15)Sense and Sensibility is an 1811 novel by Jane Austen. In the novel, Austen describes Marianne Dashwood's ability to persuade others of the rightness of her artistic judgments, as is evident when Marianne visits with John Willoughby, a potential suitor: ______ Which quotation from Sense and Sensibility most effectively illustrates the claim?SOCPRAEN-015“Above all, when she heard him declare, that of music and dancing he was passionately fond, she gave him such a look of approbation as secured the largest share of his discourse to herself for the rest of his stay.”“Their taste was strikingly alike. The same books, the same passages were idolized by each—or if any difference appeared, any objection arose, it lasted no longer than till the force of her arguments and the brightness of her eyes could be displayed.”“It was only necessary to mention any favourite amusement to engage her to talk. She could not be silent when such points were introduced, and she had neither shyness nor reserve in their discussion.”“They speedily discovered that their enjoyment of dancing and music was mutual, and that it arose from a general conformity of judgment in all that related to either. Encouraged by this to a further examination of his opinions, she proceeded to question him on the subject of books.”16)Hip-hop pedagogy is a form of teaching that's gaining popularity across school subjects. It involves incorporating hip-hop and rap music into lessons as well as using hip-hop elements when teaching other subject matters. For example, Quan Neloms's students look for college-level vocabulary and historical events in rap songs. Researchers claim that in addition to developing students' social justice awareness, hip-hop pedagogy encourages student success by raising students' interest and engagement. Which finding, if true, would most strongly support the underlined claim?SOCPRAEN-016Courses that incorporate hip-hop and rap music are among the courses with the highest enrollment and attendance rates.Educators report that they enjoy teaching courses that involve hip-hop and rap music more than teaching courses that don't.Students tend to be more enthusiastic about rap music than they are about hip-hop music.Students who are highly interested in social justice issues typically don't sign up for courses that incorporate hip-hop and rap music.17)In the 1970s, a roughly 60,000-year-old piece of hyena bone marked with nine notches was discovered at a site in western France once inhabited by Neanderthals. Although many believe that only modern humans developed systems for notating numbers, one archaeologist asserts that this artifact may be a sign that Neanderthals also recorded numerical information. The notches on the bone are unevenly spaced but approximately parallel, and microscopic analysis reveals that they were made with a single stone tool; according to the archaeologist, this suggests that the notches were all made at one time by one individual as a means of counting something. Which finding, if true, would most directly weaken the underlined claim?SOCPRAEN-017Parallel lines are a common feature in modern humans' early systems for recording numerical information.More than nine approximately parallel notches made with a different stone tool are present on another artifact found at a site in western France.It would have taken careful effort to make evenly spaced lines on bone with the stone tools typically used by Neanderthals.Decorative art discovered at another Neanderthal site in western France primarily features patterns of unevenly spaced parallel lines.18)"Mr. Cornelius Johnson, Office-Seeker" is a 1900 short story by Paul Laurence Dunbar. In the story, the narrator describes Mr. Cornelius Johnson's appearance as conveying his exaggerated sense of his importance: ______ Which quotation from "Mr. Cornelius Johnson, Office-Seeker" most effectively illustrates the claim?SOCPRAEN-018He carried himself always as if he were passing under his own triumphal arch.The grey Prince Albert was scrupulously buttoned about his form, and a shiny top hat replaced the felt of the afternoon.Mr. Cornelius Johnson always spoke in a large and important tone.It was a beautiful day in balmy May and the sun shone pleasantly on Mr. Cornelius Johnson's very spruce Prince Albert suit of grey as he alighted from the train in Washington.19)A researcher conducted an experiment inspired by studies suggesting that people may benefit from feeling frightened in certain circumstances, such as when watching scary movies or visiting haunted attractions. The researcher recruited several participants and had them walk through a local haunted house attraction. Immediately after exiting the attraction, each participant completed a survey about their experience. Based on the survey responses, the researcher claims that feeling frightened in controlled situations can boost a person's mood and confidence. Which quotation from a participant would best illustrate the researcher's claim?SOCPRAEN-019“My friends kept laughing as we were walking through the haunted house.”“The haunted house was scary at first, but I knew everyone was just acting, so I felt less scared after a few minutes.”“The sense of relief I felt at the end of the haunted house was similar to the feelings I have when I finish a scary movie.”“After I came out of the haunted house, I felt very accomplished and less stressed.”

Scholarly analyses of Jane Austen’s novels often highlight the depth and interiority with which she ------- her female protagonists. Unlike many of her predecessors and contemporaries, Austen uses techniques such as free indirect speech and irony in order to render the women in her novels as thoughtful, well-rounded characters.Which choice completes the text with the most logical and precise word or phrase?portrayseliminatecommitseliminateillustrateseliminatesignifies

Which group of words does the author use to advance the plot through the characters?from Sense and Sensibility – CHAPTER IVby Jane Austen     "What a pity it is, Elinor," said Marianne, "that Edward should have no taste for drawing."     "No taste for drawing!" replied Elinor, "why should you think so? He does not draw himself, indeed, but he has great pleasure in seeing the performances of other people, and I assure you he is by no means deficient in natural taste, though he has not had opportunities of improving it. Had he ever been in the way of learning, I think he would have drawn very well. He distrusts his own judgment in such matters so much, that he is always unwilling to give his opinion on any picture; but he has an innate propriety and simplicity of taste, which in general direct him perfectly right."     Marianne was afraid of offending, and said no more on the subject; but the kind of approbation which Elinor described as excited in him by the drawings of other people, was very far from that rapturous delight, which, in her opinion, could alone be called taste. Yet, though smiling within herself at the mistake, she honoured her sister for that blind partiality to Edward which produced it.     "I hope, Marianne," continued Elinor, "you do not consider him as deficient in general taste. Indeed, I think I may say that you cannot, for your behaviour to him is perfectly cordial, and if that were your opinion, I am sure you could never be civil to him."     Marianne hardly knew what to say. She would not wound the feelings of her sister on any account, and yet to say what she did not believe was impossible. At length she replied:     "Do not be offended, Elinor, if my praise of him is not in every thing equal to your sense of his merits. I have not had so many opportunities of estimating the minuter propensities of his mind, his inclinations and tastes, as you have; but I have the highest opinion in the world of his goodness and sense. I think him every thing that is worthy and amiable."     "I am sure," replied Elinor, with a smile, "that his dearest friends could not be dissatisfied with such commendation as that and I do not perceive how you could express yourself more warmly." Marianne was rejoiced to find her sister so easily pleased.     "Of his sense and his goodness," continued Elinor, "no one can, I think, be in doubt, who has seen him often enough to engage him in unreserved conversation. The excellence of his understanding and his principles can be concealed only by that shyness which too often keeps him silent and you know enough of him to do justice to his solid worth. But of his minuter propensities, as you call them you have from peculiar circumstances been kept more ignorant than myself. He and I have been at times thrown a good deal together, while you have been wholly engrossed on the most affectionate principle by my mother and I have seen a great deal of him, have studied his sentiments and heard his opinion on subjects of literature and taste; and, upon the whole, I venture to pronounce that his mind is well-informed, enjoyment of books exceedingly great, his imagination lively, his observation just and correct, and his taste delicate and pure. His abilities in every respect improve as much upon acquaintance as his manners and person. At first sight, his address is certainly not striking; and his person can hardly be called handsome, till the expression of his eyes, which are uncommonly good, and the general sweetness of his countenance, is perceived. At present, I know him so well, that I think him really handsome; or at least, almost so. What say you, Marianne?"     "I shall very soon think him handsome, Elinor, if I do not now. When you tell me to love him as a brother, I shall no more see imperfection in his face, than I now do in his heart."

The passage below is accompanied by a set of questions. Choose the best answer to each question.It has been customary in the past to approach Jane Austen, not only as a great novelist, but also as a representative of what critics have called the "feminist tradition" in the English novel. At first glance this seems appropriate enough. After all it has always been one of those "universally acknowledged" truths that Jane Austen's narratives center on love and marriage. But more recent developments in Jane Austen criticism seem to assume that feminism in the novel should be examined as a coherent body of opinions held by the novelist on the identity and social functions of women. And insofar as this approach is based on the novelist's analysis of female identity, it seems to respond to contemporary pressures, generated by the liberation movement, for thoughtful evaluation of female images in society and in literature. But even if we assume that the liberation movement has had this indirect influence, it does not follow that these recent approaches to "feminism" coincide with the liberationist philosophy itself, or that they even depart from those conventional notions of "womanhood" which are anathema to the women's liberation movement.Sylvia Myers' study of "womanhood" in Jane Austen's novels is illustrative. The starting point of her paper is an objection to Ian Watts's view that in Jane Austen "feminine and adolescent values are painfully educated in the norms of the mature, rational and educated male world." But although Myers rejects Watts's thesis as a "bald dichotomy" that is unfair to women, her own subsequent analysis of "womanhood" in Jane Austen's novels is based on what she describes as a "post-Freudian" schema: "in terms of somatic existence, each sex exists within its own bodily plan, woman is endowed with and aware of her inner structure and capacity to produce and nurture a child," and, according to this somatic scheme of womanhood, the maturation of an Emma Woodhouse, the titular protagonist in Austen’s 1815 novel Emma, is defined by Emma's discovery of her own need "for love, for physical fulfillment, for children." Curiously enough, Myers has attempted to rebut the pejorative implications of Ian Watts's "bald dichotomy" by appealing to those biologically based concepts of womanhood which have now come into disrepute as limiting and patronizing definitions of female identity. For it is important to note that Myers is not merely attributing a certain (somatic) concept of womanhood to Jane Austen, but has actually postulated this "post-Freudian" thesis as the definitive standard by which feminism in Jane Austen should be judged. Similarly, a psychoanalytical study by Helen Corsa sums up the significance of Emma’s human growth by appealing to the conventional image of the woman as a being with "instinctual" needs for marriage and motherhood: "Her [Emma's] womanly instinctual needs, her desire for love, for marriage, for motherhood are all obvious in her role as matchmaker; her insistent playing out that role, leads her out of the game into reality." These earlier studies are relevant because they illustrate very well some of the problems which now arise whenever we attempt to describe "feminism" or "womanhood" in Jane Austen's writing or that of any other writer.Question 3According to the author, both Ian Watts and Myers in their analyses of Jane Austen’s work:Align their views with the contemporary women's liberation movement.Focus primarily on the political and social influences on Austen’s writing.Agree on a unified feminist perspective on Austen's portrayal of women.Offer interpretations that are oversimplifications of Austen’s characters.

The passage below is accompanied by a set of questions. Choose the best answer to each question.It has been customary in the past to approach Jane Austen, not only as a great novelist, but also as a representative of what critics have called the "feminist tradition" in the English novel. At first glance this seems appropriate enough. After all it has always been one of those "universally acknowledged" truths that Jane Austen's narratives center on love and marriage. But more recent developments in Jane Austen criticism seem to assume that feminism in the novel should be examined as a coherent body of opinions held by the novelist on the identity and social functions of women. And insofar as this approach is based on the novelist's analysis of female identity, it seems to respond to contemporary pressures, generated by the liberation movement, for thoughtful evaluation of female images in society and in literature. But even if we assume that the liberation movement has had this indirect influence, it does not follow that these recent approaches to "feminism" coincide with the liberationist philosophy itself, or that they even depart from those conventional notions of "womanhood" which are anathema to the women's liberation movement.Sylvia Myers' study of "womanhood" in Jane Austen's novels is illustrative. The starting point of her paper is an objection to Ian Watts's view that in Jane Austen "feminine and adolescent values are painfully educated in the norms of the mature, rational and educated male world." But although Myers rejects Watts's thesis as a "bald dichotomy" that is unfair to women, her own subsequent analysis of "womanhood" in Jane Austen's novels is based on what she describes as a "post-Freudian" schema: "in terms of somatic existence, each sex exists within its own bodily plan, woman is endowed with and aware of her inner structure and capacity to produce and nurture a child," and, according to this somatic scheme of womanhood, the maturation of an Emma Woodhouse, the titular protagonist in Austen’s 1815 novel Emma, is defined by Emma's discovery of her own need "for love, for physical fulfillment, for children." Curiously enough, Myers has attempted to rebut the pejorative implications of Ian Watts's "bald dichotomy" by appealing to those biologically based concepts of womanhood which have now come into disrepute as limiting and patronizing definitions of female identity. For it is important to note that Myers is not merely attributing a certain (somatic) concept of womanhood to Jane Austen, but has actually postulated this "post-Freudian" thesis as the definitive standard by which feminism in Jane Austen should be judged. Similarly, a psychoanalytical study by Helen Corsa sums up the significance of Emma’s human growth by appealing to the conventional image of the woman as a being with "instinctual" needs for marriage and motherhood: "Her [Emma's] womanly instinctual needs, her desire for love, for marriage, for motherhood are all obvious in her role as matchmaker; her insistent playing out that role, leads her out of the game into reality." These earlier studies are relevant because they illustrate very well some of the problems which now arise whenever we attempt to describe "feminism" or "womanhood" in Jane Austen's writing or that of any other writer.Question 4According to the passage, contemporary views on female identity have affected Jane Austencriticism in all of the following ways EXCEPT:Encouraging a more coherent feminist perspective within the analysis of Austens work.Promoting careful evaluation of female images in response to the liberation movement.Leading to analyses that directly reflect the philosophies of the liberation movement.Shifting the focus towards Austens exploration of female identity and social functions.

The passage below is accompanied by a set of questions. Choose the best answer to each question.It has been customary in the past to approach Jane Austen, not only as a great novelist, but also as a representative of what critics have called the "feminist tradition" in the English novel. At first glance this seems appropriate enough. After all it has always been one of those "universally acknowledged" truths that Jane Austen's narratives center on love and marriage. But more recent developments in Jane Austen criticism seem to assume that feminism in the novel should be examined as a coherent body of opinions held by the novelist on the identity and social functions of women. And insofar as this approach is based on the novelist's analysis of female identity, it seems to respond to contemporary pressures, generated by the liberation movement, for thoughtful evaluation of female images in society and in literature. But even if we assume that the liberation movement has had this indirect influence, it does not follow that these recent approaches to "feminism" coincide with the liberationist philosophy itself, or that they even depart from those conventional notions of "womanhood" which are anathema to the women's liberation movement.Sylvia Myers' study of "womanhood" in Jane Austen's novels is illustrative. The starting point of her paper is an objection to Ian Watts's view that in Jane Austen "feminine and adolescent values are painfully educated in the norms of the mature, rational and educated male world." But although Myers rejects Watts's thesis as a "bald dichotomy" that is unfair to women, her own subsequent analysis of "womanhood" in Jane Austen's novels is based on what she describes as a "post-Freudian" schema: "in terms of somatic existence, each sex exists within its own bodily plan, woman is endowed with and aware of her inner structure and capacity to produce and nurture a child," and, according to this somatic scheme of womanhood, the maturation of an Emma Woodhouse, the titular protagonist in Austen’s 1815 novel Emma, is defined by Emma's discovery of her own need "for love, for physical fulfillment, for children." Curiously enough, Myers has attempted to rebut the pejorative implications of Ian Watts's "bald dichotomy" by appealing to those biologically based concepts of womanhood which have now come into disrepute as limiting and patronizing definitions of female identity. For it is important to note that Myers is not merely attributing a certain (somatic) concept of womanhood to Jane Austen, but has actually postulated this "post-Freudian" thesis as the definitive standard by which feminism in Jane Austen should be judged. Similarly, a psychoanalytical study by Helen Corsa sums up the significance of Emma’s human growth by appealing to the conventional image of the woman as a being with "instinctual" needs for marriage and motherhood: "Her [Emma's] womanly instinctual needs, her desire for love, for marriage, for motherhood are all obvious in her role as matchmaker; her insistent playing out that role, leads her out of the game into reality." These earlier studies are relevant because they illustrate very well some of the problems which now arise whenever we attempt to describe "feminism" or "womanhood" in Jane Austen's writing or that of any other writer.Question 1What is the main argument of the passage?The contemporary approach to defining 'feminism' and 'womanhood' in Jane Austen's work may not accurately reflect Austen's viewpoints.Jane Austen's novels should be read and understood solely in the context of the contemporary women's liberation movement.Sylvia Myers' and Helen Corsa's analyses accurately reflect the feminist ideals in Jane Austen's novels.Jane Austen's narratives are, in reality, primarily focused on romantic themes, with little emphasis on the broader societal roles of women.