SECTION 3 Time 25 minutes 24 Questions 1.

. The popularity of Art Nouveau, a highly decorative style of design, ------ during the first decade of the twentieth century only to ------ some ten years later, when everyone seemed to lose interest. (A) (B) (C) (D) (E) 2. wavered .. resurface boomed .. evolve vanished wane moderated .. thrive surged .. collapse 8. 7.

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Doris Lessings work is both ------- and ------- : her books are numerous and full of discerning observations. (A) (B) (C) (D) (E) prolific .. utopian enervated .. analytical onerous .. cosmopolitan copious .. sagacious insightful .. perceptive

It was inevitable that the ethics committee would ------ the moral character of the candidate because he was such a ------ individual. (A) (B) (C) (D) (E) exonerate .. prurient notice .. recondite exalt .. malignant assail .. contrite impugn .. nefarious

Edmonia Lewis sculpture The Death of Cleopatra was immediately recognized as ------ work because no one had done anything like it before. (A) (B) (C) (D) (E) an intemperate an artistic an original a prophetic a classical

Questions 9-10 are based on the following passage.

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While not openly contemptuous, the comedians comments about the city included such ------ insinuations that the audience was offended. (A) (B) (C) (D) (E) idiosyncratic idealistic concise banal demeaning

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Myth and misunderstanding spring from the American frontier as readily as rye from sod, andlike those wiry grassesare difficult to weed out and discard. The epic Western hero was a rugged individualist seeking land, gold, opportunity, and adventure, who moved further west at the first sign of a neighbor's smoke. Women too were of the epic sortstaunch, bonneted, etched at sunset in bold relief against the prairie. Yet somewhere amongst these legends lie the real lives of real men and real women, individuals from many cultures who make themselves known to us through their own words in their letters, diaries, and journals. The analogy in lines 1-3 (Myth . . . discard) primarily suggests that myths about the American frontier are (A) (B) (C) (D) (E) unsubstantiated and harmful pervasive and tenacious creative but ineffectual contrived but credible heartening but nave

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Short on analysis but long on ------, the book is little more than a series of diverting stories. (A) (B) (C) (D) (E) clich prophecy pedantry anecdote critique

10. The effect of the repetition of the word real in line 9 is to (A) (B) (C) (D) (E) authenticate a claim emphasize a contrast glorify Western mythology accentuate the importance of heroes distinguish settlers from pioneers

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Citing evidence that babies shielded from harmful microbes during infancy may be ------ developing allergies as adults, the scientist claimed that excessive hygiene is ------. (A) (B) (C) (D) (E) prone to .. deleterious exempt from .. immaterial resistant to .. obsolete protected from .. perilous predisposed to .. therapeutic

Questions 11-12 are based on the following passage.

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The republics government became so ------- that during one three-week period five different presidents held office. (A) (B) (C) (D) (E) irreproachable archaic tyrannical clandestine precarious

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When The Souls of Black Folk, by W. E. B. DuBois, was published a century ago, the book was something entirely different in American letters. In 14 essays that swooped from music to history to politics, it was both a depiction of Black life in the United States and a meditation on the meaning of Blackness. It was also a groundbreaking challenge to White supremacy. In 1903 it was both embraced and reviled. Today it is widely viewed as having recast the Black struggle as a quest for constitutional rights and social equality, rather than the accommodation advocated by Booker T. Washington at the turn of the twentieth century.


11. The word swooped in line 3 helps to emphasize the (A) (B) (C) (D) (E) rush of critics to attack DuBois arguments suddenness of DuBois cultural ascendancy broad range of DuBois intellectual inquiry ease with which DuBois evaded categorization rarefied nature of DuBois speculative thought Passage 2

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12. The passage indicates that in 1903 The Souls of Black Folk was met with (A) (B) (C) (D) (E) unquestioning acceptance universal hostility initial indifference antithetical responses noncommittal appraisals

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Questions 13-24 are based on the following passages.

These passages present two perspectives on how personal memories are processed. Passage 1 was written by a biologist; Passage 2, by a psychology professor.

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Passage 1 Once memories begin to accumulate in permanent storage, we embark on the lifelong process of creating and re-creating mental autobiographies, usingin lieu of pencil, paper, and word processorthe cell assemblies of the brain. Autobiographical memory, writes psychologist John Kotre, is memory for the people, places, objects, events, and feelings that go into the story of your life. Autobiographical memory encompasses your first day of school, your grandmothers raisin pies, your first fishing trip, and your last summer vacationweaving them all into a continuous and more or less true tale. Autobiographical memory, however, despite its convincing aura of accuracy, is more historical novel than history. For one thing, in the realm of memory, we are all stars, planted squarely and triumphantly at the center of the action. Psychologist Anthony Greenwald explains that in the making of memory, were all totalitarian egos: we remember ourselves as important and assign ourselves central roles in successful decisions or performances. Conversely, we weasel out of failure. Autobiographical memory is big on scapegoats: we win, but they lose. The totalitarian ego, ever eager to put its best foot forward, determinedly clears our memories of blame. In autobiographical memory, we become better than we really are. In accident reports and insurance claims, we tend never to be at fault: trees and telephone poles maliciously leap out at us; fence posts and stop signs suddenly appear before us. Autobiographical memory, according to Kotre, is in a constant state of struggle between opposing forces: a mythmaker that, in striving to turn our lives into a good story, favors poetic license, exaggeration, and embellishment; and an archivist, a stickler for historical truth. (The mythmaker may produce face-saving excuses, but the archivist knows very well who drove into that fence post.) The mythmaker, however, given the malleability of memory and the merciful nature of time, has ample scope for plying this inventive trade. What we remember and how we remember it are both the result of a mental editing process, during which a good deal of memory is left in the discard pile on the cutting room floor. Its this mental rewrite process, unique for each one of us, that causes different people to remember the same events in very different ways. 65

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The novelist Reynolds Price, reflecting on his past, wished that his parents had taken more photographs and recorded more of what happened in order to help him overcome creeping uncertainties about the reliability of his own memories. I think I recall the look and tone of many of those moments of laughter, pain, and bitter longing, muses Price, adding parenthetically that the confidence that I do recall them, with a good deal of truthfulness, lies near the foot of my hold on sanity and on the work I do. But, Price continues, an elementary understanding of the shaping force of memory requires me to grant that I may in fact be anything from fuzzy to lying to badly wrong on every such instance of what I think of as vital recall. Price is well aware that autobiographical memories are complex constructions. But this need not mean that we live in a world of wholly fabricated, self-serving fantasies. There are, in fact, good reasons to believe that our memories for the broad contours of our lives are fundamentally accurate. Sometimes specific events that are recalled by one member of a family are forgotten by others, and sometimes members of the same family remember specific incidents and general events differently. My younger brother, Ken, for example, has no memory of a hot June night when we went to a Yankees baseball game as kids and he cried when the Yankees lost. I recall the game clearly. He remembers incidents involving a pet dog that I dont remember. These discrepancies probably reflect differences in how deeply various family members encoded the events initially, what interpretations they gave them, and how often they later thought and talked about them. Ken had primary responsibility for the dog in our family, and thought and talked about incidents involving the dog much more frequently than I did. We went to the Yankees game for my birthday, which made it especially distinctive for me. In contrast, when adults retrospectively assess the general character of more extended time periods in their pasts, they are usually fairly accurate. My brother and I have similar recollections of how our parents got along with each other, the things we enjoyed doing as kids, and what our grandparents and other relatives were like. Our experience seems to be typical, because research has shown that siblings memories of the general qualities of their family lives during childhood usually mesh.

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13. The authors of these two passages would most strongly agree with which of the following statements? (A) Autobiographical memories are often unreliable because people tend to exaggerate their own self-worth. (B) Individuals memories tend to be less accurate when they involve highly emotional events. (C) Memories of specific events are influenced by an individuals personal circumstances. (D) Painful events in an individuals life are unlikely to be remembered in much detail. (E) Researchers have barely begun to understand the complexity of autobiographical memory. 14. The reference to pencil, paper, and word processor (lines 3-4) suggests that (A) written records are significantly more accurate than personal recollection (B) traditional modes of autobiography are becoming outdated

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(C) keeping a journal can enhance the accuracy of ones memories (D) memory is a key component in many creative endeavors (E) creating a self-portrait out of memory is not unlike the act of writing 15. Lines 25-26 (trees . . . before us) serve to provide (A) (B) (C) (D) (E) a humorous illustration an outraged opinion a fond reminiscence an incredulous rejoinder a sharp reprimand

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(C) The name of the speaker at the older siblings high school graduation (D) How one sibling talked about the other sibling to their mutual friends (E) The day one sibling broke her wrist and the other sibling found out from their mother 21. The author of Passage 1 would most likely argue that the claim in lines 65-66 in Passage 2 (I . . . clearly) is overstated because (A) Ken had no memory of the game (B) memories are always somewhat fictional (C) family members always remember specific events differently (D) the trip to the baseball game was an uncharacteristically significant memory (E) people almost always have such fond recollections 22. Anthony Greenwald (line 15, Passage 1) would probably argue that the interpretations of past events (line 69, Passage 2) are shaped so as to (A) (B) (C) (D) (E) include all members of ones family catalog specific details enhance ones self-image create two opposing viewpoints fit into a continuous true-life story

16. John Kotre uses the phrase a good story (lines 29-30) to indicate a (A) (B) (C) (D) (E) memory of an emotionally moving episode memory that is expressed in poetic language version of events that is historically accurate compelling narrative that casts a person in a favorable light dramatic account that appears plausible though it is entirely made up

17. The author of Passage 1 suggests that the memories most likely to be left in the discard pile (line 38) are those of (A) (B) (C) (D) (E) strong feelings struggles and decisions very early childhood blunders and failures unpleasant people

23. Which would the author of Passage 2 most likely suggest would end up in the discard pile (line 38, Passage 1)? (A) (B) (C) (D) (E) Kens memory of what his grandparents were like The authors memory of the Yankees game The authors memory of what close relatives were like The authors memory of incidents involving the family dog Reynolds Prices uncertainties about the reliability of memory

18. In line 54, vital most nearly means (A) (B) (C) (D) (E) fundamental life-sustaining spirited irreplaceable mortal

24. Unlike the author of Passage 1, the author of Passage 2 makes significant use of which of the following? (A) (B) (C) (D) (E) Views of psychologists Personal recollection Scientific terminology Humorous digression Statistical data

19. In lines 66-73 (He . . . did), the author of Passage 2 mentions the pet dog in order to support the claim that (A) specific incidents of the past inspire future behavior (B) there is good reason to believe that memories are fundamentally accurate (C) autobiographical memories are complex constructions that are not easily understood by researchers (D) ones level of involvement in an event tends to influence how well it is remembered (E) family members tend to have similar recollections of the overall nature of their lives together 1. 20. The last paragraph in Passage 2 (lines 75-83) suggests that adult siblings would most likely remember which of the following in the same way? (A) A time when one sibling won an achievement award in school (B) What the family was like who lived next door when the siblings were children

SECTION 4 Time 25 minutes 24 Questions Dr. Mae C. Jemison, whose interests include dance, theater, politics, and science, noted that many people do not see the ----science and dance, but that the two are ----- because both are expressions of boundless creativity. (A) (B) (C) (D) (E) meaning of . . predicated connection between . . linked relationship of . . opposed beauty of . . segmented controversy about . . joined


2. The new plastic is highly ------, able to withstand great stress without suffering permanent damage. 25 (A) opaque (B) circuitous (C) extrinsic (D) definitive (E) resilient 6. 3. Ronas ----- manner during drama club meetings differed noticeably from that of the other club members, who were -----about theater and wanted to produce professional-quality plays. (A) (B) (C) (D) (E) 4. disaffected . . lethargic affable . . indiscriminate scornful . . disgruntled enthusiastic . . avid nonchalant . . ardent

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genetically modified food. Conventional plant breeding uses many natural mutants; this is natural genetic engineering. If we replicate what nature has already done, are we really doing anything different? The primary purpose of Passage 1 is to
(A) (B) (C) (D) (E)

detail the nature of the risks involved in growing GMOs warn against the use of GMOs define what constitutes a GMO discuss the importance of preserving existing ecosystems propose a strategy for producing more food globally

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The primary purpose of Passage 2 is to

(A) (B) (C) (D) (E)

The companys self-serving executives ----- the latest earnings report, boasting that the stellar performance resulted entirely from their masterful leadership. (A) (B) (C) (D) (E) vaunted beguiled enervated castigated exonerated

provide support for the use of genetically modified crops explain natural genetic engineering discuss how genetically modified crops are developed analyze the financial benefits of genetically modified crops evaluate different methods of growing crops

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The discussion in Passage 2 suggests that its author would most likely view the risks (Passage 1, line 8) as
(A) prohibitive, because not enough is known about modified

crops

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Though the conferees did not voice support for the resolution explicitly, they conveyed ------- approval by applauding. (A) (B) (C) (D) (E) demographic temporal filial tacit prescient 9.

(B) moderate, given the possible impact on the environment (C) slight, since extensive research reveals no ill effects of

genetically modified crops

(D) acceptable, given the potential for beneficial outcomes (E) unknown, because genetically altered crops represent a

recent development

Unlike Passage 1, Passage 2 makes use of

(A) (B) (C) (D) (E)

Questions 6-9 are based on the following passage.

Passage 1 If we had a sensible global strategy for producing food for humanity, then genetically modified organisms (GMOs) might have a place. But present-day food strategies are ineffective, and using GMOs at this time means taking risks. While even the perpetrators of GMOs acknowledge theoretical dangersthat modified crops could be toxic to people and wildlifethe risks, we are told, are small. But the risks are not known to be small: they are not known at all, and in principle they are unknowable. The consequences of dropping exotic transformed plants into ecosystems can hardly begin to be anticipated. To quote Oliver Cromwell in the seventeenth century: I beseech you Gentlementhink it possible you may be mistaken. Passage 2 15 Critics of genetically modified crops cannot escape the fact that in 2002 nearly six million farmers worldwide, more than 75 percent of them in developing countries, grew these crops. Why have farmers made this choice? Quite simply, genetically modified crops deliver real, sustainable benefits for agriculture, human health, and the environment by reducing pesticide use and increasing yields. A frequent objection to genetically modified crops is that they pose immeasurable risks. Yet we all have eaten 5

literary reference personal anecdote long-range prediction statistical information emotional appeal

Questions 10-15 are based on the following passages.

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In this passage, the author discusses the role of Spanish in his life. The son of Eastern European immigrants to Argentina, he was born in Argentina, spent most of his childhood years in the United States, and moved to Chile at age 12. He now divides his time between Chile and the United States.

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When I was born, I was falling. Like every child who was ever born, I was falling into solitude and nothingness, and my mother, by the very first words I heard her speak, inadvertently stopped my descent by introducing me to Spanish, by sending Spanish out to catch me, cradle me, pull me back from the abyss. I was a baby: a pad on which any stranger could scrawl his signature. A passive little baby, shipwrecked, no ticket back, not even sure that a smile, a scream, my only weapons, could help me to surface. And then Spanish slid to the rescue, in my mothers words and soon in her murmurs and lullabies and in my fathers deep voice of protection and in his jokes and in all the hum of love that would soon envelop me from an extended family. Maybe that was my first exile: I had not asked to be


15 born, had not chosen anything, not my face, not the face of my parents, not my nearby country, not my unpronounceable name. But Spanish was there at the beginning, convincing me slowly, sound by sound, that life was worth living, that everything can be named and that, therefore, in theory, the world belongs to us. It promised, my Spanish, that it would take care of me. And for a while, it delivered on its promise. My Spanish did not report that on its boundaries other languages roamed, waiting for me, greedy languages, eager to penetrate my territory and establish a foothold, ready to take over at the slightest hint of weakness. It did not whisper a word to me of its own history, how it had absorbed so many people born into other linguistic systems, first during the centuries of its triumphant ascendancy in the Iberian Peninsula* and then in the Americas. It did not hint that English was to the North, smiling to itself, certain that I would have to surrender to its charms eventually. It did not suggest that English was ready to do to me what Spanish itself had done to others so many times during its evolution, what it had done, in fact, to my own parents: wrenched them from the arms of their original language. And yet I am being unfair to Spanishand also, therefore, to English. Languages do not expand only through conquest: they also grow by offering a safe haven to those who come to them in danger, those who, like my own parents, were forced to flee their native land. I was born in Spanish, literally imagined into being in that language, brought into existence by my parents in a language that had not been theirs at their birth. Spanish was able to catch me as I fell because it had many years before caught my mother and my father just as gently and with many of the same promises. * peninsula in southwestern Europe on which Spain and Portugal are located 10. In lines 1-14 (Like . . . family), the author suggests that the Spanish that surrounded him as an infant must have given him a sense of (A) (B) (C) (D) (E) anxiety disillusionment security excitement triumph

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(B) They wanted the author to adopt the language of their country of origin. (C) They did not speak in their original language to the author in his early childhood. (D) They encouraged their children to speak English. (E) They spoke English at work and in social settings. 14. In what way does the author think he has been unfair (line 36) ? (A) He had overemphasized one historical process that led people to adopt Spanish. (B) Though he became fluent in both Spanish and English, he had preferred English. (C) He had used his facility in languages to gain an advantage over other people. (D) He had enjoyed Spanish but had not mastered important nuances. (E) He had not given his parents credit for the courage they had shown in fleeing Eastern Europe. 15. In line 37, expand most nearly means (A) (B) (C) (D) (E) spread inflate unfold express in detail convey optimism

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Questions 16-24 are based on the following passages.

The following passage, adapted from a memoir, is about Danish writer Karen Blixen (1885-1962), who wrote under the name Isak Dinesen.

11. The author uses the word hum (line 13) to convey a sense of (A) (B) (C) (D) (E) monotonous activity understated music well-oiled machinery raucous commotion constant presence

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12. In lines 17-21 (But Spanish . . . promise), the author characterizes Spanish as a (A) sibling (B) prankster (C) mediator (D) guardian (E) textbook

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Now that I have finished reading the biography of Isak Dinesen, I miss it and wish I still had it before me. When the huge book of her letters came out last year, I devoured it, and when I ordered the biography, I wondered whether it might not seem redundant. Not at all. This is partly because the letters give us the woman as she saw herself. She was of course a great mythmaker, not only as a writer but in that other creation at which she worked as hard and imagined as deeply as in her stories, the creation of a mythical personage, not made into myth after her death by others but made into myth while she was still alive, by herself. So part of the fascination of this biography lies in the discrepancies between art and life, or the fabrications that went into her life as well as her art. The Karen Blixen who became Isak Dinesen is an astounding creation, and it is this that the biography makes clear. The biographer succeeds in fusing the life (the myth) and the work and making Dinesen herself understandable. Far from diminishing her greatness, the biography brings into focus and makes me see again what a masterpiece her memoir Out of Africa is, the perfect example of what makes a work of art, experience distilled, sometimes distorted, so that truth transcends fact Dinesens stories were laid for good reason either in eighteenth-century Denmark or in Kenya. Her African farm was a failure and her whole great work as a writer began as a phoenix* arising from the ashes. But without the experience of Africa, its clear that she would never have found the material she had in hand, so whatever the tragedy, her final triumph had its roots in the African farm. There she was actually a legend: Lioness the local people on the farm called her


because she shot the lions that marauded and preyed on their animals. There she could exercise her genius for understanding people of different cultures, her courage, and her sense of honor. As one of her Danish admirers said, She knows everything about the sublimation of loss, about suffering as the nourishment of genius, about pains resonance and harmony in a work of art. But when she lost the farm and had to go back to Denmark, she had lost herself for a time as legend. The last years brought her triumph and fame as a writer of genius, but as she re-created herself as legend and succeeded grandly in that creation, she did it partly by less than noble means. The same admirer I quoted above goes on to say about Dinesen in old age, She suffered from a craving for power in spite of her generosity; she toyed with human fates in spite of her contempt for such toying; yes, she suffered from self-contempt in spite of her mighty legitimate self-confidence and pride. She was a paradox, outside of any moral category. Yet downstairs I have a photograph taken in Denmark by Cecil Beaton three days before she died. She sits with sunlight streaming in, an old-fashioned posy in her emaciated hands, one of her famous turtleneck sweaters high on her throat, and the extraordinary face, the eyes closed, suffused in an ineffable smile, the smile of one who has suffered everything and accepted everything. It is that image I keep, and perhaps now I shall be able to write the poem about it that I have had in the back of my mind and in my heart to write for years. *A mythical bird that burned itself to ashes and then arose to live
again.

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(E) Demonstrate the narrators own mistrust of the Dinesen myth 19. The allusion to the phoenix in line 26 suggests that (A) Dinesen needed to repudiate her African past to succeed as an author (B) Dinesens return to Denmark signified a rebirth of her public life (C) Dinesen mismanaged her African farm and almost destroyed her life (D) Dinesen was regenerated after a profound disappointment and became a successful artist (E) Dinesen wrote stories set in Denmark to mark a new beginning in her career 20. In line 32, exercise most nearly means (A) (B) (C) (D) (E) Rehearse Train Repeat Use Manipulate

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21. The comments of the Danish admirer in lines 34-37 (She knowsart) make which assumption about the nature of art? (A) (B) (C) (D) (E) Art frees the individual from the tyranny of culture. Art endows the commonplace with the sublime. Art always supports the cause of the oppressed. The artist transmutes pain and suffering into art. The artist conceives life on a grand scale.

16. It can be inferred from the first paragraph that the author regards the portraits of Dinesen that emerge from the biography and from her letters as (A) (B) (C) (D) (E) Virtually identical Revealingly dissimilar Totally irreconcilable Predictably redundant Equally enigmatic

22. The fourth paragraph (lines 38-48) is unique in the passage in that it (A) (B) (C) (D) Uses an unattributed quotation Offers an unsupported opinion about Dinesen Is critical of Dinesens character Acknowledges that Dinesens literary achievements were uneven (E) Provides concrete evidence of Dinesens legendary status 23. The comment in line 48 (Shecategory) implies that (A) Dinesens friends largely tolerated her conduct (B) Dinesen did not think of her behavior as immoral (C) Dinesens behavior cannot be evaluated in absolute moral terms (D) Dinesen deserved condemnation for her behavior (E) Dinesens morality was not as questionable as her detractors claimed 24. Which of the following best contrasts the descriptions of Dinesen in Kenya (lines 29-32) and in Denmark (lines 38-48), respectively? (A) (B) (C) (D) (E) A courageous protector versus an irresponsible mentor A self-sufficient pioneer versus a world-weary urbanite An awe-inspiring figure versus a contradictory individual A self-doubting prodigy versus a narcissistic genius An anonymous apprentice versus a reclusive celebrity

17. Which of the following best expresses the claim that Dinesen was a great mythmaker (line 7)? (A) Dinesen undermined her credibility by fostering fictions about herself. (B) Dinesen was a great writer who deserved to be immortalized for her achievements. (C) Dinesen fully lived up to the myth she created about herself. (D) Dinesen mythologized herself to counteract the myths created by others. (E) Dinesen constructed a public identity as carefully as she constructed her stories. 18. The parenthetical phrase in line 16 serves to (A) Point out that the biography often confuses fictitious events with real ones (B) Emphasize that Dinesens life is not easily distinguished from the myth (C) Suggest that this biography transforms Dinesens life into a legend (D) Imply that the myths about Dinesen were actually quite accurate