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323 viewsSAT Reading
SAT Reading
Uploaded by
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
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/ 60
‘The passages below are followed by questions based on their content; questions following a pair of related passages may also
bbe based on the relationship between the paired passages. Answer the questions on the basis of whi
passages and in any introductory material that may be provided.
sated or implied in the
‘Questions 9-10 are based on the following passage.
‘That nineteenth-century French novelist Honoré
de Balzac could be financially wise in his fiction while
losing all his money in life was an irony duplicated in
other matters. For instance, the very women who had
bbeen drawn to him by the penetrating intuition of
the female heart that he showed in his novels were
appalled to discover how insensitive and awkward the
‘eal man could be. It scems the true source of creation
for Balzac was not sensitivity but imagination, Balzac’s
fiction originally sprang from an intuition he first dis-
‘covered as a wretched litle school boy locked in a dark
closet of his boarding school: life isa prison, and only
‘imagination ‘can open its doors.
9. The example in lines 4-8 primacily suggests that
(A) Balzac’s work was not especially popular
‘among female readers
(B) Balzac could not write convincingly about
financial matters
(©) Balzac’s insights into character were not
‘evident in his everyday life
(D) people who knew Balzac personally could
‘not respect him as an artist
(B) readers had unreasonable expectations
of Balzac the man
10. The author mentions Balzac’s experience as
schoolboy in order to
(A) explain why Balzac was unable to conduct
his financial affairs properly
(B) point out a possible source of Balzac’s
powerful imagination
(C) exonerate the boarding school for Balzac’s
lackluster performance _
(D) foster the impression that Balzac was an
unruly student
(E) depict the conditions of boarding school
life during Balzzc's youth
‘Questions 11-12 are based on the following passage.
Dr. Jane Wright insisted in later years that her
father, surgeon Louis Wright, never pressured her
to study medicine; indeed he warned her how hard
becoming a doctor would be. His very fame, within
and beyond the African American community, made
her training harder in some ways. "His being so good
really makes it very difficult,” Wright told an inter-
viewer soon after she graduated from medical school
in 1945, “Everyone knows who Papa is.”
11, The passage suggests that Jane Wright's medical
training was made more difficult because
(A) her father wamed ber not to suidy medicine
(B) her father launted his sucress
(O) she did not spend adequate time studying
(D) she shared Aer father's desire for fame
(E) she was inevitably compared to her father
12. The passage is primarily concerned with Jane Wright's
(A) views of the medical profession
(B) childhood recollections
(C) perception of her father as a role model
(D) reluctance to collaborate with her father
(E) gratitude for her father's encouragement
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Questions 13-24 are based on the following passages.
The following rwo passages consider the experiences of
‘middle-class women in nineieenth-century England under
the reign of Queen Victoria (1837-1901). Passage 1 is from
a work of social history; Passoge 2 is from a study of travel
veriting,
Passage 1
In nineteenth-century England, middle-class wornen
‘were usually assigned domestic roles and faced severely
limited professional career options. Of course, one can
point to England's monarch, Queen Victoria, as a famous
‘example of a woman at work, and millions of working
‘lass women worked for wages in Factories and private
hhomes, on farms, and in stores and markets. But aristocrats
‘were often exempt from societal strictures that hound the
‘middle class. and working-class women were usually
Tooked down on as not being “respectable” for their efforts
as workers. As the nineteenth century progressed, it was
assumed that « woman engaged in business was 3 woman
Without either her own inheritance or a man to support her.
Middie-class women alveady shared with upper-middle-
class men the societal stumbling blocks to active pursuit
‘of business, which included the feeling that labor was
demeaning and not suitable for those with aspirations to
entity. But unlike a man, whose self-worth rose through
his economic exertions, a woman who did likewise risked
‘opprobrium for herself and possibly shame for those around
her. Inequality in the working world made it exceedingly
difficult for a middle-class woman to support herself on her
own, let alone support dependents. Thus, at atime when
‘occupation was becoming a core element in masculine
identity. any position for middle-class women other than in
relation to men was considered anomalous. Tn the 1851
census, the Registrar General introduced a new fifth class
of workers, exclusively made up of women:
‘The fifth class comprises large numbers ofthe population
that have no occupation; but it requires no argument t0
prove thatthe wife, the mother, the mistress of an
English family-—fills offices and discharges duties of
no ordinary importance; or that children are or should
be occupied in filial or household duties, and in the task.
of education, ether at home or at school
‘This conception of women had been developing over a long
period. For example, in the late seventeenth century, trade
fokens used by local shopkeepers and small masters in
family basinesses carried the initials of the man’s and the
‘Woman's first names and the couple's surname, but by the
fate eighteenth century, only the initials of the male
proprietor were retained. This serves to confirm the view of
‘one Vietorian man, bor in 1790, that whereas his mother
had confidently joined in the family auetioneering business,
the increased division ofthe sexes had seen the withdrawal
‘of women from business life.
456
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55
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as
”
Marriage became, more than ever, the only career option.
offering economic prosperity for women; in business,
‘women appear only as faint shadows behind the scenes.
The absence of women in business and financial records.
makes our knowledge of what middle-class women acwally
did and how they survived economically quite fragmentary.
‘What we do know is that women's ability to survive
‘economically on their own became increasingly difficult in
the course ofthe nineteenth century
Passage 2
In the second half of the nineteenth century in England,
‘under the rule of Queen Victoria, because of the long peace
and the increasing prosperity, more and more women found
thernselves able to travel to Europe unescorted. With the
Increase in travel came an increase in the number of
guidebooks, collections of travel hints, and diaries by
travelers —many of which were written by or directed to
‘Although nineteenth-century Women traveled for a variety
‘of reasons, ranging from a desite todo scientific research
{0 involvement in missionary work, undoubtedly a major
incentive was the desire o escape from domestic confine
‘ment and the social restrictions imposed on the Vietorian
female in Britain. As Dorothy Middleton observes, “Travel
‘was an individual gesture of the housebound, man-
dominated Victorian woman,” The “caged birds” of the
Victorian parlor found their wings and often took flight in
‘other lands. Ina less constrained environment they achieved
physical and psychological freedom and some measure of
autonomy. In Celebrated Wamen Travelers of the Nineteenth
Century (1883), Davenport Adams comments: "Fewtered as
‘women are in European countries by restraints, obligations,
and responsibilities, which are oo often arbitrary and
artificial... its natural enough that when the opportunity
offers, they should hail even a temporary emancipation
through travel.”
By the latter part ofthe nineteenth century, women
travelers began to be singled out as exemplars of the new
social and political freedom and prowess of women.
Ironically, Mary Kingsley and other women travelers were
‘opposed to or simply uninterested in the late Victorian
campaigns fo extend women’s political rights. Thus, when
Mary Kingsley returned from West Africa in 1895, she was
chagrined to discover that she was being hailed as “new
woman” because of her travels. Despite her often out-
spoken distaste for the “new women” agitating for greater
freedom, the travel books that she and others had written
still suggested, as Paul Fussell has argued, “an implicit?
celebration of freedom,’
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16.
”
Lines 18-21 suggest that for Victorian middle-class
women, “self-worth” and “economic exertions” were
thought to be
(A) mutually exclusive
(B) constanily evolving
KC) the two keys to success
(D) essential to finding a husband
4B) easy to achieve
J. Inline 24, “occupation” most nearly means
IA) military conquest
(B) pleasant diversion
(C) vocation
(D) settlement
political repression
. The author of Passage | considers trade tokens
ines 37-38) as evidence against the prevalence of
a fifth elas in the seventeenth century because they
(A) served as legal currency
(8) were issued to both middle-class and working.
lass women,
(©) helped neutralize gender stereotypes of the day
(D) failed to identify women by their names and
positions
(E) identified men and women as partners in business
All ofthe following are referred to in Passage | as
evidence of women’s diminished social status in
‘Veetorian England EXCEPT the
(A) disparity between men's and women’s career
‘opportunities
(B) shame risked by women who wished to enter
{C) exclusion of women's initials from trade tokens
{D) influence of the queen
(E)_ absence of financial records documenting
‘women’s activity
Which statement about British society, if te,
‘would most directly support the view described
in lines 42-46?
(A) Seventeenth-century women workers could raise
their status by assuming greater responsibilities.
(B) Women wrote more novels in the early nineteenth
‘century than they did in the early eighteenth
century.
(C) Women and girls worked in factories ehroughout
the nineteenth century.
(D) The practice of married couples jointly running
‘businesses died out in the early nineteenth
century.
(B) In the seventeenth century, formal academic
institutions were closed to women,
18,
1,
20,
In context, “hail” (Hine 80) most nearly means
(A) call outto
(B) gesture to
(C) come from
(D) welcome
(E) summon
In Passage 2, Mary Kingsley's attitude toward
women's rights campaigns (lines 85-90) suggests
(A) a single-minded dedication to equality between
the sexes
(B) a way in which dedication to one cause can lead
to antagonism toward another
{Cy} a striking inconsistency between her identity as
‘a British citizen and her identity as a woman
(D) an understanding of the link between women’s
struggle for freedom and the struggles of other
groups
(E) contradiction between her personal motives and
the way her actions are interpreted
According to Passage 2, nineteenth-cenmury British
‘women were motivated to rave! By Which of the
following?
1. Educational pursuits
I. Humanitarian concerns
IIL Entrepreneurial interests :
(A) Lonly
(B) Monty
*(C) Tand Uf only
a.
(D) and HI only
(E) Mand I only
‘Which British wavefer of the Victorian era would best
illustrate the argument made in Passage 2?
(A) A middle-class woman who tours Greece and
Egypt to examine ancient ruins.
(B) An aristocratic woman who lives in the Asian
capital where her father isthe British
ambassador.
(© Ayoung woman and her husband, both
missionaries, who relocate permanently ina
distant country.
(D) A nursemaid who accompanies an aristocratic
family 0 ts new home in New York City.
(B) A young gitl from a poor family who is sent by
relatives to make her fortune in Australia,
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22, The “fifth class” line 29) in Passage 1 is most like 24, The information in Passage | supports which assump-
which group in Passage 2 ? tion about the women described in Passage 2 ?
(A) Women who worked as missionaries (A) They were discouraged from pursuing careers in
(B) The “caged birds” (line 71) their native county.
4) The “new woman" (lines 89-90) (B) They sought to establish new businesses in
(D) Dorothy Middleton and Mary Kingsley foreign countries.
(B) Davenport Adams and Paul Fussell (C) They traveled with children and other family
members.
23, Passage | and Passage 2 share a general tone of (D) They were universally admired by British women
from every class of society.
(A) affectionate nostalgia Bee eee stent eo ee
(B) analytical detachment a) a cae seemencnL
(©) personal regret
(D) righteous indignation
(E) open hostility
STOP
It you finish before time is called, you may check your work on this section only.
‘Do not tur to any other section in the test. or ue of
4 5@5
[ Te passages below ae followed by questions base on ther conten; questions following a par of related passages may also
bbe 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
Farm families are able to achieve efficiency only
through a brutal work schedule that few people could
tolerate. “The farm family does physically demanding
work and highly stressful work atleast 14 hours a day
(often atleast 18 hours @ day during harvest season),
7 daysa week, 365 days a year, without a scheduled
vacation or weekends off,” wrote Minnesota politician
and farm alumaus Darrell MeKigney. “The farmer must
endure all ofthis without... any of the benefits that most
United States labor unions demand.” A dairy farmer, for
instance, cannot just take off for a two-week vacation and
not milk the cows, “Farmers lose perspective on the other
things in life,” one psychologist has written, “The farm
literally consummes them.”
Passage 2
Americans have distanced themselves from the
ethies and morals of food production, except where it
serves them to think nostalgically about family farms
as the source of our better values. Little wonder that
4 poll taken by The New York Times finds a majority
oof Americans seeing farm life as superior to any other
kind of life in this country. As consumers, Americans
have enjoyed relatively inexpensive food, What will
happen if family farms disappear? What will we do
‘without family farmers to watch over the system for
us. to be our dupes, and to create that pleasant situa-
tion through their own great discomfort?
6. Unlike Passage 2, Passage 1 is primarily concerned,
with the
(A) ethical implications of food production
8) harsh Working conditions on many
farms
(C) need for farmers to form a labor union
(D) plentiful and varied food available in
the United States
(E) beliefs of many Americans regarding
farm life
466
7. Both passages serve to discourage the
(A) ‘reliance on polls for accurate information
(B) desire of many farmers to take annual
vacations
(©) tendency of Americans to buy inexpensive
foods
(D) romanticization of farm life by nonfarmers
(E) tise in price of home-grown produce
8, The author of Passage 1 would most likely assert
which of the following about the “majority”
{line 19, Passage 2) ?
(A) They would be bored by the routine chores
that are performed on a farm.
(B) They have litle understanding of the realities
of farm life
(C) They admire the efficiency of the average
Family farm,
(D) They wish to improve the arduous life of
‘many farmers,
(E) They are impressed by the current research
‘on economical food production.
9. Unlike the author of Passage 2, the author of Passage 1
does which of the following?
(A) Explains a study.
(B) Otters a solution.
(C) Argues a position
(D) Discusses a phenomenon,
(E) Quotes an authority.
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‘Questions 10-15 are based on the following passage,
This excerpt from a novel by a Chinese American author
is about a Chinese American woman named June, During
4 family dizer party attended by some of June's Chinese
American friends, Waverly, a tax attorney, discusses an
‘advertisement that June wrote for her.
Waverly laughed in a lighthearted way. “I mean, really,
June.” And then she started in a deep television-announcer
voice: “Three benefits, shree needs, three reasons to buy
Satisfaction guaranteed... ..”
‘She said this in such a funny way that everybody
‘thought it was a good joke and laughed. And then, to
‘make matters worse, {heard my mother saying to Waverly:
“True, one can’t teach style. June is not sophisticated like
you. She must have been born this way.”
was surprised at myself, how humiliated I felt. Thad
been outsmarted by Waverly once again, and now betrayed
‘by my own mother.
Five months ago, some time after the dinner, my mother
zave, me my “life's importance,” a jade pendant on a gold
chain, The pendant was not a piece of jewelry I would have
chosen for myself, It was almost the size of my litle finger,
mottled green and white color, intricately carved. To me,
the whole effect looked wrong: too large. too green, 109
tarishly omate. I stuffed the necklace in my lacquer box
and forgot about it
‘But these days [think about my life's importance
| wonder what it means, because my mother died three
months ago, six days before my thirty. sixth birthday,
‘And she’s the only person I could have asked to tell me
bout life's importance, to help me understand my grief
Tow wear that pendant every day. [think the carvings
mean something, because shapes and details, which I never
seem 6 notice until after they're pointed out to me, always
mean something to Chinese people. I know I could ask
‘Auntie Lindo, Auntie An-mei, or other Chinese friends,
but also know they would tell me a meaning that is aif-
ferent from what my mother intended. Whee they tell
ze this curving line branching inc three oval shapes is a
pomegranate ad that my mother was wishing me fertility
and posterity? What if my mother relly meant the cary
‘ngs were @ branch of pears to give me purity and honesty?
"And because [think about this all the time, I always
notice other people wearing these same jade pendants
no the flat rectangular medallions oF the round white
‘ones with holes in the middle but ones like mine, atwo-
inch oblong of bright apple grcen. It's as though we were
all sworn tothe Same secret covenant, so secret we don't
even know what we belong to. Last weekend, for example,
| saw abartender wearing one. As I fingered mine, | asked
him, “Where'd you get yours?”
‘Uoauihoied opyng or reuse of
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“My mother gave it to me,” he said.
asked him why, which is a nosy question that only one
Chinese person can ask another; in a crowd of Caucasians,
‘ovo Chinese people are already like family.
"She gave it to me afte I got divorced. | guess my
‘mother’s telling me I'm still worth something,”
‘And I knew by the wonderin his voice that he had
no idea what the pendant really meant,
10. In lines 1-4, Waverly characterizes June's
advertisement as being
(A} unsophisticated and heavy-handed
(B) somber and convoluted
(C) clear and concise
(D) humorous and effective
(E) clever and lively
11, In the context of the passage, the statement “I was,
surprised at mysel?” (Line 10) suggests that June
(A) had been unaware of the extent of her emotional
‘vulnerability
(B) was exasperated that she allowed Waverly to
‘embarrass her in public LE
(© was amazed that she could dislike anyone s
‘much
(D) had not realized that her mother admired her
friend Waverly
(B) felt guilty about how much she resented her own
mother,
12, June’s observation in lines 10-11 (*Ihad .. again”)
suggests that
(A) June had expected Waverly to insult her
(B) “June had hoped to embarrass Waverly
this time
(©) Waverly had a private understanding,
with June's mother
«D) Waverly had made June fee! inadequate
‘on previous occasions
(©) Waverly was a more talented writer than
June was
13, For June, a significant aspect of what happened atthe
dinner party is that
(A) her mother had taken great pains to make Waverly
feel welcome
(B) her mother had criticized her for arguing with
Waverly
(C) her mother had sided against her in front of family
and friends
(D) Waverly had angered June's mother
(E) Waverly had lied to June's mother
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467 :
5 ® 5 og seer
14. The description of June’s encounter with the bartender
primarily serves to suggest that
(A) the relationship of mother and son is different
from that of mother and daughter
(B) June is not the only one who ponders the meaning
‘of a jade pendant
(©) a jade pendant symbolizes the mystery of life and
‘death
(D) June finally understands the true meaning of her
jade pendant
(E) strangers are easier to talk to than family members
‘and friends
468
= 5
15. The passage indicates thatthe act of giving a jade
pendant can best be described as
(A) awidely observed tradition
(B) a mother's plea for forgiveness
(©) an example of a mother's extravagance
(D) an unprecedented act of generosity
(E) an unremarkable event in June’s life
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Questions 16-24 are based on the following passage.
This passage is from a book of nature writing published in
1991,
In North America, bats fll into mainly predictable
categories: they are nocturnal, eat insects, and are rather
smal. But winging through thir lush, green-black world,
{ropical bats are more numerous and have more exotic
habits than do temperate species. Some of them feed on
nectar that batollinated trees have evolved to profit from
their visits, Carnivorous bats lke nothing better than a local
frog, lizard, fish, oF bird, which they pluck fom the foliage
‘ora moonlit pond. OF course, some bats are vampires and
dine on blood. tn the movies, vampites are rather showy.
theatrical types, but vampire bats rely on stealth and small,
pinprick incisions made by razory, triangular front teeth
Sleeping livestock are their usual vetims, and they take
care not to wake them. First, they make the classic ine
Shaped like quotation marks: then with saliva full of and
oagulants so that the victim's blood will ow nicely, they
quietly lap their fil. Because this anticoagulants nat toxic
to huinans, vampire bats may one day play an important
role in the treatment of heat patients —that i, if we can
just get over our phobia about them. Having stadied them
inimately. now know that bas are sweet tempered, useful,
and fascinating creatures, The long-standing fear that many
people have about bas tells us less about bas than aout
human fear.
‘Things tat live by night live outside the realm of
“normal” time. Chauvinistic about our human need to
wake by day and slep by nigh, we come to associate night
dwellers with people up to no good, people who have the
jump onthe rest of us and are defying nature, defying theie
cigvadian thythms” Also, night is when we dream, and so
‘we picture the bats moving through a dreamtime, in which
realty is warped. Afterall, we do not see very well at
night we do not need to. But that makes us nearly defense:
Jess alter dark. Altiough we ae accustomed to mastering
‘our world by day. in the night we become vuinerable as
prey. Thinking of bats as masters of the nigh threatens the
safety we daily take for granted, Though we are a the top
of our food chain, if we had to live alone in the rain forest,
say, and protect ourselves against roaming predators, we
‘would live partly in teror, as our ancestors di. Our sense
of safety depends on predictability, so anything living
futsde the Usual rles we suspect tobe an outlaw, a shout
Bats have always figured as frightening or supernatural
creatures inthe mythology religion, and superstition of
peoples everywhere. Finhish peasanis once believed that
{heir souls ose from their bodies while they slept and flew
around the countryside as bats, then retumed to them by
‘moming. Ancient Egyptians prized bat pats as medicine
fora variety of diseases. Perhaps the most mystical ghoul-
ish, and intimate relationship between bats and humans
‘cuted among the Maya about two thousand years ago
35
65
Zovzilaha Chamalcén, their bat god, had a human body but
the stylized bead and wings of a bat. His image appears
‘often on their altars, pottery, gold omaments, and stone
pillars. One especially frightening engraving shows the bat
‘god with outstretched wings and a question-mark nose, its
tongue wagging with hunger, as it holds a human corpse in
fone hand and the human’s heart in the other. A number of
other Central American cultures raised the bat tothe ulti-
imate height: as god of death and the underworld. But it
‘was Bram Stoker's riveting novel Dracula that turned
small, furry mammals into huge, bloodsucking monsters
in the minds of English-speaking people, If vampires were
semihuman, then they could fascinate with their conniving.
cruelty, and thus a spill of horror books began fo appear
about the human passions of vampires,
* cicaaianayhme ae pte of daily change within one's ody that
are determined bythe tne of dat ah
16, The author's main point in the passage is that
(A) there are only a few kinds of bats
(B) humans are especially vulnerable to nocturnal
predators
(C) bat saliva may have medicinal uses
(D) only myth and literature have depicted the true
nature of the bat
(B) our perception of bats has its basis in human
psychology
17, Asused in line 14, “classic” most nearly means
(A) literary
(B) enduring
(C) elegant
(D) well-known
(E) significant
18, The discussion of vampire bats in the first paragraph
(ines 1-24) primarily suggests that
(A) vampire bats are potentially useful creatures
(B) movies about vampires are based only on North
‘American bats
(© most tropical bats are not carnivorous
(D) the saliva of vampire bats is more toxic than.
‘commonly supposed
(E) scientists know very litle about the behavior of
most bats
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469 5 ® 5 oo Sethe 5
19, Inline 26, the quotation marks around the word
“normal” serve to
(A) emphasize the individuality of the author's
‘writing «
(B) criticize the human obsession with time
(©) emphasize the limitations of a point of view
(D) demonstrate the author’s agreement with the
‘common use of the Word.
(E) indicate that this word would be stressed if it
were spoken out loud.
20. Which of the following assertions detracts LEAST
from the author's argument inthe second paragraph
(dimes 25-42) 7
(A) Many people work at night and sleep during the
day.
(B) Owls, which hunt at night, do not arouse our fear.
(C)- Most dangerous predators hunt during the day.
(D) Some cultures associate bats with positive
qualities.
(E) Some dream imagery has its source in the
ddreamer's personal life.
21, The examples cited in the third paragraph (lines 43-66)
are primarily drawn from
(A) anthropology
(B) autobiography
(C) fiction
(D) psychiatry
(E) biology
22, ‘The author develops the third paragraph (lines 43-66)
by presenting
(A) different sides of a single issue
(B) details that culminate in truth
(©) a thesis followed by specific illustrations
(D) common argument followed by a refutation of it
(E) common opinion and the reasons itis held
23. The practices of which group mentioned in the last
paragraph best substantiate the claim that bats are
“useful” (line 21)?
(A) Finnish peasants
(B) Ancient Egyptians
(C) Ancient Maya
(D) A number of Central American cultures
(E) English-speaking people
24, The reference to Stoker's work in lines 60-66 extends
the author's idea that
(A) bats are sweet-tempered creatures
(B) our fear of bats reveals more about us than about
bats
(C) humans have always been curious about nocturnal
‘creatures
(D) bats can see better than humans at night
(E) bats appear as supernatural creatures even in the
folklore of distant nations
STOP
It you finish before time is called, you may check your work on this section only.
Do not tun to any other section in the test.
‘470 0
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‘The passage below is followed by questions based on its content. Answer the questions on the basis of what is stated or implied
in the passage and in any introductory material that may be provided.
Questions 7-19 are based on the following passage.
Since the advent of television, social commentators have
Deen evatuating its role in a modern society. In the
{following excerpt from an essay published in 1992, a
German social commentator offers a pointed evaluation
of the evaluators.
“Television makes you stupi
Virtually all current theories of the medium come down
to this simple statement. As a rule, this conclusion is deliv-
ered with a melancholy undertone. Four principal theories
can be distinguished.
‘The manipulation thesis points to an ideological
dimension, It sees in television above all an instrument
of political domination. The medium is understood as a
neutral vessel, which pours out opinions over a public
thought of as passive. Seduced, unsuspecting viewers are
won over by the wire-pullers, without ever realizing what
is happening to them.
‘The imitation thesis argues primarily in moral terms.
‘According to it, television consumption leads above all
to moral dangers. Anyone who is exposed to the medium
becomes habituated to libertinism, irresponsibility, crime,
and violence. The private consequences are blunted, cal-
Tous, and obstinate individuals; the public consequences
are the loss of social virtues and general moral decline.
‘This form of critique draws, as is obvious at first glance, on
traditional, bourgeois sources. The motifs that recur inthis
thesis can be identified as far back as the eighteenth century
in the vain warnings that early cultural criticism sounded
against the dangers of reading novels.
More recent isthe simulation thesis. According to it,
the viewer is rendered incapable of distinguishing between
reality and fiction. The primary reality is rendered unrecog-
nizable or replaced by a secondary, phantomlike reality.
All ofthese converge inthe stupefaction thesis.
According to it, watching television not only undermines
the viewers’ ability to criticize and differentiate, along with
the moral and political fiber oftheir being, but also impairs
their overall ability to perceive, Television produces, there-
fore, a new type of human being, who can, according 10
taste, be imagined as a zombie or a mutant.
Al these theories are rather unconvincing. Their authors
consider proof to be superfluous. Even the minimal criterion
of plausibility does not worry them at all. To mention just
‘one example, no one has yet succeeded in putting before
us even a single viewer who was incapable of telling the
difference between a family quarrel in the current soap
‘opera and one at his or her family’s breakfast table. This
doesn't seem to bother the advocates of the simulation
thesis.
“s
50
55
o
65
1
Another common feature ofthe theories is just as curious
but has even more serious consequences. Basically, the
viewers appear as defenseless victims, the programmers
as crafty criminals. This polarity is maintained with great
Seriousness: manipulators and manipulated, actors and
imitators, simulants and simulated, stupefiers and stupefied
face one another in a fine symmetry
‘The relationship of the theorists themselves to television
raises some important questions. Either the theorists make
1 use of television at all (in which case they do not know
what they are talking about) or they subject themselves to
it, and then the question arises—through what miracle is
the theorist able to escape the alleged effects of television?
Unlike everyone else, the theorist has remained completely
intact morally, can distinguish in a sovereign manner
between deception and reality, and enjoys complete
immunity in the face of the idiocy that he or she sorrow-
fully diagnoses in the rest of us. Or could —fatal loophole
in the dilemma—the theories themselves be symptoms of
‘ universal stupefaction?
(One can hardly say that these theorists have failed 10
hhave any effect. Its true that their influence on what is
actually broadcast is severely limited, which may be con-
sidered distressing or noted with gratitude, depending on
‘one’s mood. On the other hand, they have found ready
listeners among politicians. That is not surprising, for the
conviction that one is dealing with millions of idiots “out
there in the country” is part of the basic psychological
‘equipment of the professional politician. One might have
second thoughts about the theorists’ influence when one
‘watches how the veterans of televised election campaigns
fight each other for every single minute when it comes to
displaying their limousine, their historic appearance before
the guard of honor, their hairstyle on the platform, and
above all their speech organs. The number of broadcast
‘minutes, the camera angles, and the level of applause are
registered with a touching enthusiasm. The politicians have
‘been particularly taken by the good old manipulation thesis.
7. In line 11, the term “wire-pullers” refers to the
(A) bland technicians who staff television studios
(B) shadowy molders of public opinion
(C) self-serving critics of television
(D) hack writers who recycle old concepts.
(E) slick advertisers of consumer goods
GO ONTOTHE NEXT PAGE > 8. As used in line 14, “consumption” most nearly means
(A) destruction
(B) viewing
(C) erosion
(D) purchasing
(E) obsession.
9. The reference to the eighteenth century in lines 21-24
conveys what impression about cultural critiques based
‘on moral grounds?
(A) They are part of a tradition dating back to early
civilization
(B) They were the main preoccupation of that era's
social commentators.
(C) They were once persuasive but now go mostly
unheeded.
(D) They are no more valid today than they were in
those years
(E) They continue to appeal to people having no real
understanding of art
10. The author makes the comparison to the novel in
lines 21-24 in order to
(A) point out television's literary origins
(B) underscore the general decline of culture
(C) emphasize television's reliance on visual imagery
(D) expose narrow-minded resistance to new forms of
expression
(B) attack the cultural shortcomings of television
producers
11, The terms “primary” (line 27) and “secondary’
ine 28) are used to refer to the distinction between
(A) an ideal democracy and our political system
(B) natural objects and human artifacts
(C) the everyday world and its fictional counterpart
(D) the morality of the elite and that of the populace
(E) the world view of scientists and that of mystics
12, Advocates of the simulation thesis might best respond
to the eriticism in lines 37-44 by pointing out thatthe
author
(A) ttivializes their theory by applying it too literally
(B) concentrates excessively on a relatively
insignificant point
(C) isnota psychologist and so cannot properly
‘evaluate their argument
(D) attacks their theory in orderto bolster one of the
other three theories
(E) fails to consider the impact of television on
popular culture
ihogal
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13, The author's attitude toward the evaluators of
television can be best described as
(A) intrigued
(B) scomful 1
(©) equivocal
(D) indulgent
(B) nonchalant
14. The author responds tothe four theories of television
primarily by
(A) offering contrary evidence
(B) invoking diverse authorities
(C) adding historical perspective
(D) blurring the line between the manipulator and the
‘manipulated
(E)_ implying that no reasonable person could take
them seriously
15. According to the passage, most current evaluations of
television are based on which ofthe following
assumptions about viewers?
I. Viewers are mostly interested in comedy
programs
I, Viewers never engage their analytical faculties.
IIL. Viewers see political content where there is none.
(A) Tonly
(B) Monly
(C) Tand Monly
(D) Mand MM only
(©) 1.0 and
16, In mapping out categories of theories about television,
the author uses which of the following?
(A) Eamest reevaluation
(B) Incredulous analysis of academic documentation
(C) Somber warnings about the future
(D) Intentional falsification of data
(E) Description tinged with irony
17, In line 59, “sovereign” is best understood to mean
(A) excellent
(B) opulent
(©) elitist
(D) absolute
(E) oppressive
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18, The “fatal loophole” (Line 62) s best surnmarized by 19. In the last paragraph, the author's altitude toward
which of the following statements? politicians is primarily one of
(A) Theorists are conspiring with the politicians. (A) humorous contempt
(B) Theorists are themselves victims of television. (B) outraged embarrassment
(C) All human beings occasionally behave like (C) worried puzzlement
zombies and mutants, (D) relieved resignation
(D) Even serious thinkers need mindless entertain- (B) begrudging sympathy
‘ment occasionally
(E) Theorists have distegarded the enjoyment that
television provides.
STOP
it you finish before time is called, you may check your work on this section only.
Do not turn to any other section In the test.
486 3 @ 3
Usain capying orate ot
3 ‘any par of tie page 8 Boge!
3 ®3
f
Each passage below is followed by questions based on its content. Answer the questions on the basis of what i stated or implied
| imeach passage and in any introductory material that may be provided,
‘Questions 6-7 are based on the following passage.
‘The critic Edmund Wilson was n0¢ a self-conscious
letter writer or one who tried to sustain studied mann
‘sms. Nor did he resort to artifice or entangle himself in
tine circumlocutions. The young, middle-aged, and old Wilson
‘Speaks directly through his letters, which are informal for
the most part and which undisguisedly reflect his changing.
moods. On oecasion—in response, perhaps, to the misery
of a friend or & public outrage or a personal challenge—he
ccan become eloquent, even passionate, but that isnot his
10 prevailing tone,
6. Based on the information inthe passage,
Wilson's leters can Best be described as
w
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oO
D)
)
cynical
spontaneous.
critical
preachy
witty
7. The reference to the “young, middle-aged, and
cold Wilson” (Hine 4) serves to suggest the
(A) multifaceted nature of Wilson’s literary
persona
‘maturity Wilson displayed even as a youth
effect aging had on Wilson's temperament
longevity of Wilson's literary career
consistency of Wilson's leter-wrting style
@
-©
©)
©
Line
5
Questions 8-9 are based on the following passage.
‘The belief that it is harmful to the Black community
for authors to explore the humanity of our leaders can
hhave troubling effects. At the least, it promotes the belief
that our heroes have to be perfect to be useful. At worst,
it censors our full investigation of Black life. If our paint
ings of that life are stock and cramped, their cofors drab
and predictable, the representations of our culture are likely
tobe untrue, They will not capture the breadth and
complexity of Black identity.
8 The passage implies that Black leaders have
sometimes been portrayed as being
w
@)
©
wD)
®
overly sentimental
deeply complex
above reproach
Without regret
beyond understanding
9.
In context, the “paintings” (lines 5-6) are best
understood as a reference to
rN
@
©
©
©
realistic sculptures
historical biographies
whimsical novels
political cartoons
colorful theorems
GO ONTO THE NEXT PAGE >
525 o
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20
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0
4s
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3 @3 3
‘Questions 10-18 are based on the following passage.
The following passage was written by a physicist in 1986,
When astronomers point theit telescopes to the nearest
galaxy, Andromeda, they see it as it was two mallion years
ago. That's about the time Australopithecus* was basking
in the African sun. This litle bit of time travel is possible
because light kes two million years to make the trip from
thereto here. Too bad we couldm't tur things around and gy
observe Earth from some cozy planet in Andromeda
But looking a light from distant objects isnt realtime
travel. the in-the-flesh panicipation in past and future found
in literature, Ever since I've been old enough to read science
fiction, I've dreamed of time traveling. The possibilities
ae staggering. You could take medicine tack ta fourteenth-
century Europe and stop the spread of plague, or you could
travel tothe twenty-third century, where people take their
annual holidays in space stations.
Being a scientist myself, L know that time ravel is
quite unlikely according to the laws of physics. For one
thing, there would be a causality Violation. you could
travel backward in time, you could alter a chain of events
with the knowledge of how they would have turned out
Cause would no longer always precede effect. For exam-
ple, you could prevent your parents from ever meeting.
Contemplating the consequences of that will give you a
headache, und science fiction writers for devtdes Rave
delighted ig the paradoxes that can arse from traveling
through tine
Physicists are, of cours. horrified atthe thought of
causality violation, Differemial equations fo the way
things should betve under a given set of forces and
initial conditions would no longer be valid, since what
happens in one instant would not necessarily determine
hat happens in the next. Physicists do rely on a determin-
istic universe in which to operate, and time travel would
almost certainly put them and most other scientists
permanently out of work.
‘ull dceam of time wavel. There is something very
personal about time. When the first mechanical elocks
were invented, marking off time in crisp, egularinter-
vals, it must have surprised people to discover that time
lowed outside their own mental and physiological pro
cesses. Body time flows. at its own variable rae, oblivious
to the most precise clocks in the laboratory. fn fast the
human body contains its own exquisite imepiece, all with
theie separate chythms. There are the alpha waves inthe
‘rain; another clock isthe heart. And al the while tick the
‘mysterious, ruthless clocks that regulate aging.
Recently, 1 Found my great- grandfathers favorite pipe
Papa Joe, ashe was called, died more than seventy years
ago, long before I was bom. There are few surviving photo
graphs or other memorabilia of Papa fo. But I do have bis
Urautoaed copying o ruse of
‘any pat ol tis page Hep
3 3 @3
pipe, which had been tucked away in a drawer somewhese
for years and was in good condition when I found it. Tran
‘pipe cleaner through it, filled it with some tobacco I had
‘on hand, and settled down 40 read and smoke. After a cou-
ple of minutes, the most wonderful and foreign blend of
smells began wafting from the pipe. All the different ocea-
sions when Papa Joe had lit his pipe, all the differem places
he had been that I will never know-—all had been locked
‘up in that pipe and now poured out into the room. I was.
vaguely aware that something had got delightfully twisted
in time for a moment, skipped upward on the page. There
isa kind of time travel to be had, if you don’t insist on how
it happens.
* Anexint humane primate
10, The author mentions Australopithecus inline 3
in order to
(A) 0% an evolutionary progression inthe physical
world
dramatize how different Earth was two million
years ag0
commend the superior work of astronomers in
isolating a moment early in time
establish a Tink between the length of time that
‘Africa has been inhabited and the discovery of
the Andromeda galaxy
‘emphasize the relatively Tong period of human
life compared tothe age ofthe universe
®
©
@)
©
11, The statement in lines 6-7 ("Too bad
suggests that
Andromeda”)
{A} scientists would like to observe events that
‘oceurred on Earth in the distant past
(B) there may be planets in Andromeda that are
reachable through space travel
(© the study of Andromeda would offer inter
esting comparisons to planet Earth
(D> aplanet in Andromeda will bea likely
Observation point for Barth in the future
(€)_ Andromeda is much,older than Earth
12, The author mentions “plague” (line 13) and
“space stations” (line 15) primary to
(A) give an example of the themes of novels about
time travel
suggest contrasting views of the Future
scoff atthe scientific consequences of time travel
‘give examples of the subjects that scientists ane
interested in
suggest why tie tavel is such a fascinating topic
GO ONTOTHE NEXT PAGE
B)
oO
)
© a
3 @ . 3 3 warms 3 3
13, The author introduces the third paragraph with the
‘words “Being @ scientist” in order to
(A) explain an intense personal interest in the topic
(B) lend an air of authority tothe discussion of time
wwavel
(€) suggest why certain forms of literature are so
appealing
(D) provoke those who defend science fiction
(E) help illustrate the term “causality violation
In discussing causality violations (Lines 16-35), the
author addresses concerns aout all ofthe following
EXCEPT
(A) anticipatory knowledge of events
(B) the belief in a deterministic universe
(C) the mechanics of space travel
(D) cause-and-effect relationships
(E) differential equations based on known forces
1s,
Which ofthe following. if true, would undermine the
validity of che author's assumption about the impact of
mechanical clocks (“When the first... the laboratory”)
in lines 37-42?
(A) People were oblivious to time on a physical level
before clocks were invented.
(B) People have always perceived time as composed
of discrete, uniform intervals.
(© Concern about ime was unnecessary until clocks
were invented
(D) Mental and physiological processes are very
predictable.
(B) Body time does not move at a constant rate.
16.
7.
18,
®3
The author mentions the brain and the heart
(lines 44-45) ia order to
(A) demonstrate the ehythmical qualities of timepieces
(B) explain the historical significance of mechanical
clocks
(C) emphasize how the two organs interact to regulate
internal rhythms
(D> illustrate the body's different internat ciocks
(E) demystify the precision of organic processes
‘The author uses the word “ruthless” (ine 46) 0
suggest that
(A) people are bewildered by the prospect of aging,
(B) the human body has mysterious capacities
(©) some people age more rapidly than others do-
(D) people’s sense of time changes as they age
(E) the process of aging is relentless
“The author mentions that “something... skipped
‘upward on the page” (lines 60-61) to suggest that
(A) he reread a portion ofthe page
(B) his vision was affected by the smoke
(C) he traveled back in time in his imagination
(D) his reading reminded fim of Papa Joe
(£) re believes that reading isthe best way to recreate
the past
GO ONTOTHE NEXT PAGE >
527 3@3_
‘Questions 19-24 are based on the following passage.
The following passage is an excerpt from a book about
wentienh-century developments in art. The author refers
here to the modern ari that emerged shortly after the turn
of the century. Many people found this art shocking.
IF the new artis not accesible to everyone, which
certainly seems tobe the case, this implis that its impulses
fare not ofa generically human kind. I isan art not for
Lune people in general but for 4 special class who may not be
‘5 better but who are evidently different
Before we go further, one point must be casfied, What,
is it that the majority of people call aesthetic pleasure?
‘What happens in their minds when they “ike” a work of
ant for example, a play? The answer is easy. They ike a
10 play when they become interested inthe human destinies
that ate represented, when te love and hatred, the joys and
sorrows ofthe dramatic personages so move them that they
Participate in it all as though it were happening in real life.
‘And they calla work “good” iit succeeds in erating the
1s illusion necessary to make the imaginary personages appear
like living persons, In poety the majority of people seek
‘he passion and pain ofthe human being behind the poet.
Paintings aac them if they fin in them figures of men or
‘women ft woold be interesting to meet
Tt thus appears that to the majority of people aesthetic
pleasure means a state of mind that is essentially
Indistnguishable from their ordinary behavior. It differs
merely in accidental qualities, being perhaps less utilitarian,
tore intense, and fre from painful consequences. But the
25 objest toward which their attention and, consequently, all
their other mental activities are directed i the same as in
‘aly fe: people and passions. When forced to consider
ats forms proper —for example, in some sutealistic or
, abstract ar—-most people will onl tolerate them if they do
10 not interfere with ther perception of human forms and
fates. As soon as purely aesthetic elements predominate
and the story of John and Susie grows elusive, most people
feel out oftheir depth and areata loss as to what to make
of the scene, the book, o the painting. A work of art
{vanishes from sight fora beholder who secks i that work
of art nothing but the moving fate of John and Susie or
Tristan and Isolde-* Unaccustomed to behaving in any
mode except the practical one in which feelings are aroused
and emotional involvement ensues, most people are usure
40_-how to respond toa work that oes not invite sentimental
‘Now this is a point chat has to be made perfectly clear
Neither grieving nor rejoicing at such human destinies as
those presented by a work of ar begins to define tre
45 anistic pleasure; indeed, preoccupation with the human
content ofthe work isin priniple incompatible with
acsthetic enjoyment proper.
“Tristan and olde were ss ros lover ina medieval romance
528
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19. The passage is primarily concerned with the
(A) lives artists lead as opposed to the ones they
imagine
(B) emotional impact of a painting's subject matter
(C) nature of the pleasure that most people find in @
‘work of art
(D) wide varity of responses that audiences have to
different works of art
(E) contrast berween the formal elements of the new
art and those of the okt
20. As aked in line 18, “figures” most nearly means
(A) crude images
(B) abstractions
(C) representations
(D) numbers
(B) famous persons
21. It is most likely thet “the story of John and Susie”
ine 32) refers 10
(A) fictional work that the author will proceed to
critique
(B) atypical narrative of interpersonal relationships
(© av account of an affair in the form of a mystery
(D) alegendary couple that has fascinated artists
through the ages
(©) acryptic chronicle of renowned historical
personages
22, The author suggests that the majority of people resist
modem art because they
(A) consider modem antsts to be elitist
(B) are too influenced by critics to view the art on its
(© are annoyed by its social message
(D) find in it litle of human interest to engage them
(E) find it too difficult to guess atthe artist's source
of inspiration.
GO ONTOTHE NEXT PAGE > 3 ® 3. 3mm 33 @ 3
23. The author’s attitude toward the majority of people ean 24, The author's assumption inthe final paragraph
best be described as (ines 42-47) is that
(A) genuinely puzzled (A) aesthetic pleasure is a response to the purely
F (B) aggressively hostile artistic elements in a work of art
2 (C) solemnly respectful (B) aesthetic enjoyment of a work of art must focus
(D) generally indifferent ~on the artist's intentions as much as on the
5 (E) condescendingly tolerant artist's actual accomplishments
(© responses to a work of art vary and cainnot be
easily defined
(D) the evocation of emotional responses by @
traditional work of art depends on the moral
= conventions of the artist's society
(&) the majority of people trying to interpret a work
of art will concentrate on the artistic technique
es
ist
m
a STOP
you finish before time is called, you may check your work on this section only.
Do not turn to any other section in the test.
529 INI
7 ee | ® 7
‘The passages below are followed by questions based on their content; questions following a pair of related passages may also
bee 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 introduktory material that may be provided.
pent and
banded
lie
xs
‘Questions 9-12 are based on the following passages.
Passage 1
‘What accounts for the inexorable advance of the giant
sports utility vehicle (SUV) into our lives? Why do we
‘want high-clearance trucks with four-wheel drive and
front bumpers as big as batterinyrams? A large part of
the answer ies inthe fake Westem names so many of
them carry. No one much cares about what those names.
makes use of
(A) scientific data
(8) literary allusion
(©) historical research
(D) personal voice
) direct ciation
4 Both passages emphasize which of te folowing
aspects of Linaaeus' work?
(A) The extent w which it contributed to natural
(B) The way in which it limits present-day science
(©) The degree to which it revived interest in biology
(D) The decisiveness with which it settled scientific
dispures
(©) The kinds of scientific discoveries on which
‘built,
9. The author of Passage { would most likely respond
to the opening of Passage 2 (lines 12-17) by arguing
that the author of Passage 2 has
(A) demonstrated that Linnaeus should be berer
Known asa scientist than he curratly is
(B) minimized the achievements of those Scientists
‘who built on Linnaeus” work
(C) ‘refused wo appreciate the importance of proper
‘classficaiont scienific prowess
(D) failed to distinguish the ideas of Linnaeus fom
those of his followers
(E) misunderstood Linnaeus’ primary coneibution
to natural history 1s
3s
(Questions 10-15 are based on the following passage.
The following is an excerp from a translation of a novel
written in Spanish by an author from Colombia. In a
fenciful manner, the nvelis! portrays the townspeople
‘ofan isolated village
Dazzled by so many and such marvelous inventions, the
‘people of Macondo did not know where their amazement
began. Tey syed up all aight looking at the pale electric
bulbs fed by the electric plant that Aueliano Triste had
brought back hen the ain made is second wip. and it
tok ine and effor for them to grow accustomed 10 its
obsessive noise.
"They became indignant over the living images thatthe
‘prosperous merchant Bruno Crespi projected on the sreen.
Inthe tener with the ion-bead ticket windows. fr the
character who bad died x was buried in one fim, and for
‘whose misfortune tears of afliction had teen shed, would
reappear alive and transformed into an Arab sheik in he
‘ext one. The audience, who paid two cents apiece wo share
the difficuldes of the actors, would not oleate such an
‘oudandish fraud and they broke up the seats, The mayor,
a he wraing of Bruno Crespi, explained ins proclamation
{that the cinema was a machine of illusions that did not
ment the emotional outbursts ofthe audience. With that
Aiscouraging explanation many fel that they had been the
victims of some new wrickery and they decided not to rerum
to the movies. considering that they already had too many
trovbles of ther own to weep over the acted-out misfor-
runes of imaginary beings.
‘Something similar bappened wiih cylinder phonographs
brought from France aad itended as a substinite forthe
antiquated hand organs used by the band of musicias. Far
‘time the phonograph record had serious effects onthe
livelinood ofthe musicians. At fist curiosity incressed the
business on the sret where they were sold and there was
even won! of respectable persons who disguised them-
selves as workers in oder to observe the novelty of the
‘phonograph a: firsthand, but from so mich and such close
‘observation they soon reached the conclusion that it was
ot an enchanted mill as everyone had thought and as some
ad sad, but a mechanical trick that could not be compared
with something so moving, so human, and so full of every-
fay wh asa band of musicians. [twas such a serious
disappointment that shea phonographs became 80 popular
that there was one in every house they were not considered
‘objects for amusement for adults but as something good for
children to take por.
‘On the othe hand, when someone from the town had
the opportunity to test the crude ear ofthe telephone
installed inthe railroad station, which #as thought to be
a rudimentary version ofthe phonograph because of its
crank. even the most inevedulous were upset. It was as if
God nad decided 0 put tothe test every capacity for sux-
prise and was keeping the inhabiants of Macondo in a
‘Permanent alteration berween excitement and disappoint
ment. doubt and revelation, o such a extreme that no on€
‘nes fr ceri where the limits of realty lay
164
10, The word “obsessive” line 7) most nearly means
(A) embusiatic
(B) persistent
(© obvious
{D) infatuated
'E) tantworking
1, The “fraud” line 16) that upset we cizens of
‘Macondo was related tothe
(A) excessive charge for admission
CB) cans arenes of he charac on
(© fhe evens depicted on the sre i
‘ot actually occur
() ypes of eificlties the actors faced
(E) implausible plots ofthe stories that were told
12, The citizens lost interest in their phonographs
(A) the machines lacked the heart and soul of wun
(B) few people were able opera them
(© the machines were too difficult wobserve
firsthand
(D) many musicians lost their jobs because of
(B) the children were breaking them faster than
‘were made
13, The citizens of Macondo were distressed by the i
ofthe telephone because they 3
(A) didnot know where ithad come fom =
(B) had expecied 8 more socially beneficial invent,
(C) could envision the changes it would bring 0 daly
‘village fe 2
(D) 0 longer felt able to make the usual assuenption
‘bout their world 3
(©) were fearful that it would have serious effect on
‘heir continued employment
14, The spect ofthe new inventions that most
disappointed te ciStens was that these inventions
(a) were notall fashioned wit a cranc
(B) didnot have any real educational value
(©), were nota all what they seemed to be
{D) were meant purely for entertainment
(&) were so intricate they were difficult to operate
15, The major purpose ofthe passage is. 10
(A) llusrate the influence the distinguished residents
‘of Macondo had oa the other citizens
(B) describe the new scientific inventions that were
to Macondo
(© depict a diverse crowd reacting in unison to 8
‘magical performance
(D) describe the people's responses tothe influx of *
technical advances
(© delineate od-fashionéd ideas about the virwe of
‘azure over techoology Questions 16.24 are based on the following passage.
This passage is bya choreographer who worked with the
lnyluental dancer and choreographer Martha Graham
(1394-1981) I focuses onthe use of space and gesture x
ddonce.
{Lam not an adept aesthetician, and I ould not presume
to analyze Martha's sense of design or approach toward
design. But I believe she dealt with the elements of lie and
direction withthe instints ofa mathematician or physicist.
adding to each ther emotional relations. For example. a
straight line rarely, if ever, ooeurs in nature, but it does
‘occur in at, and itis used in art with various teliog
effects. Direction works similar magi. An approaching
body produces one kind of emotional line, a receding or
departing body another; the meeting of two fores produces
visual, Kinesthetc, and emotional effects, wih a word of
Suggessbilicy around them ikea penumbra that evokes
many ideas and emotions whenever these forms are menip-
lated, Basie human gest ‘herefore an almost
‘mystic power. The simple maneuver of turing the face
away, for example, removes personaly, reladonship. Not
only that, it seems wo alter the relation of the individual ©
present time and presen place, to make hereand-o0¥
other-where and ther-time, cals shifts the
personality tothe general and the symbolic. This s the
power ofthe human face andthe human regard. andthe
‘meeting of the eyes is probably as magic a eannection as
‘can be made on this earth, equal to any ammount of eleetical
Shock or charge. Ic epresents the heart of dynamism. life
itself. The loss of that regard reduces ll connections to
nothingness and void.
“Turing one’s back” bas become a common figure of
speech. [means withholding approval. disclaiting,neyat-
lng: and. in fact. in commoa conduct the physical turing
tthe back is equated with absolute negation and insult
‘No back i :urned on a reval personage ora figure of high
respect. This 's 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
by the medieval and Renaissance punters were understood
Dy the scholars and artists ofthe time—but, more wonder-
Ful. they mesn tus roday spontaneously just what they
‘meant thea: they seem to be permanent. We dream. Jung”
tells usin terms and symbols of clasic mythology. And
since. according 1 Jung. all people share a “collective
"unconscious." people trom disparate waditions nonetheless
dream in the same terms. Is i not also likely. den, that
cemain space relations, rhythms. and testes have pty~
chological significance, that some ofthese pattems are
universal and the Key to emotional response, that their
