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# In the 1980s there was a proliferation of poetry collections, short st

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In the 1980s there was a proliferation of poetry collections, short st  [#permalink]

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Updated on: 07 Feb 2019, 06:10
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In the 1980s there was a proliferation of poetry collections, short stories, and novels published by women of Latin American descent in the United States. By the end of the decade, another genre of U.S. Latina writing, the autobiography, also came into prominence with the publication of three notable autobiographical collections: Loving in the War Years: Lo Que Nunca Pasó Por Sus Labios, by Cherríe Moraga; Getting Home Alive, by Aurora Levins Morales and Rosario Morales; and Borderlands/ La Frontera, by Gloria Anzaldúa.

These collections are innovative at many levels. They confront traditional linguistic boundaries by using a mix of English and Spanish, and they each address the politics of multiple cultural identities by exploring the interrelationships among such factors as ethnicity, gender, and language. This effort manifests itself in the generically mixed structure of these works, which combine essays, sketches, short stories, poems, and journal entries without, for the most part, giving preference to any of these modes of presentation.

In Borderlands/La Frontera, Anzaldúa presents her personal history and the history of the Mexican American community to which she belongs by juxtaposing narrative sequences and poetry. Moraga’s Loving in the War Years is likewise characterized by a mixture of genres, and, as she states in her introduction, the events in her life story are not arranged chronologically, but rather in terms of her political development. According to one literary critic who specializes in the genre of autobiography, this departure from chronological ordering represents an important difference between autobiographies written by women and those traditionally written by men. Getting Home Alive departs even further from the conventions typical of autobiography by bringing together the voices of two people, a mother and her daughter, each of whom authors a portion of the text. The narratives and poems of each author are not assigned to separate sections of the text, but rather are woven together, with a piece by one sometimes commenting on a piece by the other. While this ordering may seem fragmentary and confusing, it is in fact a fully intentional and carefully designed experiment with literary structure. In a sense, this mixing of structures parallels the content of these autobiographies: the writers employ multigeneric and multivocal forms to express the complexities inherent in the formation of their identities.

Rather than forcing their personal histories to (line 51) conform to existing generic parameters, these writers have revolutionized the genre of autobiography, redrawing the boundaries of this literary form to make it more amenable to the expression of their own experiences. In doing so, they have shown a strong (line 56) determination to speak for themselves in a world that they feel has for too long taken their silence for granted.
1. Which one of the following most accurately expresses the main point of the passage?

(A) Certain Latina writers who formerly wrote mostly poetry and fiction have found through experimentation that the genre of autobiography suits their artistic purposes especially well.
(B) Latina autobiographers writing in the late 1980s set aside some standard conventions of autobiography in an effort to make the genre more suitable for the expression of their personal histories.
(C) There is a great diversity of styles and narrative strategies among recent traditional and nontraditional Latina autobiographers.
(D) Through recent experimentation in autobiography, Latina writers have shown that nonfictional narrative can be effectively combined with other genres in a single literary work.
(E) Recent writings by Latina authors have prompted some literary critics who specialize in autobiography to acknowledge that differences in gender and ethnicity often underlie differences in writing styles.

2. According to the passage, which one of the following was a motivating factor in certain Latina authors’ decisions regarding the structure of their autobiographical writings?

(A) the importance of chronological ordering to those authors’ artistic goals
(B) those authors’ stated intention of avoiding certain nonnarrative genres
(C) those authors’ preference to avoid overt political expression
(D) the complexities of identity formation faced by those authors
(E) those authors’ judgment that poetry should not be a narrative medium

3. The author’s discussion of Getting Home Alive serves primarily to

(A) distinguish one type of experimental autobiography from two other types by Latina writers
(B) explain how certain Latina autobiographers combine journal entries and poems in their works
(C) demonstrate that the use of multiple voices is a common feature of Latina autobiography
(D) show why readers have difficulty understanding certain autobiographies by Latina writers
(E) illustrate the extent of certain Latina autobiographers’ experimentation with form and structure

4. The passage indicates which one of the following about the Latina autobiographies that the author discusses?

(A) Each contains some material that would ordinarily be regarded as belonging to a genre of literature other than autobiography.
(B) Each quotes from previously unpublished private journals or other private documents.
(C) Each contains analysis of the ways in which its content was influenced by its author’s cultural background.
(D) Each contains writings that were produced by more than one author.
(E) Each includes explanations of the methodologies that its author, or authors, used in writing the autobiography.

5. Based on the passage, the author’s attitude regarding Getting Home Alive, by Aurora Levins Morales and Rosario Morales, can be most accurately described as

(A) disappointment in scholars’ failure to recognize it as an appropriate sequel to its authors’ purely fictional and poetic works
(B) expectation that readers in general might not readily recognize that there is a clear purpose for its unconventional organization
(C) surprise that academic commentators have treated it as having significance as a historical document
(D) confidence that it will be widely recognized by scholars as a work of both history and literary criticism
(E) insistence that it should be credited with having helped to broaden critics’ understanding of what counts as autobiography

6. The author most likely intends to include which one of the following principles among the “existing generic parameters” referred in the passage?

(A) The events presented in an autobiography should be arranged sequentially according to when they actually happened.
(B) When different modes of presentation are combined in one literary work, no one mode should be given preference.
(C) Autobiographical writing should not have political overtones.
(D) Sketches and poems collected together in a single work need not be separated by genre within that work.
(E) Personal experiences can be represented in a compelling way in any literary genre.

7. Which one of the following would, if true, most undermine the author’s claim in lines 51–56 about the effect that the Latina autobiographies discussed had on the genre of autobiography?

(A) Few autobiographical works published after 1985 have been recognized for their effective use of chronologically linear prose as a means of portraying the complexities of membership in multiple cultures.
(B) Few critically acclaimed books written by Latina authors have been autobiographical collections consisting partly or wholly of essays, poems, short stories, sketches, and journal entries.
(C) Many autobiographies have been written by authors in the United States since 1985, and some of these present a unified, chronologically linear prose narrative in a single language.
(D) Several nineteenth-century autobiographies that are generally unknown among contemporary critics of twentieth-century autobiography are characterized by generically mixed structure and multiple authorship.
(E) Several multigeneric, non autobiographical collections consisting at least partly of poetry, short stories, or essays by Latina authors have been published since 1985, and many of these have been critically acclaimed for their innovative structures.

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Originally posted by patto on 07 Feb 2019, 05:53.
Last edited by SajjadAhmad on 07 Feb 2019, 06:10, edited 1 time in total.
Corrected the paragraphs, bolded the questions and Highlighted the texts
Manager
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Re: In the 1980s there was a proliferation of poetry collections, short st  [#permalink]

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07 Feb 2019, 05:57
Time: 15:14 mins

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Joined: 15 Nov 2018
Posts: 25
Re: In the 1980s there was a proliferation of poetry collections, short st  [#permalink]

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07 Feb 2019, 06:25
time: 15:30 sec
5/7 correct
Re: In the 1980s there was a proliferation of poetry collections, short st   [#permalink] 07 Feb 2019, 06:25
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