with the correct one above
Unseen Characters by Will Floyd
Many plays, films, and television shows use the storytelling device of the unseen character. As the name implies, this trope involves a character the audience never directly encounters, but instead only hears about through the words of other characters. A common assumption is that a character that never speaks or is visible to the viewers of a play or film would only be a minor element, left to be the butt of jokes or as a simple way to add depth to a major character. In fact, unseen characters are frequently quite important, and further the plot because of their absence. The most notable instance of such a character is “Godot,” in Samuel Beckett’s play “Waiting for Godot.” The two main characters in the play, Vladimir and Estragon, sit patiently by a tree, expecting Godot to come by at any moment. Three other characters, Lucky, Pozzo, and a boy, all speak to Vladimir and Estragon, with Godot never alighting on the stage. Nonetheless, Godot’s machinations in making the men wait—along with his supposed intentions—drive the play’s narrative. Godot, never seen or heard from directly, becomes the largest force in the created world of the play. This use of an unseen character creates an added mystery and increases the tension between the two main characters. Beckett uses the unseen character not as a gimmick or cheap ploy, but instead as the central focus of his play.
It can be inferred from the passage that Samuel Beckett .
Unseen Characters by Will Floyd
Many plays, films, and television shows use the storytelling device of the unseen character. As the name implies, this trope involves a character the audience never directly encounters, but instead only hears about through the words of other characters. A common assumption is that a character that never speaks or is visible to the viewers of a play or film would only be a minor element, left to be the butt of jokes or as a simple way to add depth to a major character. In fact, unseen characters are frequently quite important, and further the plot because of their absence. The most notable instance of such a character is “Godot,” in Samuel Beckett’s play “Waiting for Godot.” The two main characters in the play, Vladimir and Estragon, sit patiently by a tree, expecting Godot to come by at any moment. Three other characters, Lucky, Pozzo, and a boy, all speak to Vladimir and Estragon, with Godot never alighting on the stage. Nonetheless, Godot’s machinations in making the men wait—along with his supposed intentions—drive the play’s narrative. Godot, never seen or heard from directly, becomes the largest force in the created world of the play. This use of an unseen character creates an added mystery and increases the tension between the two main characters. Beckett uses the unseen character not as a gimmick or cheap ploy, but instead as the central focus of his play.
It can be inferred from the passage that Samuel Beckett .
The only thing directly mentioned by the author about Samuel Beckett is that he was the author of "Waiting for Godot," which is held up as being a model for using an unseen character effectively. This indicates that all that can be truly inferred about Beckett is that as a playwright he "used interesting literary devices."
The only thing directly mentioned by the author about Samuel Beckett is that he was the author of "Waiting for Godot," which is held up as being a model for using an unseen character effectively. This indicates that all that can be truly inferred about Beckett is that as a playwright he "used interesting literary devices."
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