This passage discusses Minoan buildings constructed during the Bronze Age on the Greek Island of Crete.
Although the term "Palace" is widely used and deeply ingrained in Minoan archaeology, Driessen has remarked that the term has been used to describe a number of quite different things and that there is no consensus on what the term signifies. The debate usually centers on the presumed functions of the buildings. Evans assumed that the buildings known as Palaces had several roles, including royal residences, administrative centers, economic centers, manufacturing centers, and cult centers. Over the years, each of those functions has been called into question. For example, L. Schoep notes, "The use of the term Palace carries with it a whole host of perhaps unhelpful baggage, which consciously or unconsciously encourages interpretations of the "Palace" as the residence of a royal elite, occupying supreme position within a hierarchical social and political structure"; she suggests using the more neutral term "court-centered building" instead. The problem, however, comes not from the architectural label one applies, but from making unwarranted assumptions about how the Palaces were used. I use the word "Palaces" (capitalized to signal its arbitrariness) not to imply a range of functions but to refer to a group of buildings that share a set of formal elements.
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Select a sentence in the passage that summarizes the author`s primary opposition to a particular approach taken by Minoan archaeologists.
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Which of the following best describes the organization of the second paragraph?
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Consider each of the choices separately and select all that apply.
Which of the following is mentioned in the passage as an effect of cactus cultivation on the Mahafale`s pastoralist way of life?
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Catherine Stimpson calls for a reassessment of literary merit based on affective standards-on how literary works make readers feel-rather than on the aesthetic standards traditionally used to define the canon, the body of literary works generally accepted as "great". Stimpson advocates an alterative para canon for literary works, such as Louisa May Alcott`s Little Women, because she believes such works have been unjustifiably neglected by unsympathetic scholars. According to Stimpson, a para canonical work may or may not have literary value by traditional standards; rather, its worth consists in its "capacity to inspire love."
Elizabeth Barnes criticizes Stimpson`s approach as subjective and therefore uncritical "Although Stimpson never actually defines `love`, she implies that a lovable work is one that so engages the reader that its worldview becomes inseparable from the reader`s own" (Stimpson acknowledges that the values reflected in Little Women may have subconsciously influenced her invention of the para canon). For Barnes, the conflation of ethics and aesthetics implicit in Stimpson`s approach (in which "good" can refer to something morally sound and/or above average in quality) demonstrates the ambiguity inherent in such concepts as goodness and love.
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According to the passage, Stimpson advocated the creation of a paracanon because she
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