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Stark Online. Lezen Seligpreisungen PDF. Used 62 Items Not Specified 10 Items Please provide a valid price range. Buying Format. All Listings. Accepts Offers. Buy It Now. Item Location. Canada Only. North America. Not only is the sheer magnitude appalling, but the antics of these "post office pirates" are equally disturbing. For example, one enterprising sa lesman promised me prizes ranging from a car to a transistor radio if I would drive miles to look at a piece of property.
I wrote this con art ist and told him I'd come ifhe paid for the gas, but I never heard from him. Some questions will ask you to consider the tone or attitude of the author. They may also ask you to think about how a reader may react. In well-w ritten material, the writer uses both style and tone to express what he or she has to say and to try to influence the reader.
Recognizing the author's purpose - whether it is to tell an exciting story, to express enjoyment or to sta rt a revolution - is an important part of reading. Vocabulary-in-Context Questions Some passage-based reading questions ask about the meaning of a word as it is used in the passage. Even if you don't know the word, you can sometimes figure it out from the passage and the answer choices.
The context - that is, the particular situation in which the word is used, including information given in neighboring sentences - helps determine its meaning. For example, you are likely to know that the word smart has several meanings. It can mean "intell igent," "stylish" and "sassy. Chances are, neither of those will get someone into a lot of trouble. The context, or the association between the words smart and trouble.
But sometimes you may also have to read the sentence that comes before or after it. When a word has several meanings, a vocabulary-in-context question won't necessarily use the most common meaning. The answer choices will often include several different meanings of the word.
Be sure to read enough of the context to thoroughly understand the meaning of the word. Literal Comprehension Questions For th is type of question, you need to understand information that is d irectly presented in the passage.
These questions measure a skill you'll be using a lot in college: how well you read to acquire information. Reread enough of the text to find the answer. Even if you know something about the subject of the passage, remember to answer the question based on what is actually stated in the passage. Somet imes the description of the fact or idea in the question is different from the wording in the passage.
Questions Involving Paired Passages and Paragraphs At least one long and one paragraph reading selection will involve a pair of passages. The pair of passages will have a common theme or subject. One of the passages will oppose, support or in some way relate to the other. When you see this Remember that Naccording to the Naccording to the You must answer the question in terms of the statements, assumptions, or inferences that the writer is making, even jf you disagree with w hat the writer has said.
The Question is meant to see if you understand what the wri t er has written. This m eans that even though you may find a response t hat seems to fit, you still need to look at the rest of the responses in order to be sure that you have selected the best one. Sometimes you may think none of the answers are particularly good, but you must pick the one that is best.
Make sure that your inference is indeed based on the material in the passage and not only on your own ideas or opinions.
Opposite of most. Most important, or chiefly. Frequently used as a qualifier, as in most likely, most frequently, most reasonable. A qualifier recognizes that there are exceptions to most situations and tries to allow for those except ions. Only means "just the one. Passage-based Reading When a question asks you to compare two passages, don't try to remember everything from both passages. Review the relevant parts of each passage before you select your answer. Table 6. Suppose a question asks you to identify something that is true in both passages.
It is often easier to start by eliminating choices that are not true for one of the passages. Don't be fooled by a choice that is true for one passage but not for the other. Approaches to Passage-based Reading Questions. Keep in mind that the answers corne from the passage. Every single answer to these questions can be found in or directly inferred from the passage.
Read the passages carefully. Remember, every word counts. Be aware of words describing people, events and things. If someone's face is described as "handsome" or "scarred," if an event is "surprising" or if a word is "whispered" or "spoken with a smile," pay attention.
Details like these are mentioned to give you an understanding of what the author wants you to feel or think. Read the questions and answers carefully. With most passage-based reading questions. Don't forget that an answer choice can be both true and wrong. The correct choice is the one that best answers the question, not any choice that makes a true statement.
To keep from selecting a choice that is true but wrong. Make sure the reading passage supports your answer. There should always be information and details in the passage that provide support for your answer. Look for specific words, phrases and sentences that help to prove your choice is correct. Even with the inference, tone and attitude question s - the ones in which you have to read between the lines - you can find evidence in the passage to support the correct choice.
Try eliminating choices. Compare each choice to the passage and you'll find that some choices can be eliminated as definitely wrong. Then it should be easier to choose the correct answer from the remaining choices. When you have made your choice, qUickly read the other choices again to make sure there isn't a better answer. You will spend a lot of time reading some of the passages before you're ready to a nswer even one question. If you return to the passage later, you'll probably have to read it again.
When you've gone through all the questions about a passage, review any you left out or weren't sure of. Sometimes information you picked up while thinking about one question will help you answer another.
Questions are based on the following passage. Art forgery is a peculiar curse. Reliant on camouflage and deception, on the rhetoric of the believable lie, it is an act both audacious and self-effacing. For the imitation Linll to succeed in fooling us, it must resemble one or more 5 works that we have been led to believe are undoctored originals. Without something to mimic, the fake could not exist. And the forger of old masters' drawings.
The primary purpose of the passage is to A describe the motivations of art forgers 8 indicate the artistic merit of particular forgeries C discuss the challenges facing art forgers 0 catalogue the skills of a successful art forger E illustrate the public's ignorance about art forgery 2.
The author refers to art forgery as an act that is Kself-effaci ng» line 3 because it reqUires that the forger A B C 0 E undergo an arduous apprenticeship work in the style of another artist forgo many opportunities for financial gain never take his or her work too seriously regard original artworks with reverence Questions are based on the following passage. A cousin of the tenacious Asian longhorned beetlewhich since its initial discovery in in New York City has caused tens of millions of dollars in damage annually Unll -the citrus longhorned beetle was discovered on a juniper 5 bush in August in Tukwila, Washington.
Exotic pests such as the longhorned beetle are a growing problem-an unintended side effect of human travel and commerce that can cause large-scale mayhem to local ecosystems. To stop the citrus beetle, healthy trees were destroyed 10 even though there was no visible evidence of infestation, and normal environmental regulations were suspended so that a rapid response could be mounted. Which best describes the function oflhe opening sentence "A cousin.. B It suggests the potential harm the citrus longhorned beetle could cause in the United States.
C It illustrates how the Asian longhorned beetle was introduced into the United States. D It describes how the citrus longhorned beetle was first discovered. E It compares the destructiveness of the Asian longhorned beetle to that of the citrus beetle. The passage suggests that the actions undertaken in lines are best characterized as A tested and reliable B deliberate and effective e costly and unpopular D preemptive and aggreSSive E unprecedented and unfounded Questions are based on the following passages.
Passage 1 Today any accessible, fast-mOVing story written in unaffected prose is deemed to be "genre fiction n -at best an excellem "read- or a "page turner" but never literature lin.
Everything written in self-conscious, 5 writerly prose, on the other hand. It is these works that receive full -page critiques, often one in the Sunday 10 book-review section and another in the same newspaper during the week. II is these works, and these works only, that make the anllual short lists of award comm ittees. Passage 2 One reason why most literary novels don't appeal to the ordinary reader looking for a "good story" is that 15 they aren't intended to.
Just as nuclear physicists strive to impress other nuclear physicists and dog breeders value the admiration of fellow dog breeders over that of the uninitiated masses, so people who write serious fiction seek the high opinion of other literary novelists. They want very badly to be "literary," and for many of them this means avoiding techniques associated with commercial and genre fiction-specifically too much emphasis on plot.
Who, after all, wants to be accused of writing "action 25 movies in book form"? In the two passages, quotation marks are primarily used to A B Cl D call attention to some common ways of categoriz. Which of the following best describes the relationship between the two passages? Passage 2 supplies an explanation for a state of affairs described in Passage I. In Passage I, the author presents his view of the early years of the silent film industry. In Passage 2. A mime is II performer who, without speak;'lg, entertains through gesture,facial expression, and movement.
Passage I Talk to those people who first saw films when they were silent, and they will tell you the experience was magic. The silent film had extraordinary powers to draw 50 members of an audience into the story, and an equally 5 potent capacity to make their imaginations work. It required the audience 10 become engaged-to supply Line voices and sound effects.
The finest films of the silent era depended on two clements that we can seldom provide today-a large and receptive audience and a well-orchestrated score. For the audience, the fusion of picture and live music added up to more than the sum of the respective parts. The one word that sums up the attitude of the silent filmm akers is elJthusiasm, conveyed most strongly before formulas took shape and when there was more room for experimentation.
This enthusiastic uncertainty often resulted in such accidental discoveries as new camera or editing techniques. Some films experimented with players; the 19l5 film Regeneration, for example, by using real gangsters and streetwalkers, provided startling local color.
Other fi lms, particularly those of Thomas Ince, provided tragiC endings as often as films by other companies supplied happy ones. Unfortunately, the vast majority of silent films survive today in inferior prints that no longer reflect the care that the Original technicians put into them. The modem yersions of silent films may appea r jerky and flickery, but the vast picture palaces did not attract four to six thousand people a night by giving them eyestrain.
A silent film depended on its visuals; as soon as you degrade those, you lose elements that go far beyond the image on the surface. The acting in silentswas often very subtle, very restrained, despite legends to the contrary. Passage 2 35 Mime opens up a new world to the beholder, but it does so insidiously, not by pu rposely injecting points of interest in the manner of a tour guide.
Audiences are not unlike visitors to a foreign land who discover that the modes, manners, and thoughts of its inhabitants are not 40 meaningless oddities, but are sensible in context. I remember once when an audience seemed perplexed at what I was doing. At first, I tried to gain a more immediate response by using slight exaggerations.
I soon realized that these actions had nothing to do with the 45 audience's understanding oflhe character. What J had believed to be a failure of the audience to respond in the 60 55 60 65 70 manner I expected was, in fact, only their concentration on what I was doing; they were enjoying a gradual awakening-a slow transference of their understanding from their own lime and place to one that appeared so unexpectedly before their eyes.
This was evidenced by their growing response to succeeding numbers. Mime is an elusive art, as its expression is entirely dependent on the ability of the performer to imagine a character and to re-create that character for each performance. As a mime. Tam a physical medium, the instrument upon which the figu res of my imagination play their dance of life.
The individuals in my audience also have responSibilities-they must be alert collaborators. They cannot sit back, mindlessly complacent, and wait to have their emotions titillated by mesmeric m usical sounds or yisual rhythms or acrobat ic feats, or by words that tell them what to think. Mime is an art that, paradoxically, appeals both to those who respond instinctively to entertainment and to those whose appreciation is more analytical and complex.
Between these extremes lie those audiences conditioned to resist any collaboration with what is played before them, and these the mime must seduce despite themselves. There is only one way to attack those reluctant minds-take them unaware!
They will be delighted at an unexpected pleasure. Both passages are primarily concerned with the subject of A B e D E shocking special effects varied dramatic styles visual elements in dramatic performances audience resistance to theatrical performances nostalgia for earlier fo rms of entertainment The author of Passage I uses the phrase "enthusiastic uncertai nt y" in line 17to suggest that the filmmakers were A excited to be experimenting in a new field B delighted at the opportunity to study new technology C opti mistic in spite of the obstacles that faced them D eager to challenge existing conventions E eager to please but unsure of what the publiC wanted Passage-based Reading In tines , Regeneration and the films of Thomas Ince are presented as examples of A formulaic and uninspired silent films 8 profitable successes of a flourishing industry C suspenseful action films drawing large audiences D daring applications of an artistic philosophy E unusual products of a readiness to experiment In context, the reference to "eyestrain" line 30 conveys a sense of A irony regarding the incompetence of silent film technicians.
B regret that modern viewers are unable to see h igh quality prints of silent films e resentment that Ihe popularity of picture palaces has waned in recent years D pleasure in remembering a grandeur that has passed E amalement at the superior quality of modern film technology In line 34, "legends" most nearly means A ancient folklore B obscure symbols C history lessons D famous people E common misconceptions The author of Passage 2 most likely considers the contrast of mime artist and tour guide appropriate because both A are concerned with conveying factual information B employ artistic techniques to communicate their knowledge e determ ine whether others enter a strange place D shape the way others perceive a new situation E explore new means of self-expression The incident described in lines shows the author of Passage 2 to be similar to the silent filmmakers of Passage 1 in the way she In lines , the author most likely describes a specific experience in order to A dispel some misconceptions about what a mime is like B show how challenging the career of a mime can b, C portray the intensity reqUired to see the audience's point of view D explain how unpredictable mime performances can be E indicate the adjustments an audience must make in watching mime In Jines , the author's description of techniques used in the types of performances is A disparaging 8 astonished C sorrowful D indulgent E sentimental What additional information would reduce the apparent Similarity between these two art forms?
Al Silent film audiences were also accustomed to vaudeville and theatrical presentations. B Silent films could show newsworthy events as well as dramatic entertainment. D Theaters running silent films gave many musicians steady jobs. El Individual characters created for silent fi lms became famous in their own right.
Both passages mention which of the following as being important to the artistic success of the dramatic forms they describe?
Don't be misled by an answer that looks correct but is not supported by the actual text. Choice 0 is attractive. Explanatiml: The passage primarily calls attention to the difficulties inherent in art forgery. Choice C is correct because the passage primarily discusses several ch allenges inherent in art forgery. Although the passage indicates that forgers need to be skilled enough to fool people who are experienced at detecting forgeries, it does not list or discuss the particular skills that make art forgers successful.
The passage does not discuss the public's lack ofknowledge about art forgery. Explanation: The reference to "self-effacing" in line 3 suggests that a successful art forgery cannot ca ll attention to the forger.
It must appear to be a creation of the original artist. Choice 8 is correct because forgery involves employing the style of another artist rather than working in one'S own style. It requires removing oneself from one's work. A key word in the question may be the clue you need to arrive at the best answer. Pay attention to the words that carry the meaning of the sentence.
In fact, the author states that art forgery is an "audacious" act. A forger might not perform this audacious act if he or she viewed the original work with reverence. H A It underscores how frequently pests are transferred from one geographical region to another.
Answer: The correct answer is 8. Explanation: The open ing sentence of the passage indicates that the citrus longhorned beetle is a relative of the Asian longhorned beetle, which has wreaked havoc on the plant life in the United States. Choice B is correct because the opening sentence establishes that the Asian and citrus longhorned beetles are cousins and points out the devastation that the Asian beetle has caused; the implication is that the citrus beetle might be as damaging to plant life as its "tenacious" relative.
In this case, the structure of the sentence emphasizes the comparison between the two beetles, suggesting that the second is much like the first. Careful reading is the key to finding the COrTect answer. It may be tempting to apply a personal opinion, as in choice e , but your answer must be found in the passage itself. Explanation: Lines indicate that to contain the possible spread of the citrus longhorned beetle qUickly, such actions as killing hea lthy trees and relaxing environ mental regulations and procedures were executed.
Choice 0 is correct because the actions described in lines were both preventative and bold: energetic measures undertaken to avert a potential envi ronmental disaster.
The author of Passage I implies that "literature with a capita! L" lines is fiction that is A considered classic by scholars of English literature 8 written in a mannered and pretentious style e unafraid to address highbrow themes and weighty issues D successful both critically and financially.
E unfairly ignored by the book-buying public Answer: The correct answer is B. Explana tion: The author of Passage I uses the phrase "literature with a capital L" to describe fiction written in a particular kind of prose. Choice 8 is correct because the passage suggests that "literature wit h a capital L" is written in "self-conscious, writerly prose.
P In MInd Rereading the relevant part of 'the passage should lead you to the correct answer. This quest ion asks for an understanding of a remaril: in the context of its neighboring sentences. Although the passage focuses on the amount of critical attention paid to literary fiction, it doesn't suggest that such fiction is undeservedly ignored by the book-buying public.
Explanation: Passage I uses the phrase "self-conscious, writerly prose" to describe the style of "literary fiction. Choice D is correct because Passage 2 argues that writers of literary fiction hope to appeal to other people well versed in literary tiction: literary novelists, creative writing teachers. So these writers using "self-conscious.
P In MInd The correct answer is found by rereading the highlighted phrase in the context of the surrounding sentences. Consider all the infonnation before making a Judgment. This question asks you to make an inference from the writer's stylistic choices. By comparing the choices to the content and meaning of each passage in its entirety, you will be able to see the purpose of the quotation marks.
Explanation: Choice A is correct because the aut hors of both passages put quotation marks around these words and phrases to call attention to the terms frequently used to characterize different kinds of fiction.
In fact, both imply that these terms are commonly used when talking about fiction. While these words and phrases can be considered labels. Although Passage 1 offers a negative view of mannered "literary fiction," it does not criticize popular fiction.
Passage 2 makes no judgment at all about the inherent quality of either literary or popular fiction. Although the quoted words and phrases are a shared terminology. In fa ct, Passage 1 implies that the use of such terms is unfortunate because only fiction considered to be "literary" is given serious attention.
A Passage 2 presents evidence that rebuts the argument made in Passage 1. B Passage 2 explicitly defines terms that Passage I assumes are well known. C Passage 2 supplies an explanation for a state of affairs described in Passage 1.
D Passage 2 focuses on an exception to a general rule established in Passage I. E Passage 2 provides a humorous view of a situation that Passage I finds inexplicable. Explanation: Passage 1 argues that literary fiction is reviewed more thoroughly than genre fiction and is the only kind of fiction recognized by award committees.
Passage 2 argues that writers of literary fiction write to impress other literary novelists, reviewers and critics. This would explain why such fiction receives more serious attention from reviewers and award committees, as described in Passage 1. Therefore, choice C is correct. In fact, it assumes that the situation described in Passage 1 is accurate. In fact, it does not discuss a specific case at all. In addition. Passage 2 does not proVide a pa rticularly funny view of this subject.
Each of the incorrect answers is directly contradicted by material in the passages. You are left with the correct answer by process of elimination.
Both passages are primarily concerned with the subject of A shocking special effects B varied dramatic styles C visual elements in dramatic performances D audience resistance to theatrical performances E nostalgia for earlier forms of entertainment Answer: The correct answer is C.
Notice that the question asks you to look for the main subject or focus of the pair of passages, not simply to recognize that one passage is about silent film and the other about mime. The discussion in Passage 2 is most concerned with what makes a mime performance effective When comparing two reading passages, review the relevant for the audience.
The main subject fo r both passages is how a silent, parts of each passage as you visual form of entertainment affects an audience. Choice C is correct consider the choices.
Choice D is also incorrect because that topic is primarily addressed only in Passage 2. Explanation: Look at the beginning of the third paragraph of Passage L The fi lmmakers were "enthusiastic" about a new kind of art form in which they could experi ment. And experimentation led to "accidental discoveries" line 18 , which suggests "uncertainty," all of which is said, though in a slightly different way, in choice A.
Here's why each of the other choices is incorrect: Read each choice carefully and compare what it says to the information in the passage. In lines , Regeneration and the films of Thomas lnce are presented as examples of A formulaic and uninspired silent films B profitable successes of a flourishing industry e suspenseful action films drawing large audiences D daring applications of an artistic philosophy E unusual products of a readiness to experiment Answer: The correct answer is E.
Explanation: The author's argument in the third paragraph is that there was lots of "room for experimentation" line 17 in the silent film industry. Both Regeneration and Inee's fi lms are specifically mentioned as examples of that "readi ness to experiment," as referred to in choice E. First, line 16 says that the filmmakers worked "before formulas took shape," so their work could not be "formulaic.
So it would not be correct to describe these films as "uninspired. Be aware of how the ideas in the passage are presented. What is the author's point? How does the author explain and support important points? In context, the reference to "eyestrain" line 30 conveys a sense of A irony regarding the incompetence of silent film technicians B regret that modern viewers are unable to see high-quality prints of silent films C resentment that the popularity of picture palaces has waned in recent years D pleasure in remembering a grandeur that has passed E amazement at the superior quality of modern film technology Answer: The correct answer is 8.
Rule out choices that don't answer the question being asked or that are contradicted by the information in the passage. He implies that thousands of people would not have come to the movie houses if the pictures had given them "eyestrai n. This feeling can be described as "regret," choice 8.
Remember, the question refers to the statement about "eyest rain. First, no sense of "a mazement" is conveyed in the statement about eyestrain. Second, the author does not say that modern films are "superior" to silent films , only that the "prints" of silent films are " inferior" to what they once were lines Examine the context in which the word is used.
Think of some word! Explanatio,,: A legend is an idea or story that has come down from the past. A secondary meaning of legend is anything made up rather than based on fact. Throughout the fina l paragraph of Passage I, the author emphasizes that people today have the wrong idea about the visual quality of silent films. In the last sentence, the author states that the act ing was "often very subtle" and "very restrained," and then he adds, "despite legends to the contrary.
In line 34, the word legends refers to acting, not to people. The author of Passage 2 most likely considers the contrast of mime artist and tour guide appropriate because both A B C D E are concerned with conveying factual information employ artistic techniques to communicate their knowledge determine whether others enter a strange place shape the way others perceive a new situation explore new means of self-expression Answer: The correct answer is D.
Explanation: To answer this question, you have to find a choice that desc ribes a similarity between the performances of a mime and the work of a tour guide. The author begins Passage 2 by saying that a mime "opens up a new world to the beholder," but in a "manner" or way different from that of a tour gUide. Thus the author assumes that contrasting the mime and the tour guide is appropriate because both of them "shape the way others perceive a new situation," choice D.
These parts of passages help you identify the authors' points of view and assumptions. Nowhere in the passage does the author say the mime conveys "factual information. PInMlnd required very few props used subtle tcchnical skills to convey universal truths learned through trial and error combined narration with visual effects earned a loyal audience of followers Answer: The correct answer is C. When a question following a pair of passages as ks you to identify something that is common to both passages or true for both passages, eliminate any answ er that is tru e for only one of the two passages.
Here's Explanation: The question focuses on the story related in Jines and asks you to explain how that story shows that the mime is similar to silent filmmakers. Lines show the mime cha nging her performance when she found something that d id not work.
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