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Updated on: 09 Apr 2020, 07:38
Originally posted by Thakurdas on 31 Mar 2019, 02:09.
Last edited by Sajjad1994 on 09 Apr 2020, 07:38, edited 5 times in total.
Last edited by Sajjad1994 on 09 Apr 2020, 07:38, edited 5 times in total.
Updated - Complete topic (1015).
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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:
35%
(medium)
Question Stats:
67% (02:37) correct
33%
(03:14) wrong
based on 151
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
E
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:
53% (00:59) correct 47%
(01:16) wrong
based on 154
sessions
History
Date
Time
Result
Not Attempted Yet
Trevor Getz is a historian and, a few years ago, he collaborated with the artist Liz Clarke to produce a history in comic-book form. Together, they created “Abina and the Important Men” (2012), a graphic history of a 19th-century court case in colonial West Africa. Dozens of graphic histories have been produced in English since then. They point out both the particular interpretive and communicative advantages of the genre, and the kind of work that should be done to make the most of those opportunities.
Recently, an American comedian lashed out at his fellow countrymen that only a country that considers comic books to be ‘the literature’ could have elected Donald Trump. We have all heard, at some point or the other, that comics dumb down our discourse. It’s not all that surprising, really, given the resistance that faced documentary films and digital data visualization when they were first presented as ways to interpret the past. But the value of historical comics has already been affirmed in other parts of the world.
Shigeru Mizuki’s series “Showa” (1988-89) on Japan’s 20th-century history and his manga memoir “Onward Towards Our Noble Deaths” (1973), which details his experience in the Japanese army, are practically canonical in that country. Jacques Tardi is seen as something of a laureate in France for his visceral account of civilization turned to savagery during the First World War in “It Was a War of the Trenches” (1993). Last but not the least, Art Spiegelman’s “Maus” (1991), a reflection on the intergenerational trauma of the Holocaust, had a lasting and broad impact on American culture. Each of these books directly helped people learn about, recognize and grapple with the trauma and history of devastating conflict.
Recently, an American comedian lashed out at his fellow countrymen that only a country that considers comic books to be ‘the literature’ could have elected Donald Trump. We have all heard, at some point or the other, that comics dumb down our discourse. It’s not all that surprising, really, given the resistance that faced documentary films and digital data visualization when they were first presented as ways to interpret the past. But the value of historical comics has already been affirmed in other parts of the world.
Shigeru Mizuki’s series “Showa” (1988-89) on Japan’s 20th-century history and his manga memoir “Onward Towards Our Noble Deaths” (1973), which details his experience in the Japanese army, are practically canonical in that country. Jacques Tardi is seen as something of a laureate in France for his visceral account of civilization turned to savagery during the First World War in “It Was a War of the Trenches” (1993). Last but not the least, Art Spiegelman’s “Maus” (1991), a reflection on the intergenerational trauma of the Holocaust, had a lasting and broad impact on American culture. Each of these books directly helped people learn about, recognize and grapple with the trauma and history of devastating conflict.
1. Why does the author mention the works of Shigeru Mizuki and Jacques Tardi?
A. to prove that American people are less likely than the Japanese are to acknowledge the brilliance of history in comic-book form
B. to indicate that American people attach more importance to the format in which literature is presented than to the message conveyed by the literature concerned
C. to prove that worthwhile historical comics are not produced in America because there is no audience for such literature
D. to indicate that American people do not want to read history in the comic-book form as much as the Japanese do
E. to indicate that reading history in comic-book form can be a worthwhile exercise although most Americans don’t think that it is
A. to prove that American people are less likely than the Japanese are to acknowledge the brilliance of history in comic-book form
B. to indicate that American people attach more importance to the format in which literature is presented than to the message conveyed by the literature concerned
C. to prove that worthwhile historical comics are not produced in America because there is no audience for such literature
D. to indicate that American people do not want to read history in the comic-book form as much as the Japanese do
E. to indicate that reading history in comic-book form can be a worthwhile exercise although most Americans don’t think that it is
2. Which of the following statements is most strongly supported by the passage?
A. In America, it is easier to be a comedian than a historian
B. In America, it is more profitable to author a comic-book than to write a history
C. In Japan and France, war has the greatest potential as a subject matter for literature
D. Since 2012, history in comic-book form has grown in popularity across English-speaking places
E. Reading comic-books do not dumb us down.
A. In America, it is easier to be a comedian than a historian
B. In America, it is more profitable to author a comic-book than to write a history
C. In Japan and France, war has the greatest potential as a subject matter for literature
D. Since 2012, history in comic-book form has grown in popularity across English-speaking places
E. Reading comic-books do not dumb us down.
08 May 2019, 08:22
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Thakurdas
1. Why does the author mention the works of Shigeru Mizuki and Jacques Tardi?
From 2nd paragraph 'an American comedian lashed out at his fellow countrymen that only a country that considers comic books to be ‘the literature’ could have elected Donald Trump' and the 3rd paragraph ' Each of these books directly helped people learn about, recognize and grapple with the trauma and history of devastating conflict', then we can understand that reading comic books can help learn about history, while most American do not think that is => so E is the correct answer.
2. Which of the following statements is most strongly supported by the passage?
From 2nd paragraph: 'at some point or the other, that comics dumb down our discourse' and 'But the value of historical comics has already been affirmed in other parts of the world', so the correct answer is E
I have problems when doing RC question, I read at slow speed and cannot remember the point/details of the passage, which makes me have to read again many times. I'm trying to take notes but not very useful. Could anyone please share your experience and which method to take note efficiently?
Many thanks in advance.
19 May 2019, 08:36
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Why can't the answer to Q2 be D?
"Dozens of graphic histories have been produced in English since then."
E is mentioned as the answer, although the statement that is probably justifying it doesn't necessarily talk about negating the dumbing down. It may simply mean that people tend to interact better with comics.
"But the value of historical comics has already been affirmed in other parts of the world."
"Dozens of graphic histories have been produced in English since then."
E is mentioned as the answer, although the statement that is probably justifying it doesn't necessarily talk about negating the dumbing down. It may simply mean that people tend to interact better with comics.
"But the value of historical comics has already been affirmed in other parts of the world."
