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Museums that house Renaissance oil paintings typically store

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CR -bold face [#permalink] New post 12 Jun 2008, 17:18
Museums that house Renaissance oil paintings typically store them in envbironments
that
are carefully kept within narrow margins of temperature and humidity to inhibit any
deterioration.
Laboratory tests have shown that the kind of oil paint used in these paintings
actually adjusts to climatic changes quite well. If, as some museum directors believe,
paint is the most sensitive substance in these works, then by relaxing the standards
for temperature and humidity control, museums can reduce energy costs
without risking damage to these paintings
. Museums would be rash to relax those
standards, however, since results of preliminary tests indicate that gesso, a compound
routinely used by Renaissance artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface play which of the following
roles?
A. The first is an objection that has been raised against the position taken by the
argument; the second is the position taken by the argument.
B. The first is the position taken by the argument; the second is the position that the
argument calls into question.
C. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is a circumstance on which that judgment is,
in part based.
D. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is that positon.
E. The first is a claim that the argument calls into question; the second is the position
taken by the argument.

Can someone explain what is the claim , position and judgement in teh above CR?

Last edited by goalsnr on 14 Jun 2008, 06:11, edited 1 time in total.
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Re: CR -bold face [#permalink] New post 12 Jun 2008, 17:21
goalsnr wrote:
Museums that house Renaissance oil paintings typically store them in envbironments
that
are carefully kept within narrow margins of temperature and humidity to inhibit any
deterioration.
Laboratory tests have shown that the kind of oil paint used in these paintings
actually adjusts to climatic changes quite well. If, as some museum directors believe,
paint is the most sensitive substance in these works, then by relaxing the standards
for temperature and humidity control, museums can reduce energy costs
without risking damage to these paintings. Museums would be rash to relax those
standards, however, since results of preliminary tests indicate that gesso, a compound
routinely used by Renaissance artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface play which of the following
roles?
A. The first is an objection that has been raised against the position taken by the
argument; the second is the position taken by the argument.
B. The first is the position taken by the argument; the second is the position that the
argument calls into question.
C. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is a circumstance on which that judgment is,
in part based.
D. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is that positon.
E. The first is a claim that the argument calls into question; the second is the position
taken by the argument.

Can someone explain what is the claim , position and judgement in teh above CR?


I dont see any BF here! :lol:
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Re: CR -bold face [#permalink] New post 14 Jun 2008, 06:11
sondenso wrote:
goalsnr wrote:
Museums that house Renaissance oil paintings typically store them in envbironments
that
are carefully kept within narrow margins of temperature and humidity to inhibit any
deterioration.
Laboratory tests have shown that the kind of oil paint used in these paintings
actually adjusts to climatic changes quite well. If, as some museum directors believe,
paint is the most sensitive substance in these works, then by relaxing the standards
for temperature and humidity control, museums can reduce energy costs
without risking damage to these paintings. Museums would be rash to relax those
standards, however, since results of preliminary tests indicate that gesso, a compound
routinely used by Renaissance artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface play which of the following
roles?
A. The first is an objection that has been raised against the position taken by the
argument; the second is the position taken by the argument.
B. The first is the position taken by the argument; the second is the position that the
argument calls into question.
C. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is a circumstance on which that judgment is,
in part based.
D. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is that positon.
E. The first is a claim that the argument calls into question; the second is the position
taken by the argument.

Can someone explain what is the claim , position and judgement in teh above CR?


I dont see any BF here! :lol:



Sorry! I have edited the post :)
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Re: CR -bold face [#permalink] New post 14 Jun 2008, 06:39
id go for D as well.
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Re: CR -bold face [#permalink] New post 14 Jun 2008, 07:23
buffdaddy wrote:
i like to use POE in BF questions
goalsnr wrote:
Museums that house Renaissance oil paintings typically store them in envbironments
that
are carefully kept within narrow margins of temperature and humidity to inhibit any
deterioration.
Laboratory tests have shown that the kind of oil paint used in these paintings
actually adjusts to climatic changes quite well. If, as some museum directors believe,
paint is the most sensitive substance in these works, then by relaxing the standards
for temperature and humidity control, museums can reduce energy costs
without risking damage to these paintings
. Museums would be rash to relax those
standards, however, since results of preliminary tests indicate that gesso, a compound
routinely used by Renaissance artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface play which of the following
roles?
A. The first is an objection that has been raised against the position taken by the
argument ; the second is the position taken by the argument. the second isn't the postion of the argument
B. The first is the position taken by the argument; the second is the position that the
argument calls into question. the first isn't the postion taken by the argument
C. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is a circumstance on which that judgment is,
in part based. the second isn't a circumstance of the first
D. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is that positon. the first is indeed a jdgement of the position that the argument is against, and the second is that position
E. The first is a claim that the argument calls into question; the second is the position
taken by the argument. the second isn't the argument's position


D
Can someone explain what is the claim , position and judgement in teh above CR?



But dont you start by figuring out what's the conclusion , Position , claim in the CR?
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Re: CR -bold face [#permalink] New post 14 Jun 2008, 07:27
goalsnr wrote:
But dont you start by figuring out what's the conclusion , Position , claim in the CR?


in normal CRs yes, but in BFs i try to get the gist of the passage and then eliminate the obvious wrong answers

then it normally comes down to 2 very quickly. whats the OA to this

disclaimer: In verbal, i am the weakest in CR :)
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Re: CR -bold face [#permalink] New post 14 Jun 2008, 08:45
Its a clear D. Other options dont apply. Second with buff daddys reasoning .
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Re: CR -bold face [#permalink] New post 14 Jun 2008, 09:07
buffdaddy wrote:
goalsnr wrote:
But dont you start by figuring out what's the conclusion , Position , claim in the CR?


in normal CRs yes, but in BFs i try to get the gist of the passage and then eliminate the obvious wrong answers

then it normally comes down to 2 very quickly. whats the OA to this

disclaimer: In verbal, i am the weakest in CR :)



If the passage is easy is to understand I usually take the same approach.
But if the passage is tricky I spend lot of time going back and forth between the stimilus and answer choices. Therfore I have decided to work on a defined and streamline approach :)
Anyways thanks for sharing your thoughts.

My weak point is CR too. Iam sure we will get better with practise.Good luck :)
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Re: CR -bold face [#permalink] New post 14 Jun 2008, 20:52
OA is D.
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Re: CR -bold face [#permalink] New post 15 Jun 2008, 00:55
goalsnr wrote:
Museums that house Renaissance oil paintings typically store them in envbironments
that
are carefully kept within narrow margins of temperature and humidity to inhibit any
deterioration.
Laboratory tests have shown that the kind of oil paint used in these paintings
actually adjusts to climatic changes quite well. If, as some museum directors believe,
paint is the most sensitive substance in these works, then by relaxing the standards
for temperature and humidity control, museums can reduce energy costs
without risking damage to these paintings
. Museums would be rash to relax those
standards, however, since results of preliminary tests indicate that gesso, a compound
routinely used by Renaissance artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface play which of the following
roles?
A. The first is an objection that has been raised against the position taken by the
argument; the second is the position taken by the argument.
B. The first is the position taken by the argument; the second is the position that the
argument calls into question.
C. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is a circumstance on which that judgment is,
in part based.
D. The first is a judgment that has been offered in support of the position that the
argument
calls into question; the second is that positon.
E. The first is a claim that the argument calls into question; the second is the position
taken by the argument.

Can someone explain what is the claim , position and judgement in teh above CR?


D should be the answer.


if paint is the most sensitive substance in these works: this opinion is created from consideration of point of view.

then by relaxing the standards for temperature and humidity control, museums can reduce energy costs without risking damage to these paintings. this is point of view
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Re: CR -bold face [#permalink] New post 16 Jun 2008, 14:20
terp06 wrote:
OA is D.


:roll:
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Re: CR -bold face [#permalink] New post 16 Jun 2008, 14:21
OA is D
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Boldface CR [#permalink] New post 02 Dec 2009, 23:09
Museums that house Renaissance oil paintings
typically store them in environments that are carefully
kept within narrow margins of temperature and
humidity to inhibit any deterioration. Laboratory tests
have shown that the kind of oil paint used in these
paintings actually adjusts to climatic changes quite
well. If, as some museum directors believe, paint is
the most sensitive substance in these works
,
then by relaxing the standards for temperature and
humidity control, museums can reduce energy
costs without risking damage to these paintings
.
Museums would be rash to relax those standards,
however, since results of preliminary tests indicate
that gesso, a compound routinely used by Renaissance
artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface
play which of the following roles?
(A) The first is an objection that has been raised
against the position taken by the argument; the
second is the position taken by the argument.
(B) The first is the position taken by the argument;
the second is the position that the argument
calls into question.
(C) The first is a judgment that has been offered in
support of the position that the argument calls
into question; the second is a circumstance on
which that judgment is, in part, based.
(D) The first is a judgment that has been offered in
support of the position that the argument calls
into question; the second is that position.
(E) The first is a claim that the argument calls into
question; the second is the position taken by the
argument.

Can some one plzz tell me the approach to attempt boldface CR..
I mean i go numb after seeing this question
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Re: Boldface CR [#permalink] New post 02 Dec 2009, 23:44
I choose D here.
Read carefully and try to paraphrase what you read.

Let's take a look at first bold.
If, as some museum directors believe, paint is
the most sensitive substance in these works
,
Notice, that it directors believe. It's not a position, nor an evidence, nor a claim, nor an objection. It looks like judgement.

First bold lead to second bold directly. First supports second clearly. The second looks like position.

museums can reduce energy
costs without risking damage to these paintings


However, further this position is called into question. (possible risk to painting occurs)

D captures all mentioned above

gurpreet07 wrote:
Museums that house Renaissance oil paintings
typically store them in environments that are carefully
kept within narrow margins of temperature and
humidity to inhibit any deterioration. Laboratory tests
have shown that the kind of oil paint used in these
paintings actually adjusts to climatic changes quite
well. If, as some museum directors believe, paint is
the most sensitive substance in these works
,
then by relaxing the standards for temperature and
humidity control, museums can reduce energy
costs without risking damage to these paintings
.
Museums would be rash to relax those standards,
however, since results of preliminary tests indicate
that gesso, a compound routinely used by Renaissance
artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface
play which of the following roles?
(A) The first is an objection that has been raised
against the position taken by the argument; the
second is the position taken by the argument.
(B) The first is the position taken by the argument;
the second is the position that the argument
calls into question.
(C) The first is a judgment that has been offered in
support of the position that the argument calls
into question; the second is a circumstance on
which that judgment is, in part, based.
(D) The first is a judgment that has been offered in
support of the position that the argument calls
into question; the second is that position.
(E) The first is a claim that the argument calls into
question; the second is the position taken by the
argument.

Can some one plzz tell me the approach to attempt boldface CR..
I mean i go numb after seeing this question
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Re: Boldface CR [#permalink] New post 06 Dec 2009, 06:05
+1 for D.

was caught up between C and D, but D wins here.

IMO, the basic thing here is to identify that the author of this argument is opposed to the said relaxation in standards. the IF, in the sentence containing the first bold face is the key word, that i missed initially. once you spot that, the argument falls in place.

what is the OA?
please let me know if i have assumed something wrong in here.
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Re: Boldface CR [#permalink] New post 07 Dec 2009, 11:36
Ans A for me.

I have no special strategy for the boldface CR. But one thing useful is to guess the roles the bold parts play in the reasoning before reading the answer propositions. So you have a preliminary picture of what the answer could be or not be.

You can also try to identify the premises, the conclusion, the hidden assumption(s) in the reasoning, the point the author is trying to make.
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Re: Boldface CR [#permalink] New post 07 Dec 2009, 12:16
OA is D
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Re: Boldface CR [#permalink] New post 25 Sep 2011, 03:36
Hi guys ..

even i have the same problem with boldface questions but some time back i have found this amazing explanation on one of the GMAT forums. just check if it helps you

http://www.beatthegmat.com/mba/2011/02/ ... ce-problem

Thanks
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gunjan1208 wrote:
Hi,

I think this is the question adopted from OG. Though I have seen you post late (I started my preparation 2 months ago and now am intrested to work actively in this forum), I have some suggestions to offer in line with the question asked by you.

Facts: i have completed my OG verbal reasoning and I found that "minor type questions" which have "bold faced questions" as subtopic are also my weakness. But at the same time, I am practicing to improve on it. That made me see your post.

Opinion: I have started to love these questions since they challenge me every time but I have not mastered them. Also, these questions are time taking and you might not encounter more than one question on the real GMAT, do not focus much on these. However, you must not entirely forget them.

Conclusion: You must try to get the maximum information about these questions in less time.

My suggestion would be to go through the manhattan CR stretegy guide and then there is a trick given to plumb these questions. Initially by learning that, you wont be able to solve all the questions (my own assumption, may not be so) but then practice few more questions on GMAT forums and then I think you would start getting them.

By the way, I have been practicing these questions since last two days and I could not get this correct again after OG since I have not mastered.

But I wanted to offer the solution which I feel is right since I am facing the same problem and that's how I plan to uproot it.
(If you dont have manhattan, let me know. I can explain it to you)
Kudos for me if you like my suggestion.

Thanks,
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Re: Boldface CR [#permalink] New post 26 Sep 2011, 08:49
gurpreet07 wrote:
Museums that house Renaissance oil paintings
typically store them in environments that are carefully
kept within narrow margins of temperature and
humidity to inhibit any deterioration. Laboratory tests
have shown that the kind of oil paint used in these
paintings actually adjusts to climatic changes quite
well. If, as some museum directors believe, paint is
the most sensitive substance in these works
,
then by relaxing the standards for temperature and
humidity control, museums can reduce energy
costs without risking damage to these paintings
.
Museums would be rash to relax those standards,
however, since results of preliminary tests indicate
that gesso, a compound routinely used by Renaissance
artists to help paint adhere to the canvas, is unable to
withstand significant variations in humidity.
In the argument above, the two portions in boldface
play which of the following roles?
(A) The first is an objection that has been raised
against the position taken by the argument; the
second is the position taken by the argument.
(B) The first is the position taken by the argument;
the second is the position that the argument
calls into question.
(C) The first is a judgment that has been offered in
support of the position that the argument calls
into question; the second is a circumstance on
which that judgment is, in part, based.
(D) The first is a judgment that has been offered in
support of the position that the argument calls
into question; the second is that position.
(E) The first is a claim that the argument calls into
question; the second is the position taken by the
argument.

Can some one plzz tell me the approach to attempt boldface CR..
I mean i go numb after seeing this question


I also go for D
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Re: GMAT Prep CR- Renaissance oil paintings [#permalink] New post 05 Oct 2011, 20:39
Stacey at beatthegmat make an article for this kind of question, in which the mode of attack is finding the conclusion and the relation of each bold phrase to the conclusion.

I wish to have 40/51 verbal but I never do bold phrase questions. why?. This question is at the end of the test and there are not many questions of this kind for practice.
Re: GMAT Prep CR- Renaissance oil paintings   [#permalink] 05 Oct 2011, 20:39
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