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Updated on: 24 Oct 2019, 01:32
Originally posted by bigfernhead on 29 Oct 2008, 08:54.
Last edited by Sajjad1994 on 24 Oct 2019, 01:32, edited 2 times in total.
Last edited by Sajjad1994 on 24 Oct 2019, 01:32, edited 2 times in total.
Updated - Complete topic (1091).
Kudos
Bookmarks
Question 1
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
15%
(low)
Question Stats:
76% (02:41) correct
24%
(02:26) wrong
based on 351
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
85%
(hard)
Question Stats:
40% (01:31) correct 60%
(01:45) wrong
based on 357
sessions
History
Date
Time
Result
Not Attempted Yet
A recent cultural history of the art and architecture of the European Baroque Period, which spanned roughly the entire seventeenth century, uses well-known works to sketch a fresh and surprising perspective on the impact of these works on the imaginations of their original viewers. The author, an emeritus professor at an Ohio university, does not bother to challenge the customary list of Baroque characteristics–opulence, grandeur, movement, large scale, emotion, bold colors, gold–but students of art history, far from entertaining suspicions of insufficient academic rigor due to this oversight, will ultimately find themselves grateful to be left with this piece of familiar ground.
Although the first chapter is spent detailing the debt owed by Baroque style to the theology of the Roman Catholic Church, discussion of the devotional uses of religious pieces thereafter is strictly limited. The prime goal of the following chapters is to define Baroque art’s function within the power structure of the sixteenth century Church in such a way as to make religious devotion beside the point. More specifically, the author is concerned with the role art played in re-centralizing the Church’s power in the wake of the Protestant Reformation, as well as with the significance of the Council of Trent, during which, as part of a cohesive opposition to groups of believers who had broken away, the practice of using art objects as aids to religious devotion was encouraged and codified.
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe. Likewise, paintings and sculptures produced by most of the period’s Church-sponsored artists depicted human figures, most often saints or martyrs, with a startling realism intended to emphasize presence and immediacy.
Although the first chapter is spent detailing the debt owed by Baroque style to the theology of the Roman Catholic Church, discussion of the devotional uses of religious pieces thereafter is strictly limited. The prime goal of the following chapters is to define Baroque art’s function within the power structure of the sixteenth century Church in such a way as to make religious devotion beside the point. More specifically, the author is concerned with the role art played in re-centralizing the Church’s power in the wake of the Protestant Reformation, as well as with the significance of the Council of Trent, during which, as part of a cohesive opposition to groups of believers who had broken away, the practice of using art objects as aids to religious devotion was encouraged and codified.
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe. Likewise, paintings and sculptures produced by most of the period’s Church-sponsored artists depicted human figures, most often saints or martyrs, with a startling realism intended to emphasize presence and immediacy.
1.The author most likely mentions the ceilings of St. Peter’s Basilica in order to
(A)Provide evidence supporting the idea that art can be used to solidify power.
(B)Offer readers a visual image of the work of art in question.
(C)Demonstrate that works of art often inspire awe.
(D)List the distinctive characteristics of a famous building.
(E)Present an explanation of the building’s visual power.
(A)Provide evidence supporting the idea that art can be used to solidify power.
(B)Offer readers a visual image of the work of art in question.
(C)Demonstrate that works of art often inspire awe.
(D)List the distinctive characteristics of a famous building.
(E)Present an explanation of the building’s visual power.
2.The author would most likely agree with which of the following statements concerning academic rigor?
(A)Academic rigor is often due to oversight.
(B)Students of art history find common ground in academic rigor.
(C)Academic rigor often requires scholars to question received knowledge.
(D)Students of art history, though entertaining, often display insufficient academic rigor.
(E)The study of art history requires academic rigor.
(A)Academic rigor is often due to oversight.
(B)Students of art history find common ground in academic rigor.
(C)Academic rigor often requires scholars to question received knowledge.
(D)Students of art history, though entertaining, often display insufficient academic rigor.
(E)The study of art history requires academic rigor.
29 Oct 2008, 11:28
Kudos
Bookmarks
1) 1
Follows from
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe.
2) 4??
but students of art history, far from entertaining suspicions of insufficient academic rigor due to this oversight, will ultimately find themselves grateful to be left with this piece of familiar ground.
Is the passage trying to say that students who are supposed to bring the issue up with the professor are not even recognizing the issue now only to find it come back at a later time. In 3 who does scholars refer to? Referring to students? Can students be scholars??
Follows from
From the author’s perspective, then, the Church’s advocacy of grand and ornate pieces of religious art served the very practical purpose of reminding the faithful that real power was to be found within the Church. St. Peter’s Basilica in Rome, for example, with its almost unimaginatively lofty ceilings, marble floors, and special chapels, solidified the Church’s power by inspiring the viewer’s awe.
2) 4??
but students of art history, far from entertaining suspicions of insufficient academic rigor due to this oversight, will ultimately find themselves grateful to be left with this piece of familiar ground.
Is the passage trying to say that students who are supposed to bring the issue up with the professor are not even recognizing the issue now only to find it come back at a later time. In 3 who does scholars refer to? Referring to students? Can students be scholars??
30 Oct 2008, 06:31
Kudos
Bookmarks
The OA are
1) A
2) C
Congrats on those that got it right. I thought they were pretty tricky.
For A) icandy gave a good explanation on the right answer.
For C) This is the OE -
Although the question stem contains a specific line reference, the words would most likely agree indicate that the correct answer to this question depends on making an inference. First, it is worth noting that the beginning of the sentence relays a fact about the author’s approach to the book: the author does not...challenge the customary list of Baroque characteristics. The author of the passage suggests in the second part of the sentence that some students of art history would perceive this refusal to question custom as insufficient academic rigor. The correct answer, then, will identify what, to the author of the passage, would constitute sufficient academic rigor.
a) This is a corruption of the meaning of the sentence.
b) Students of art history are the group perceiving the academic rigor applied by the author of the book; their use of academic rigor is not the focus of this sentence.
c) CORRECT - The sentence suggests that art history students may accuse the author of the passage of insufficient academic rigor for failing to challenge the customary list of Baroque characteristics. It can be reasonably concluded, then, that sufficient academic rigor would include a challenge to this received knowledge.
d) Entertaining in the passage is used as a verb, not as an adjective as it is in this answer choice.
e) While the author of the passage might agree with this in a different context, the meaning of academic rigor in this passage is more specific.
1) A
2) C
Congrats on those that got it right. I thought they were pretty tricky.
For A) icandy gave a good explanation on the right answer.
For C) This is the OE -
Although the question stem contains a specific line reference, the words would most likely agree indicate that the correct answer to this question depends on making an inference. First, it is worth noting that the beginning of the sentence relays a fact about the author’s approach to the book: the author does not...challenge the customary list of Baroque characteristics. The author of the passage suggests in the second part of the sentence that some students of art history would perceive this refusal to question custom as insufficient academic rigor. The correct answer, then, will identify what, to the author of the passage, would constitute sufficient academic rigor.
a) This is a corruption of the meaning of the sentence.
b) Students of art history are the group perceiving the academic rigor applied by the author of the book; their use of academic rigor is not the focus of this sentence.
c) CORRECT - The sentence suggests that art history students may accuse the author of the passage of insufficient academic rigor for failing to challenge the customary list of Baroque characteristics. It can be reasonably concluded, then, that sufficient academic rigor would include a challenge to this received knowledge.
d) Entertaining in the passage is used as a verb, not as an adjective as it is in this answer choice.
e) While the author of the passage might agree with this in a different context, the meaning of academic rigor in this passage is more specific.
