The passages below are followed by questions based on their content; questions following a pair of related passages may also be based on the relationship between the paired passages. Answer the questions on the basis of what is stated or implied in the passages and in any introductory material that may be provided.
Questions 6-9 are based on the following passages.
Passage 1
The eighteenth-century botanist Carolus Linnaeus'
enormous and essential contribution to natural history
was to devise a system of classification whereby any
plant or animal could be identified and slotted into
5 an overall plan. Yet Linnaeus himself would probably
have been the first to admit that classification is only
a tool. and not the ultimate purpose. of biological
inquiry. Unfortunately, this truth was not apparent
to his immediate successors, who for the next hundred
10 years were to concern themselves almost exclusively
with classification.
Passage 2
I am a heretic about Linnaeus. Ido not dispute the
value of the tool he gave natural science, but I am wary
about the change it has effected on humans' relationship
15 to the world. From Linnaeus on. much of science has
been devoted to sorting masses into individual entities
and arranging the entities neatly. The cost of having so
successfully itemized and pigeonholed nature is to limit
certain possibilities of seeing and apprehending. For
20 example. the- modem human thinks that he or she can
best understand a tree (or a species of tree) by examining
a single tree. But trees are not intended to grow in isolation.
They are social creatures. and their society in tum supports
other species of plants. insects. birds. mammals. and micro-
25 organisms. all of which make up the whole experience of
the woods. '
6. Compared to the author of Passage 2. the author
of Passage l regards Linnaeus with more
(A) cynicism
(B) bafflement
(C) appreciation
(D) nostalgia
(E) resentment
7 Unlike the author of Passage l, the author of Passage 2
makes use of
(A) scientific data
(B) literary allusion
(C) historical research
(D) personal voice
(E) direct citation
8 Both passages emphasize which of the following
aspects of Linnaeus' work?
(A) The extent to which it contributed to natural
science
(B) The way in which it limits present-day science
(C) 'Die degree to which it revived interest in biology
(D) 'l`he decisiveness with which it settled scientific
disputes
(E) The kinds of scientific discoveries on which
it built `
9 The author of Passage 1 would most likely respond
to the opening of Passage 2 (lines 12- I7) by arguing
that the author of Passage 2 has
(A) demonstrated that Linnaeus should be better
known as a scientist than he currently is
(B) minimized the achievements of those scientists
who built on Linnaeus' work
(C) refused to appreciate the importance of proper
classification to scientific progress
(D) failed to distinguish the ideas of Linnaeus from
those of his followers
(E) misunderstood Linnaeus` primary contribution
to natural history
Questions 10-15 are based on the following passage.
The following is an excerpt from a translation of a novel
written in Spanish by an author from Colombia. In a
fanciful manner. the novelist portrays the townspeople
of an isolated village.
Dazzled by so many and such marvelous inventions, the
people of Macondo did not know where their amazement
began. They stayed up all night looking at the pale electric
bulbs fed by the electric plant that Aureliano Triste had
5 brought back when the train made its second trip, and it
took time and effort for them to grow accustomed to its
obsessive noise.
They became indignant over the living images that the
prosperous merchant Bnino Crespi projected on the screen
10 in the theater with the lion-head ticket windows, for the
character who had died and was buried in one film, and for
whose misfortune tears of affliction had been shed, would
reappear alive and transformed into an Arab sheik in the
next one. The audience. who paid two cents apiece to share
15 the difficulties of the actors, would not tolerate such an
outlandish fraud and they broke up the seats. The mayor,
at the urging of Bruno Crespi, explained in a proclamation
that the cinema was a machine of illusions that did not
merit the emotional outbursts of the audience. With that
20 discouraging explanation many felt that they had been the
victims of some new trickery and they decided not to return
to the movies. considering that they already had too many
troubles of their own to weep over the acted-out misfor-
tunes of imaginary beings.
25 Something similar happened with cylinder phonographs
brought from France and intended as a substitute for the
antiquated hand organs used by the band of musicians. For
a time the phonograph records had serious effects on the
livelihood of the musicians. At first curiosity increased the
30 business on the street where they were sold and there was
even word of respectable persons who disguised them-
selves as workers in order to observe the novelty of the
phonograph at firsthand. but from so much and such close
observation they soon reached the conclusion that it was
35 not an enchanted mill as everyone had thought and as some
had said, but a mechanical trick that could not be compared
with something so moving, so human, and so full of every-
day truth as a band of musicians. It was such a serious
disappointment that when phonographs became so popular
40 that there was one in every house they were not considered
objects for amusement for adults but as something good for
children to take apart.
On the other hand, when someone from the town had
the opportunity to test the crude reality of the telephone
45 installed in the railroad station, which was thought to be
a rudimentary version of the phonograph because of its
crank. even the most incredulous were upset. It was as if
God had decided to put to the test every capacity for sur-
prise :ind was keeping the inhabitants of Macondo in a
50 permanent alternation between excitement and disappoint-
ment. doubt and revelation, to such an extreme that no one
knew for certain where t.he limits of reality lay.
10 The word "obsessive" (line 7) most nearly means
(A) enthusiastic
(B) persistent
(C) obvious
(D) infatuated
(E) hardworking
11 The "fraud" (line 16) that upset the citizens of Macondo was related to the
(A) excessive charge for admission
(B) outlandish adventures of the characters on the screen
(C) fact that the events depicted on the screen did not actually occur
(D) types of difficulties the actors faced
(E) implausible plots of the stories that were told
12 The citizens lost interest in their phonographs
(A) the machines lacked the heart and soul of true musicians
(B) few people were able to operate them
(C) the machines were too difficult to observe firsthand
(D) many musicians lost their jobs because of
(E) the children were breaking them faster than were made
13 The citizens of Macondo were distressed by the of the telephone because they
(A) did not know where it had come from
(B) had expected a more socially beneficial invention
(C) could envision the changes it would bring to daily village life
(D) no longer felt able to make the usual assumptions about their world
(E) were fearful that it would have serious effects on their continued employment
14 The aspect of the new inventions that most disappointed the citizens was that these inventions
(A) were not all fashioned with a crank
(B) did not have any real educational value
(C) were not at all what they seemed to be
(D) were meant purely for entertainment
(E) were so intricate they were difficult to operate
15 The major purpose of the passage is to
(A) illustrate the influence the distinguished residents of Macondo had on the other citizens
(B) describe the new scientific inventions that were
introduced to Macondo
(C) depict a diverse crowd reacting in unison to a
magical performance
(D) describe the people's responses to the influx of
technical advances
(E) delineate old-fashioned ideas about the virtue of
nature over technology
Questions 16-24 are based on the following passage.
This passage is by a choreographer who worked with the
influential dancer and choreographer Martha Graham
(1894-1991). It focuses on the use of space and gesture in
dance.
I am not an adept aesthetician, and I could not presume
to analyze Nlartha’s sense of design or approach toward
design. But I believe she dealt with the elements of line and
direction with the instincts of a mathematician or physicist.
5 adding to each their emotional relations. For example. a
straight line rarely, if ever, occurs in nature, but it does
occur in art, and it is used in art with various telling
effects. Direction works similar magic. An approaching
body produces one kind of emotional line, a receding or
10 departing body another; the meeting of two forces produces
visual. kinesthetic, and emotional effects. with a world of
suggestibility around them like a penumbra that evokes
many ideas and emotions whenever these forms are manip-
ulated. Basic human gesture: assume, therefore. an almost
15 mystic power. The simple maneuver of turning the face
away. for example, removes personality, relationship. Not
only mat, it seems to alter the relation of the individual to
present time and present place, to make here-and-now
other-where and other-time. It also shifts the particular
20 personality to the general and the symbolic. This is the
power of the human face and the human regard. and the
meeting of the eyes is probably as magic a connection as
can be made on this earth. equal to any amount of electrical
shock or charge. It represents the heart of dynamism. life
25 itself. The loss of that regard reduces all connections to
nothingness and void.
"Turning one`s back" has become a common figure of
speech. It means withholding approval. disclaiming. negat-
ing: and, in fact. in common conduct the physical turning
30 of the back is equated with absolute negation and insult.
No back is turned on a royal personage or :r figure of high
respect. This is linked with the loss of visual contact and
regard. One cuts dead by not meeting the eyes.
We know much about emotional symbols. Those used
35 by the medieval and Renaissance painters were understood
by the scholars and artists of the time-but. more wonder-
ful. they mean to us today spontaneously just what tl1ey
meant then; they seem to be permanent. We dream. Jung`
tells us. in terms and symbols of classic mythology. And
40 since. according to Jung, all people share a “collective
unconscious." people from disparate traditions nonetheless
dream in the same terms. ls it not also likely. then, that
certain space relations, rhythms. and stresses have psy-
chological significance. that some of these pattems are
45 universal and the key to emotional response. that their
deviations and modifications can be meaningful to artists
in terms of their own life experiences and that these over-
tones are grasped by spectators without conscious arzalysis?
These matters are basic to our well-being as land and air
50 animals. As plants will tum to sunlight or rocks or moisture
according to their nature, so we bend toward or escape
from spatial arrangements according to our emotional
needs. Look around any restaurant and see how few people
will sit at a center table unless the sides are filled up. Yet
55 monarchs of old always dined dead center and many Limq
in public.
The individual as a personality. then, has a particular :
code in space and rhythm, evolved from his or her life Q
history and from the history of the human race. It is just
60 the manipulation of these suggestions through time-space
that is the material of choreography. ‘
*A Swiss psychologist (1875-1961)
16. The first two sentences (lines l-5) are characterized,
respectively, by
A disclaimer and assertion
B invocation and definition
C apology and confession
D authority and hypothesis
E rebuttal and analysis
17. In lines 5-6. the statement "a straight line rarely, if ever. occurs in nature” emphasizes the author’s recognition of the
(A) choreographer’s need for spectacular effects
(B) choreographer’s use of mathematical forms
(C) choreographer’s estrangement from nature
(D) impossibility of performing certain choreographer motions
(E) universality of geometrical forms
18. By saying that the meeting of two forces produces effects that have "a world of suggestibility around them" (lines l l-12) the author means that the physical event
(A) provokes unwarranted suspicions
(B) reveals the motives of the artist
(C) acts on the gullibility of the audience
(D) lulls the audience into complacent acceptance
(E) evokes a vast number of associations
19. The authors main point about "human gestures"
(line 14) is that they
(A) are not subject to an individuals control
( B ) are difficult to analyze without scientific terminology
(C) provoke different responses in people
(D) carry powerful. universally understood messages
(E) evolve with changes in cultural hierarchy
20 The author mentions "the meeting of the eyes" '
(lines 2|-22) to suggest the
(A)effect that tank or status has on gestural meaning
(B)difficulty of controlling emotional symbols
(C)degree to which body language is not a function of personality
(D)extent of the power of individual human contact
(E)nature of artistically pleasing events
21 The author suggests which of the following about
the work of "medieval and Renaissance painters" (line 35) ?
(A) It was influenced by its royal patronage.
( B) It was conceived more spontaneously than is modem art.
(C) It should be cherished for its unique symbolism.
(D) It contains symbols that are immediately accessible to contemporary viewers.
(E) It is an unsophisticated version of symbolism developed later by choreographers.
22 As used in line 43. "stresses" most nearly means
(A) emphases
(B) loads
(C) anxieties
(D) influences
(E) sounds
23 As used in line 48. "grasped" most nearly means
(A)adhered to
(B) seized on
(C) controlled
(D) held
(E) understood
24 The author suggests that people in a restaurant
(lines 53-54) are expressing their emotional need for
(A) unhindered interaction
(B) relative privacy
(C) respect from strangers
(D) approval from others
(E) reclusive isolation