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Question 1
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
55%
(hard)
Question Stats:
48% (03:12) correct
52%
(03:13) wrong
based on 150
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:
5%
(low)
Question Stats:
96% (00:59) correct 4%
(01:33) wrong
based on 157
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
70% (00:43) correct 30%
(00:54) wrong
based on 157
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
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:
68% (00:28) correct 32%
(00:50) wrong
based on 157
sessions
History
Date
Time
Result
Not Attempted Yet
Question 5
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
5%
(low)
Question Stats:
85% (00:36) correct 15%
(00:50) wrong
based on 148
sessions
History
Date
Time
Result
Not Attempted Yet
Question 6
D
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% (00:47) correct 24%
(00:51) wrong
based on 151
sessions
History
Date
Time
Result
Not Attempted Yet
Question 7
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
45%
(medium)
Question Stats:
58% (01:05) correct 42%
(01:07) wrong
based on 149
sessions
History
Date
Time
Result
Not Attempted Yet
Question 8
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
35%
(medium)
Question Stats:
58% (00:45) correct 42%
(00:52) wrong
based on 143
sessions
History
Date
Time
Result
Not Attempted Yet
If the 1950s was a sparse period for Black poetry, the 1960s more than compensated for it; during the 1960s, Black poets appeared all over the United States. By the end of the decade not only had poetic giants such as Melvin Tolson, LeRoi Jones, Gwendolyn Brooks, Robert Hayden, and Langston Hughes reappeared with new volumes of poetry, but also at least five anthologies of Black poetry were published. Some of the new Black poets made their debuts in the anthologies. Others were first published in Harlem’s new avant-garde literary publication, Umbra. As the decade drew to a close, the “Broadside Press” poets appeared through Dudley Randall’s series of Broadside Press editions and in Hoyt Fuller’s Negro Digest, which was later known as Black World. These poets brought with them new poetic concepts, a new aesthetic, and a strong awareness of the Black ghetto experience.
Like the spirituals and the secular songs of slavery, the new Black poetry burst forth out of a time of racial turmoil. The catalyst for creativity was a series of events beginning with the Montgomery bus boycott and encompassing the nonviolent sit-in demonstrations of the early 1960s and big-city riots of the mid-1960s. Behind the poets and their songs of bitter protest against racism in America, were the bombings, the assassinations, the burning ghettos, the screaming sirens, the violent confrontations, and the cruel awareness of spreading Black poverty amid white affluence.
The most forthrightly militant representatives of the new Black mood in poetry were the Broadside Press poets, so called because their poems are social, political, and moral broadsides protesting against the body politic and the establishment. Before the Broadside Press poets emerged as a definable literary group, other poets had written protest poetry in the early 1960s that was caustic, bitter, and at times mordantly cynical. But the poetry became more than bitter militant protest. Under the leadership of LeRoi Jones and others, there developed a Black aesthetic that, in one measure, prescribed the guidelines for Black poetic militancy. Under the racial pressures of the late 1950s and early 1960s Jones himself had undergone a metamorphosis, moving from an avant-garde aestheticism to a Black nationalism-activism.
In the process, he abandoned his “slave” name and became Imamu Amiri Baraka. He also moved out of the deep melancholy and pessimism that permeate many of his earlier poems. His “Black Art” indicates that his pessimism was replaced by a vigilant and militant activism. Indeed, “Black Art” announces the credo of the new Black aesthetic – that the direct objective of all Black artistic expression is to achieve social change and moral and political revolution. Poems, Jones asserts, should be “fists and daggers and pistols to clean up the sordid Black world for virtue and love”.
Like the spirituals and the secular songs of slavery, the new Black poetry burst forth out of a time of racial turmoil. The catalyst for creativity was a series of events beginning with the Montgomery bus boycott and encompassing the nonviolent sit-in demonstrations of the early 1960s and big-city riots of the mid-1960s. Behind the poets and their songs of bitter protest against racism in America, were the bombings, the assassinations, the burning ghettos, the screaming sirens, the violent confrontations, and the cruel awareness of spreading Black poverty amid white affluence.
The most forthrightly militant representatives of the new Black mood in poetry were the Broadside Press poets, so called because their poems are social, political, and moral broadsides protesting against the body politic and the establishment. Before the Broadside Press poets emerged as a definable literary group, other poets had written protest poetry in the early 1960s that was caustic, bitter, and at times mordantly cynical. But the poetry became more than bitter militant protest. Under the leadership of LeRoi Jones and others, there developed a Black aesthetic that, in one measure, prescribed the guidelines for Black poetic militancy. Under the racial pressures of the late 1950s and early 1960s Jones himself had undergone a metamorphosis, moving from an avant-garde aestheticism to a Black nationalism-activism.
In the process, he abandoned his “slave” name and became Imamu Amiri Baraka. He also moved out of the deep melancholy and pessimism that permeate many of his earlier poems. His “Black Art” indicates that his pessimism was replaced by a vigilant and militant activism. Indeed, “Black Art” announces the credo of the new Black aesthetic – that the direct objective of all Black artistic expression is to achieve social change and moral and political revolution. Poems, Jones asserts, should be “fists and daggers and pistols to clean up the sordid Black world for virtue and love”.
1. It can be inferred from the passage that the Broadside Press poets believed that poetry primarily should be:
A) entertaining
B) descriptive
C) aesthetic
D) escapist
E) remonstrative
A) entertaining
B) descriptive
C) aesthetic
D) escapist
E) remonstrative
2. The author mentions all of the following as indications of the new importance of Black poetry in the 1960s EXCEPT:
A) the appearance of several anthologies of Black poetry.
B) the appearance of new literary journals for Black literature.
C) courses in Black literature at most colleges and universities.
D) new volumes of poetry by established Black writers.
E) the emergence of a committed Black literary group.
A) the appearance of several anthologies of Black poetry.
B) the appearance of new literary journals for Black literature.
C) courses in Black literature at most colleges and universities.
D) new volumes of poetry by established Black writers.
E) the emergence of a committed Black literary group.
3. The primary purpose of the passage is to
A) discuss the strengths and weaknesses of a new literary group.
B) compare contrasting literary movements.
C) analyze the impact of a literary movement on American social structure.
D) describe a literary movement and the factors that influenced it.
E) outline the history of a literary genre.
A) discuss the strengths and weaknesses of a new literary group.
B) compare contrasting literary movements.
C) analyze the impact of a literary movement on American social structure.
D) describe a literary movement and the factors that influenced it.
E) outline the history of a literary genre.
4) It is most likely that immediately preceding this passage the author had discussed:
A) Black poetry of the 1950s.
B) Black prose of the 1960s.
C) some minor Black poets of the 1960s.
D) the racial atmosphere of America in the 1960s.
E) the new periodicals devoted to Black literature.
A) Black poetry of the 1950s.
B) Black prose of the 1960s.
C) some minor Black poets of the 1960s.
D) the racial atmosphere of America in the 1960s.
E) the new periodicals devoted to Black literature.
5) According to the passage, the new Black poetry was characterized by:
A) individual introspection.
B) profound despair.
C) moral pessimism.
D) psychological detachment.
E) social protest.
A) individual introspection.
B) profound despair.
C) moral pessimism.
D) psychological detachment.
E) social protest.
6) According to the passage, the flourishing of Black poetry during the 1960s was chiefly a reflection of:
A) an increased awareness of Black cultural heritage.
B) a renewed interest in the work of older Black poets.
C) the feeling that poetry is more expressive than prose.
D) the racial trouble in the United States at the time.
E) new goals the older Black writers had set for themselves.
A) an increased awareness of Black cultural heritage.
B) a renewed interest in the work of older Black poets.
C) the feeling that poetry is more expressive than prose.
D) the racial trouble in the United States at the time.
E) new goals the older Black writers had set for themselves.
7) The passage implies that LeRoi Jones’ main contribution to the new Black poetry was to:
A) make other Black writers more aware of social conditions.
B) attract the attention of Whites to Black literature.
C) provide a link between the older and the younger generations of Black writers.
D) provide the philosophy of the new Black literature.
E) serve as a personal example of what the artist’s role should be.
A) make other Black writers more aware of social conditions.
B) attract the attention of Whites to Black literature.
C) provide a link between the older and the younger generations of Black writers.
D) provide the philosophy of the new Black literature.
E) serve as a personal example of what the artist’s role should be.
8) In which of the following ways is the passage organized?
A) A phenomenon is discussed and then further explained by its appearances in history.
B) A trend is described, followed by an example of a group that exemplified that trend.
C) A hypothesis is stated and then proven through historical examples.
D) A group is praised for its historical merits and then shown to be part of a larger movement.
E) A perspective is analyzed and then called into question.
A) A phenomenon is discussed and then further explained by its appearances in history.
B) A trend is described, followed by an example of a group that exemplified that trend.
C) A hypothesis is stated and then proven through historical examples.
D) A group is praised for its historical merits and then shown to be part of a larger movement.
E) A perspective is analyzed and then called into question.
RC Butler 2022 - Practice Two RC Passages Everyday.
Passage # 36 Date: 24-Jan-2022
This question is a part of RC Butler 2022. Click here for Details
Passage # 36 Date: 24-Jan-2022
This question is a part of RC Butler 2022. Click here for Details
Source: 800Score GMAT Free Course
25 Jan 2022, 02:24
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Paraphrasing: - {30 Mins - 30 Mins of to write all 
}
Para 1: Brief about the presence of Black poetry, since 1960, debut and rise of poetic giants like LeRoi Jones and other, their poetry publications and appearance in broadside press, to bring new poetic concepts, a new aesthetic, and a strong awareness for the Black ghetto, a new experience.
Para 2: Rise of Black poetry during critical difficulty era, such as events of boycott, riots, protest against racism and white affluence of early 1960 and mid-1960 gave born to poet such as LeRoi Jones.
Para 3: The Broadside press, which played vital role as revolutionary militant representatives for Black poetry, which transformed and developed under leadership of poet such as LeRoi Jones and others to prescribe the guidelines for black poetic militancy, moving from a beauty philosophy poem to a Black nationalism-activism literature.
Para 4: “LeRoi Jones” name change to “Imamu Amiri Baraka” highlighted him boycott slavery, a vigilant, and a militant activism, by using his poetry to achieve social change, moral and political change for Black people
Answer Summary: 1 – E, 2 – C, 3 – D, 4 – A, 5 – E, 6 – D, 7 – D, 8 - B
1. It can be inferred from the passage that the Broadside Press poets believed that poetry primarily should be:
A) entertaining – Wrong, definitely not.
B) descriptive – Wrong, was not expressive
C) aesthetic – Wrong, was not philosophy
D) escapist – Wrong, was not entertaining
E) remonstrative – Correct, they were on protest mood, as mentioned in the passage,
“The Broadside Press poets, so called because their poems are social, political, and moral
broadsides protesting against the body politic and the establishment”
2. The author mentions all of the following as indications of
the new importance of Black poetry in the 1960s EXCEPT:
A) the appearance of several anthologies of Black poetry.
– Wrong, Some of the new Black poets made their debuts in the anthologies
Eliminate, B, D and E
“By the end of the decade not only had poetic giants such as Melvin Tolson, LeRoi Jones, Gwendolyn Brooks, Robert Hayden, and Langston Hughes reappeared with new volumes of poetry, but also at least five anthologies of Black poetry were published"
B) the appearance of new literary journals for Black literature.
D) new volumes of poetry by established Black writers.
E) the emergence of a committed Black literary group
C) courses in Black literature at most colleges and universities – Not mentioned in the passage
3. The primary purpose of the passage is to
A) discuss the strengths and weaknesses of a new literary group.
– Wrong, Not in line with passage tone, there is no strengths and weaknesses of any literary group discussed.
B) compare contrasting literary movements.
– Wrong, Not in line with passage tone, any comparison contrasting movements
C) analyse the impact of a literary movement on American social structure.
– Wrong, Not in line with passage tone, to analyse any situation
D) describe a literary movement and the factors that influenced it.
Correct: Inline with the passage, tone
E) outline the history of a literary genre.
– Wrong, Not in line with history of literary categorization.
4) It is most likely that immediately
preceding this passage, the author had discussed:
A) Black poetry of the 1950s.
Correct: this is the best preceding can be described from the passage, as mentioned in the passage, para 1,
“If the 1950s was a sparse period for Black poetry,
the 1960s more than compensated for it;
during the 1960s, Black poets appeared all over the United States” and so on.
B) Black prose of the 1960s.
– Wrong, not describe about the community “Black”, passage specific tone with “Poetry” only
C) some minor Black poets of the 1960s.
– Wrong, Not about some minor Black poets, but on generalization with all during 1960s period
D) the racial atmosphere of America in the 1960s.
– Wrong, One of the incidents to provoke Black poetry, not the only one reason, despite this, this stem does not proceed with contest of Poetry.
E) the new periodicals devoted to Black literature
– Wrong, it was not new periodicals but the development or transits from philosophy to Black nationalism-activism
5) According to the passage, the new Black poetry was characterized by:
A) individual introspection – Wrong, Passage tone is not about individual but about community
B) profound despair – Wrong, Passage tone is not about losing hope
C) moral pessimism– Wrong, Passage tone is assumption of worst to happen believe or cynicism
D) psychological detachment– Wrong, Passage tone is not psychological behaviour
E) social protest – Correct
Sentence 1: “Behind the poets and their songs of bitter protest against racism in America”
Sentence 2: “Broadside Press poets, so called because their poems are social, political, and moral broadsides protesting against the body politic and the establishment”
Sentence 3: “But the poetry became more than bitter militant protest”
6) According to the passage,
the flourishing of Black poetry during the 1960s was chiefly a reflection of:
A) an increased awareness of Black cultural heritage.
– Wrong, Passage tone is not about cultural heritage
B) a renewed interest in the work of older Black poets.
– Wrong, Passage tone is not about earlier black poets work getting developed or creative
C) the feeling that poetry is more expressive than prose.
– Wrong, Trap! But question is prose to what? Passage tone most speak about Black community struggle to meet the social equality, one of the ways to express this struggle was through poetry.
D) the racial trouble in the United States at the time.
Correct: as mentioned in the passage,
“Behind the poets and their songs of bitter protest against racism in America,
were the bombings, the assassinations, the burning ghettos, the screaming sirens, the violent confrontations, and the cruel awareness of spreading Black poverty amid white affluence”
E) new goals the older Black writers had set for themselves.
– Wrong, Out of scope!
7) The passage implies that LeRoi Jones’ main contribution to the new Black poetry was to:
A) make other Black writers more aware of social conditions.
Wrong: LeRoi Jones, was one of the writers who worked like others to make aware of social conditions
B) attract the attention of Whites to Black literature.
Wrong: Out of scope, Whites not mentioned in the passage
C) provide a link between the older and the younger generations of Black writers.
Wrong: Out of scope, does not mention generation gap
D) provide the philosophy of the new Black literature.
Correct: Under the leadership of LeRoi Jones and others, there developed a Black aesthetic that, in one measure, prescribed the guidelines for Black poetic militancy.
E) serve as a personal example of what the artist’s role should be.
Wrong: I chose to eliminate option E, compared to Option D,
this is tricky and trap, is what I feel, reason,
is Option E, highlights about LeRoi Jones individual work,
but option D highlights about the contribution towards society,
thus between individual glory and contribution to his community,
Option D feels better.
8) In which of the following ways is the passage organized?
A) A phenomenon is discussed and then further explained by its appearances in history.
Wrong: this is based on facts, not about phenomenon.
C) A hypothesis is stated and then proven through historical examples.
Wrong: No hypothesis is stated, it’s a fact based on true historical examples.
E) A perspective is analysed and then called into question.
Wrong: Passage tone is not analysed and then put into question
Between B, and D – Tricky and Trap!
B) A trend is described, followed by an example of a group that exemplified that trend
D) A group is praised for its historical merits and then shown to be part of a larger movement.
Option B, describe about the time line, a movement, and development of Black Poetry, set by example by group of people “Black poets” that demonstrated or represented their presence to a Black social justice movement.
Option D, describe about a group or community of poetry especially Black, and their merits of literature, which was contribution to Black revolution movement for social justice of equality
Going ahead with bigger view of the passage tone, Option B
“A trend, where Black poets contribution towards social justice fight”
}Para 1: Brief about the presence of Black poetry, since 1960, debut and rise of poetic giants like LeRoi Jones and other, their poetry publications and appearance in broadside press, to bring new poetic concepts, a new aesthetic, and a strong awareness for the Black ghetto, a new experience.
Para 2: Rise of Black poetry during critical difficulty era, such as events of boycott, riots, protest against racism and white affluence of early 1960 and mid-1960 gave born to poet such as LeRoi Jones.
Para 3: The Broadside press, which played vital role as revolutionary militant representatives for Black poetry, which transformed and developed under leadership of poet such as LeRoi Jones and others to prescribe the guidelines for black poetic militancy, moving from a beauty philosophy poem to a Black nationalism-activism literature.
Para 4: “LeRoi Jones” name change to “Imamu Amiri Baraka” highlighted him boycott slavery, a vigilant, and a militant activism, by using his poetry to achieve social change, moral and political change for Black people
Answer Summary: 1 – E, 2 – C, 3 – D, 4 – A, 5 – E, 6 – D, 7 – D, 8 - B
1. It can be inferred from the passage that the Broadside Press poets believed that poetry primarily should be:
A) entertaining – Wrong, definitely not.
B) descriptive – Wrong, was not expressive
C) aesthetic – Wrong, was not philosophy
D) escapist – Wrong, was not entertaining
E) remonstrative – Correct, they were on protest mood, as mentioned in the passage,
“The Broadside Press poets, so called because their poems are social, political, and moral
broadsides protesting against the body politic and the establishment”
2. The author mentions all of the following as indications of
the new importance of Black poetry in the 1960s EXCEPT:
A) the appearance of several anthologies of Black poetry.
– Wrong, Some of the new Black poets made their debuts in the anthologies
Eliminate, B, D and E
“By the end of the decade not only had poetic giants such as Melvin Tolson, LeRoi Jones, Gwendolyn Brooks, Robert Hayden, and Langston Hughes reappeared with new volumes of poetry, but also at least five anthologies of Black poetry were published"
B) the appearance of new literary journals for Black literature.
D) new volumes of poetry by established Black writers.
E) the emergence of a committed Black literary group
C) courses in Black literature at most colleges and universities – Not mentioned in the passage
3. The primary purpose of the passage is to
A) discuss the strengths and weaknesses of a new literary group.
– Wrong, Not in line with passage tone, there is no strengths and weaknesses of any literary group discussed.
B) compare contrasting literary movements.
– Wrong, Not in line with passage tone, any comparison contrasting movements
C) analyse the impact of a literary movement on American social structure.
– Wrong, Not in line with passage tone, to analyse any situation
D) describe a literary movement and the factors that influenced it.
Correct: Inline with the passage, tone
E) outline the history of a literary genre.
– Wrong, Not in line with history of literary categorization.
4) It is most likely that immediately
preceding this passage, the author had discussed:
A) Black poetry of the 1950s.
Correct: this is the best preceding can be described from the passage, as mentioned in the passage, para 1,
“If the 1950s was a sparse period for Black poetry,
the 1960s more than compensated for it;
during the 1960s, Black poets appeared all over the United States” and so on.
B) Black prose of the 1960s.
– Wrong, not describe about the community “Black”, passage specific tone with “Poetry” only
C) some minor Black poets of the 1960s.
– Wrong, Not about some minor Black poets, but on generalization with all during 1960s period
D) the racial atmosphere of America in the 1960s.
– Wrong, One of the incidents to provoke Black poetry, not the only one reason, despite this, this stem does not proceed with contest of Poetry.
E) the new periodicals devoted to Black literature
– Wrong, it was not new periodicals but the development or transits from philosophy to Black nationalism-activism
5) According to the passage, the new Black poetry was characterized by:
A) individual introspection – Wrong, Passage tone is not about individual but about community
B) profound despair – Wrong, Passage tone is not about losing hope
C) moral pessimism– Wrong, Passage tone is assumption of worst to happen believe or cynicism
D) psychological detachment– Wrong, Passage tone is not psychological behaviour
E) social protest – Correct
Sentence 1: “Behind the poets and their songs of bitter protest against racism in America”
Sentence 2: “Broadside Press poets, so called because their poems are social, political, and moral broadsides protesting against the body politic and the establishment”
Sentence 3: “But the poetry became more than bitter militant protest”
6) According to the passage,
the flourishing of Black poetry during the 1960s was chiefly a reflection of:
A) an increased awareness of Black cultural heritage.
– Wrong, Passage tone is not about cultural heritage
B) a renewed interest in the work of older Black poets.
– Wrong, Passage tone is not about earlier black poets work getting developed or creative
C) the feeling that poetry is more expressive than prose.
– Wrong, Trap! But question is prose to what? Passage tone most speak about Black community struggle to meet the social equality, one of the ways to express this struggle was through poetry.
D) the racial trouble in the United States at the time.
Correct: as mentioned in the passage,
“Behind the poets and their songs of bitter protest against racism in America,
were the bombings, the assassinations, the burning ghettos, the screaming sirens, the violent confrontations, and the cruel awareness of spreading Black poverty amid white affluence”
E) new goals the older Black writers had set for themselves.
– Wrong, Out of scope!
7) The passage implies that LeRoi Jones’ main contribution to the new Black poetry was to:
A) make other Black writers more aware of social conditions.
Wrong: LeRoi Jones, was one of the writers who worked like others to make aware of social conditions
B) attract the attention of Whites to Black literature.
Wrong: Out of scope, Whites not mentioned in the passage
C) provide a link between the older and the younger generations of Black writers.
Wrong: Out of scope, does not mention generation gap
D) provide the philosophy of the new Black literature.
Correct: Under the leadership of LeRoi Jones and others, there developed a Black aesthetic that, in one measure, prescribed the guidelines for Black poetic militancy.
E) serve as a personal example of what the artist’s role should be.
Wrong: I chose to eliminate option E, compared to Option D,
this is tricky and trap, is what I feel, reason,
is Option E, highlights about LeRoi Jones individual work,
but option D highlights about the contribution towards society,
thus between individual glory and contribution to his community,
Option D feels better.
8) In which of the following ways is the passage organized?
A) A phenomenon is discussed and then further explained by its appearances in history.
Wrong: this is based on facts, not about phenomenon.
C) A hypothesis is stated and then proven through historical examples.
Wrong: No hypothesis is stated, it’s a fact based on true historical examples.
E) A perspective is analysed and then called into question.
Wrong: Passage tone is not analysed and then put into question
Between B, and D – Tricky and Trap!
B) A trend is described, followed by an example of a group that exemplified that trend
D) A group is praised for its historical merits and then shown to be part of a larger movement.
Option B, describe about the time line, a movement, and development of Black Poetry, set by example by group of people “Black poets” that demonstrated or represented their presence to a Black social justice movement.
Option D, describe about a group or community of poetry especially Black, and their merits of literature, which was contribution to Black revolution movement for social justice of equality
Going ahead with bigger view of the passage tone, Option B
“A trend, where Black poets contribution towards social justice fight”
General Discussion
09 Apr 2023, 14:00
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For question #8, I think A and B are very similar. Does anyone have a good explanation for why B might be the better choice?
