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Art historians’ approach to French Impressionism has changed significa

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New post 20 Jun 2014, 09:03
sandeepg1983 wrote:
yay !! got all correct using "Modified Rhyme Approach" .. thanks Rhyme



can you please elaborate what is modified rhyme approach or at least tell me where i can find it ? thanks in advance. :o
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New post 11 Aug 2015, 13:15
sandeepg1983

What is this Rhyme approach ?
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New post 11 Aug 2015, 13:51
I think the longer humanity passages are actually easier than the short ones :) Got all correct.

Best approach is to not get involved in too much detail and just try to get the main point.

The shorter hard passages tend to pack detail and hence may be tougher.
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New post 12 Aug 2015, 08:31
Hello samichange / arundas / krishireddy

Can you please share the version of the passage that you read in the first go by omitting all that you neglect in the first read ?
It will certainly help me to understand what you need to ready & what you can skip to attempt such long pasaages....

Thanks in advance.
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New post 12 Aug 2015, 08:42
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NickHalden wrote:
Hello samichange / arundas / krishireddy

Can you please share the version of the passage that you read in the first go by omitting all that you neglect in the first read ?
It will certainly help me to understand what you need to ready & what you can skip to attempt such long pasaages....

Thanks in advance.



I do not think that we can skip anything while reading.I tried and found the skipping strategy useless.
Generally, I read a para , stop for 3-6 seconds, try to para-phrase what I have read and get the main point.
At the end,I think it is best to get a hang of the structure and organization of the passage.
But all the above comes with practice.
I do not skip any part but may slow down to read difficult part and speed up to read the easy part.

Hope the above helps!!!!
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New post 05 Jan 2016, 03:52
got 6/7 right, need help with the sixth Q .... don't understand why (D) should be the answer.

Can anybody help?? Magoosh
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New post 05 Jan 2016, 04:10
1
the question is pretty much easy

Quote:
Moreover, the rationale for Herbert’s emphasis on the social and political realities that Impressionist paintings can be said to communicate rather than on their style is finally undermined by what even Herbert concedes was the failure of Impressionist painters to serve as particularly conscientious illustrators of their social milieu. They left much ordinary experience—work and poverty, for example—out of their paintings and what they did put in was transformed by a style that had only an indirect relationship to the social realities of the world they depicted. Not only were their pictures inventions rather than photographs, they were inventions in which style to some degree disrupted description. Their painting in effect have two levels of subject: what is represented and how it is represented, and no art historian can afford to emphasize one at the expense of the other.


To grasp the meaning of the question,i.e what it does ask to you, is important to read the entire last paragraph.
From the highlighted sentences is clear that painters not only distort the reality, but also disrupt it. And this as a consequence never should be done

Is clear now ?? :wink:
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New post 02 Feb 2016, 12:33
i dont understand why for 5 d is right.. i think its C..
Someone please elucidate..
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New post 05 Apr 2016, 04:06
Thanks a lot carcass, after your explanation, I gave it a thought myself, and discovered the trick to answering it - to align the option with the main point of the the para!

carcass wrote:
the question is pretty much easy

Quote:
Moreover, the rationale for Herbert’s emphasis on the social and political realities that Impressionist paintings can be said to communicate rather than on their style is finally undermined by what even Herbert concedes was the failure of Impressionist painters to serve as particularly conscientious illustrators of their social milieu. They left much ordinary experience—work and poverty, for example—out of their paintings and what they did put in was transformed by a style that had only an indirect relationship to the social realities of the world they depicted. Not only were their pictures inventions rather than photographs, they were inventions in which style to some degree disrupted description. Their painting in effect have two levels of subject: what is represented and how it is represented, and no art historian can afford to emphasize one at the expense of the other.


To grasp the meaning of the question,i.e what it does ask to you, is important to read the entire last paragraph.
From the highlighted sentences is clear that painters not only distort the reality, but also disrupt it. And this as a consequence never should be done

Is clear now ?? :wink:
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New post 05 Jun 2018, 22:26
Can someone pls explain how E is the correct options for Q7? I thought that the author wants us to focus only on style of impressionists (like earlier art historians) and not subject matter as claimed by Herbert
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New post 18 Jan 2019, 16:17
Could someone who got Q5 correct share their thought process?
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New post 20 Mar 2019, 03:58
Hi.. Can anyone explain Q5 & Q7. Thanks
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New post 23 Mar 2019, 01:21
Do the timer displayed corresponding to the first answer, for any RC, include the reading time of that passage as well?

PS: I know it's naive but just kick starting my prep.
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New post 23 Mar 2019, 02:57
Hello members

hannibal
NickHalden

Here it is the Rhyme RC Strategy

https://gmatclub.com/forum/how-to-destr ... 30247.html

Hope it helps
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New post 23 Mar 2019, 03:18
Hello

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Here is Q5 and 7

Explanation


5. Which one of the following most accurately describes the structure of the author’s argument in the passage?

Explanation

Difficulty Level: 700

In the last sentence of Para 1, the author claims that Herbert’s arguments are unpersuasive. In Para 2 and 3, she explains why. (A), (B), (E) Para 2 doesn’t present a second argument (A); revise a thesis (B); or present a counterargument (E). Like Para 3, it simply fleshes out an argument made in Para 1. (C) Like Para 2, Para 3 supports the argument made in Para 1. Moreover, this Para doesn’t contain an “alternative thesis.” The author simply suggests that art criticism must take into account both stylistic and content issues; but that hardly qualifies as an “alternative thesis.”

• When describing the structure of a passage, watch out for answer choices containing features that weren’t mentioned (in this case, (A), (B) and (E)).

ANSWER: D


7. The author would most likely regard a book on the impressionists that focused entirely on their style as

Explanation

Difficulty Level: 700

This choice nicely paraphrases the last sentence of the passage, in which the author says that critiques of Impressionist paintings must take into account both their style and
content.

(A) Herbert’s book, which is based on the content of Impressionist paintings, wouldn’t lead to a book on Impressionist style.

(B) The passage reveals what art historians think about Impressionism; it doesn’t provide any genuine insight into what Impressionists themselves thought should be their “primary artistic concern.”

(C) The traditional interpretation of Impressionism, like that found in Rewald’s book, emphasizes stylistic issues.

(D) The author simply says that critiques of Impressionism must address both stylistic and content issues; she doesn’t comment on what constitutes the most “innovative” part of Impressionist painting.

• This question highlights the importance of reading the entire passage. The answer to a question or two often appears in the last few sentences of the text.

ANSWER: E


Hope it Helps
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Re: Art historians’ approach to French Impressionism has changed significa   [#permalink] 23 Mar 2019, 03:18

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