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The author mentions "energy-rich honey dew primarily to
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If the plant permissive hypothesis is correct, it can be inferred from information presented in the passage that
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Astronomers can measure any given star's radial velocity by examining its spectrum-light spread out into its constituent wavelengths. If an object is moving toward us,its spectral lines shift to shorter wavelengths; if it's moving away, the lines swing to longer wavelengths. The higher the velocity, the greater the shift. Although this sort of spectral analysis is straightforward for nearby stars. it becomes far more difficult for distant stars in the Milky Ways outer halo. Even large telescopes can't gather enough of the light. For this reason, astronomer Ulrich Heber conjectures that there are probably several low-mass hypervelocity stars yet to be discovered. Although these diminutive objects live longer than B type stars, which are extremely luminous and blue,they radiate
much less light.
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Which of the following best describes the function of the highlighted sentence in the context of the passage as a whole?
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The passage suggests that Heber would be most likely to agree with which statement about low-mass hypervelocity stars?
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Despite winning several prestigious literary awards of the day, when it first appeared, Alice Walker`s The Color Purple generated critical unease over puzzling aspects of its compositions. In what, as one reviewer put it, was "clearly intended to be a realistic novel," many reviewers perceived violations of the conventions of the realistic novel form, pointing out variously that late in the book, the narrator protagonist Celie and her friends are propelled toward a happy ending with more velocity than credibility, that the letters from Nettie to her sister Celie intrude into the middle of the main action with little motivation or warrant, and that the device of Celie`s letters to God is especially unrealistic in as much as it forgoes the concretizing details that traditionally have given the epistolary novel (that is, a novel composed of letters) its peculiar verisimilitude: the ruses to enable mailing letters, the cache, and especially the letters received in return.
Indeed, the violations of realistic convention are so flagrant that they might well call into question whether The Color of Purple is indeed intended to be a realistic novel, especially since there are indications that at least some of those aspects of the novel regarded by viewers as puzzling may constitutes its links to modes of writing other than Anglo-European nineteenth-century realism. For example, Henry Louis Gates, Jr., has recently located the letters to God within an African American tradition deriving from slave narrative, a tradition in which the act of writing is linked to a powerful deity who "speaks" through scripture and bestows literacy as an act of grace. For Gates, the concern with finding a voice, which he sees as the defining feature of African American literature, links Celie`s letters with certain narrative aspects of Zora Neale Hurston`s 1937 novel Their Eyes Were Watching God, the acknowledged predecessor of The Color Purple.
Gates`s paradigm suggests how misleading it may be to assume that mainstream realist criteria are appropriate for evaluating The Color Purple. But in his preoccupation with voice as a primary element unifying both the speaking subject and the text as a whole Gates does not elucidate many of the more conventional structural features of Walker`s novel. For instance, while the letters from Nettie clearly illustrate Nettie`s acquisition of her own voice, Gates`s focus on "voice" sheds little light on the place that these letters occupy in the narrative or on why the plot takes this sudden jump into geographically and culturally removed surroundings. What is needed is an evaluative paradigm that, rather than obscuring such startling structural features (which may actually be explicitly intended to undermine traditional Anglo-European novelistic conventions), confronts them, thus illuminating the deliberately provocative ways in which The Color Purple departs from the traditional models to which it has been compared.
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The author of the passage would be most likely to agree with which of the following statements about the letters from Nettie to Celie?
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In the second paragraph, the author of the passage is primarily concerned with
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According to the passage, an evaluative paradigm that confronts the startling structural features of The Color Purple would accomplish which of the following?
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The author of the passage suggests that Gates is most like the reviewers mentioned in the first paragraph in which of the following ways?
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Crows, herring gulls, and sparrows all live on the island of Firsten. Crows feed on sparrow eggs and the therefore pose a threat to the sparrow population. Although gulls are not nearly as good at finding sparrow nests as crows are, sparrows typically also lose some eggs to gull predation. Nevertheless, sparrows that nest near gull nests tend to lose fewer eggs to predators than sparrows nesting far away from gull nests, since ________ .
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Which of the following most logically completes the argument?
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Many scholarly discussions of novelist Willa Cather(1873-1947) debate whether Cather belongs more to the nineteenth-century realist tradition or to the modernist revolution of the early twentieth century. While Cather's preoccupation with nineteenth-century agrarian culture has won the respect of readers and critics, her distrust of modernity left her with a historically unstable position in the modernist canon. Resistance to the changes wrought by the twentieth century,of course, does not necessarily disqualify one from the "modernist" label. The impulse to reconnect with more primitive, earlier times is a hallmark of modernist aesthetics shaping the search for meaning in a fragmented, disenchanted mechanized world. Yet more often than not. [literary critic]
Phyllis Rose explains the early twentieth-century atmosphere of experimentation and "making it new" and an attendant critical discourse that "valued complexity, ambiguity, even obscurity" resulted in Cather's labeling as "naively traditional" and essentially nostalgic and elegiac. "In effect, in modernist studies she has been treated as a romantic regional writer. Unconcerned with the international terrain so integral to modern thinking-at least until scholars, in the 1980s and 1990s, began reevaluating the historical record, demonstrating her innovative departures from nineteenth-century fiction including antiheroism, gender-bending, episodic narrative, antirealism, simple prose. emphasis on memory and time, and the exploration of immigration, empire, and race. Today it is not uncommon to encounter critics announcing Cather`s newfound canonical status as a modernist--indicated most clearly by her inclusion in works such as The Cambridge Companion to American Modernism published in 2005.
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The primary purpose of the passage is to
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The author mentions "resistance to the changes"primarily to
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According to the passage. "the historical record"
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Much of ecological theory consists of models that are so highly idealized that they are of little real-world predictive value. In addition, many of the parameters used in models such as birth and death rates are exceedingly difficult to estimate accurately in the field. Consequently, ecological theory is rarely directly relevant to the practice of conservation biology. One notable exception is MacArthur's theory of island biogeography, which predicts the species richness of an island on the basis of its size and degree of isolation. This theory could provide important insights into nature preserves, which can be analogous to islands, often consisting of relatively undisturbed ecosystems surrounded by biologically distinct areas.
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Which of the following best describes the function of the sentence highlighted in the passage?
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It can be inferred from the passage that the author would probably agree with which of the following statements?
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This passage relates to the decades immediately following the Mexican Revolution of 1910-1920. Jose Clement Orozco, David Alfaro Siqueiros, and Diego Rivera were artists from this period who were particularly associated with mural painting.
While nationalism can be seen as the primary theme of Mexico's cultural production after 1921, contemporary intellectuals, composers, and artists were by no means bound by ideology nor were they adherents of a single school or movement. Jose Vasconcelos, who as secretary of public education from 1921 to 1924 was the initial sponsor of the mural movement, was above all an admirer of Hispanic civilization. The muralists themselves, as well as other artists and writers, were steeped in European cultural styles past and present. All denounced the Diaz regime [ended 1911] for its alleged disdain of native traditions, especially those originating in the indigenous population, which was seen as the intended beneficiary of agrarian reform and other policies of the revolutionary administrations. But even those who were most committed to improving the lot of the Indians, such as the anthropologist Manuel Gamio and the educator Moises Saenz, envisioned their assimilation into an integrated, Spanish-speaking nation. In reality, despite the affirmation of purely indigenous traditions, mestizaje the blending of the Indian and the European-lay at the root of the cultural nationalism of the era.
A second prominent theme in the artistic discourse of the era was the obligation of painters and others to create work that would be accessible to all, not only in an aesthetic sense but also in a physical one. Out of this conviction grew the emphasis on the painting of murals in public places, where they could be seen by workers and peasants, who might thereby be instructed or moved by the nationalistic, sometimes revolutionary subjects of the murals. What, if anything, the murals signified to the working-class people who saw them cannot be determined, though Jose Clemente Orozco doubted that art alone could spur the masses to rise up against their oppressors. Moreover, as the international fame of the Mexican muralists grew, it was the elites in Mexico and elsewhere that embraced them most fulsomely, and their easel paintings often ended in the collections of North American millionaires. Both Orozco and David Alfaro Siqueiros expressed concern that Diego Rivera and other artists were overemphasizing the folkloric elements in their work-themes that Orozco and Siqueiros considered no longer relevant to Mexican realities but that appealed to foreign tourists and collectors.
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