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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:
85%
(hard)
Question Stats:
43% (03:33) correct
57%
(02:58) wrong
based on 122
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:
45%
(medium)
Question Stats:
54% (01:11) correct 47%
(01:16) wrong
based on 200
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
C
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:
53% (01:30) correct 47%
(01:49) wrong
based on 193
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:
65%
(hard)
Question Stats:
43% (01:21) correct 57%
(01:34) wrong
based on 179
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:
25%
(medium)
Question Stats:
68% (01:10) correct 32%
(01:23) wrong
based on 177
sessions
History
Date
Time
Result
Not Attempted Yet
Question 6
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:
46% (01:07) correct 54%
(01:12) wrong
based on 168
sessions
History
Date
Time
Result
Not Attempted Yet
Question 7
B
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:
71% (00:45) correct 29%
(00:45) wrong
based on 173
sessions
History
Date
Time
Result
Not Attempted Yet
The following passages are adapted from critical essays on the American writer Willa Cather (1873–1947).
Passage A
When Cather gave examples of high quality
in fiction, she invariably cited Russian writers
Ivan Turgenev or Leo Tolstoy or both. Indeed,
Edmund Wilson noted in 1922 that Cather followed
(5) the manner of Turgenev, not depicting her characters’
emotions directly but telling us how they behave and
letting their “inner blaze of glory shine through the
simple recital.” Turgenev’s method was to select
details that described a character’s appearance and
(10) actions without trying to explain them. A writer, he
said, “must be a psychologist—but a secret one; he
must know and feel the roots of phenomena, but only
present the phenomena themselves.” Similarly, he
argued that a writer must have complete knowledge
(15) of a character so as to avoid overloading the work
with unnecessary detail, concentrating instead on
what is characteristic and typical.
Here we have an impressionistic aesthetic that
anticipates Cather’s: what Turgenev referred to as
(20) secret knowledge Cather called “the thing not named.”
In one essay she writes that “whatever is felt upon the
page without being specifically named there—that,
one might say, is created.” For both writers, there is
the absolute importance of selection and simplification;
(25) for both, art is the fusing of the physical world of
setting and actions with the emotional reality of the
characters. What synthesizes all the elements of
narrative for these writers is the establishment of a
prevailing mood.
Passage B
(30) In a famous 1927 letter, Cather writes of her
novel Death Comes for the Archbishop, “Many
[reviewers] assert vehemently that it is not a novel.
Myself, I prefer to call it a narrative.” Cather’s
preference anticipated an important reformulation of
(35) the criticism of fiction: the body of literary theory,
called “narratology,” articulated by French literary
theorists in the 1960s. This approach broadens and
simplifies the fundamental paradigms according to
which we view fiction: they ask of narrative only that
(40) it be narrative, that it tell a story. Narratologists tend
not to focus on the characteristics of narrative’s
dominant modern Western form, the “realistic novel”:
direct psychological characterization, realistic
treatment of time, causal plotting, logical closure.
(45) Such a model of criticism, which takes as its object
“narrative” rather than the “novel,” seems exactly
appropriate to Cather’s work.
Indeed, her severest critics have always questioned
precisely her capabilities as a novelist. Morton Zabel
(50) argued that “[Cather’s] themes...could readily fail to
find the structure and substance that might have given
them life or redeemed them from the tenuity of a
sketch”; Leon Edel called one of her novels “two
inconclusive fragments.” These critics and others like
(55) them treat as failures some of the central features of
Cather’s impressionistic technique: unusual treatment
of narrative time, unexpected focus, ambiguous
conclusions, a preference for the bold, simple, and
stylized in character as well as in landscape. These
(60) “non-novelistic” structures indirectly articulate the
essential and conflicting forces of desire at work
throughout Cather’s fiction.
Passage A
When Cather gave examples of high quality
in fiction, she invariably cited Russian writers
Ivan Turgenev or Leo Tolstoy or both. Indeed,
Edmund Wilson noted in 1922 that Cather followed
(5) the manner of Turgenev, not depicting her characters’
emotions directly but telling us how they behave and
letting their “inner blaze of glory shine through the
simple recital.” Turgenev’s method was to select
details that described a character’s appearance and
(10) actions without trying to explain them. A writer, he
said, “must be a psychologist—but a secret one; he
must know and feel the roots of phenomena, but only
present the phenomena themselves.” Similarly, he
argued that a writer must have complete knowledge
(15) of a character so as to avoid overloading the work
with unnecessary detail, concentrating instead on
what is characteristic and typical.
Here we have an impressionistic aesthetic that
anticipates Cather’s: what Turgenev referred to as
(20) secret knowledge Cather called “the thing not named.”
In one essay she writes that “whatever is felt upon the
page without being specifically named there—that,
one might say, is created.” For both writers, there is
the absolute importance of selection and simplification;
(25) for both, art is the fusing of the physical world of
setting and actions with the emotional reality of the
characters. What synthesizes all the elements of
narrative for these writers is the establishment of a
prevailing mood.
Passage B
(30) In a famous 1927 letter, Cather writes of her
novel Death Comes for the Archbishop, “Many
[reviewers] assert vehemently that it is not a novel.
Myself, I prefer to call it a narrative.” Cather’s
preference anticipated an important reformulation of
(35) the criticism of fiction: the body of literary theory,
called “narratology,” articulated by French literary
theorists in the 1960s. This approach broadens and
simplifies the fundamental paradigms according to
which we view fiction: they ask of narrative only that
(40) it be narrative, that it tell a story. Narratologists tend
not to focus on the characteristics of narrative’s
dominant modern Western form, the “realistic novel”:
direct psychological characterization, realistic
treatment of time, causal plotting, logical closure.
(45) Such a model of criticism, which takes as its object
“narrative” rather than the “novel,” seems exactly
appropriate to Cather’s work.
Indeed, her severest critics have always questioned
precisely her capabilities as a novelist. Morton Zabel
(50) argued that “[Cather’s] themes...could readily fail to
find the structure and substance that might have given
them life or redeemed them from the tenuity of a
sketch”; Leon Edel called one of her novels “two
inconclusive fragments.” These critics and others like
(55) them treat as failures some of the central features of
Cather’s impressionistic technique: unusual treatment
of narrative time, unexpected focus, ambiguous
conclusions, a preference for the bold, simple, and
stylized in character as well as in landscape. These
(60) “non-novelistic” structures indirectly articulate the
essential and conflicting forces of desire at work
throughout Cather’s fiction.
1. If the author of passage A were to read passage B, he or she would be most likely to agree with which one of the following?
(A) Though Cather preferred to call Death Comes for the Archbishop a narrative rather than a novel, she would be unlikely to view most of her other novels in the same way.
(B) The critics who questioned Cather’s abilities as a novelist focused mostly on her failed experiments and ignored her more aesthetically successful novels.
(C) A model of criticism that takes narrative rather than the novel as its object is likely to result in flawed interpretations of Cather’s work.
(D) Critics who questioned Cather’s abilities as a novelist fail to perceive the extent to which Cather actually embraced the conventions of the realistic novel.
(E) Cather’s goal of representing the “thing not named” explains her preference for the bold, simple, and stylized in the presentation of character.
(A) Though Cather preferred to call Death Comes for the Archbishop a narrative rather than a novel, she would be unlikely to view most of her other novels in the same way.
(B) The critics who questioned Cather’s abilities as a novelist focused mostly on her failed experiments and ignored her more aesthetically successful novels.
(C) A model of criticism that takes narrative rather than the novel as its object is likely to result in flawed interpretations of Cather’s work.
(D) Critics who questioned Cather’s abilities as a novelist fail to perceive the extent to which Cather actually embraced the conventions of the realistic novel.
(E) Cather’s goal of representing the “thing not named” explains her preference for the bold, simple, and stylized in the presentation of character.
2. Passage B indicates which one of the following?
(A) Narratologists point to Cather’s works as prime examples of pure narrative.
(B) Cather disliked the work of many of the novelists who preceded her.
(C) Cather regarded at least one of her works as not fitting straightforwardly into the category of the novel.
(D) Cather’s unusual treatment of narrative time was influenced by the Russian writers Turgenev and Tolstoy.
(E) Cather’s work was regarded as flawed by most contemporary critics.
(A) Narratologists point to Cather’s works as prime examples of pure narrative.
(B) Cather disliked the work of many of the novelists who preceded her.
(C) Cather regarded at least one of her works as not fitting straightforwardly into the category of the novel.
(D) Cather’s unusual treatment of narrative time was influenced by the Russian writers Turgenev and Tolstoy.
(E) Cather’s work was regarded as flawed by most contemporary critics.
3. It can be inferred that both authors would be most likely to regard which one of the following as exemplifying Cather’s narrative technique?
(A) A meticulous inventory of the elegant furniture and décor in a character’s living room is used to indicate that the character is wealthy.
(B) An account of a character’s emotional scars is used to explain the negative effects the character has on his family.
(C) A description of a slightly quivering drink in the hand of a character at a dinner party is used to suggest that the character is timid.
(D) A chronological summary of the events that spark a family conflict is used to supply the context for an in-depth narration of that conflict.
(E) A detailed narration of an unprovoked act of violence and the reprisals it triggers is used to portray the theme that violence begets violence.
(A) A meticulous inventory of the elegant furniture and décor in a character’s living room is used to indicate that the character is wealthy.
(B) An account of a character’s emotional scars is used to explain the negative effects the character has on his family.
(C) A description of a slightly quivering drink in the hand of a character at a dinner party is used to suggest that the character is timid.
(D) A chronological summary of the events that spark a family conflict is used to supply the context for an in-depth narration of that conflict.
(E) A detailed narration of an unprovoked act of violence and the reprisals it triggers is used to portray the theme that violence begets violence.
4. Which one of the following most accurately states the main point of passage B?
(A) Cather’s fiction is best approached by focusing purely on narrative, rather than on the formal characteristics of the novel.
(B) Most commentators on Cather’s novels have mistakenly treated her distinctive narrative techniques as aesthetic flaws.
(C) Cather intentionally avoided the realistic psychological characterization that is the central feature of the modern Western novel.
(D) Cather’s impressionistic narratives served as an important impetus for the development of narratology in the 1960s.
(E) Cather rejected the narrative constraints of the realistic novel and instead concentrated on portraying her characters by sketching their inner lives.
(A) Cather’s fiction is best approached by focusing purely on narrative, rather than on the formal characteristics of the novel.
(B) Most commentators on Cather’s novels have mistakenly treated her distinctive narrative techniques as aesthetic flaws.
(C) Cather intentionally avoided the realistic psychological characterization that is the central feature of the modern Western novel.
(D) Cather’s impressionistic narratives served as an important impetus for the development of narratology in the 1960s.
(E) Cather rejected the narrative constraints of the realistic novel and instead concentrated on portraying her characters by sketching their inner lives.
5. It is most likely that the authors of the two passages would both agree with which one of the following statements?
(A) More than her contemporaries, Cather used stream-of-consciousness narration to portray her characters.
(B) Cather’s works were not intended as novels, but rather as narratives.
(C) Narratology is the most appropriate critical approach to Cather’s work.
(D) Cather’s technique of evoking the “thing not named” had a marked influence on later novelists.
(E) Cather used impressionistic narrative techniques to portray the psychology of her characters.
(A) More than her contemporaries, Cather used stream-of-consciousness narration to portray her characters.
(B) Cather’s works were not intended as novels, but rather as narratives.
(C) Narratology is the most appropriate critical approach to Cather’s work.
(D) Cather’s technique of evoking the “thing not named” had a marked influence on later novelists.
(E) Cather used impressionistic narrative techniques to portray the psychology of her characters.
6. Both authors would be likely to agree that which one of the following, though typical of many novels, would NOT be found in Cather’s work?
(A) Description of the salient features of the setting, such as a chair in which a character often sits.
(B) A plot that does not follow chronological time, but rather moves frequently between the novel’s past and present.
(C) Description of a character’s physical appearance, dress, and facial expressions.
(D) Direct representation of dialogue between the novel’s characters, using quotation marks to set off characters’ words.
(E) A narration of a character’s inner thoughts, including an account of the character’s anxieties and wishes.
(A) Description of the salient features of the setting, such as a chair in which a character often sits.
(B) A plot that does not follow chronological time, but rather moves frequently between the novel’s past and present.
(C) Description of a character’s physical appearance, dress, and facial expressions.
(D) Direct representation of dialogue between the novel’s characters, using quotation marks to set off characters’ words.
(E) A narration of a character’s inner thoughts, including an account of the character’s anxieties and wishes.
7. A central purpose of each passage is to
(A) describe the primary influences on Cather’s work
(B) identify some of the distinctive characteristics of Cather’s work
(C) explain the critical reception Cather’s work received in her lifetime
(D) compare Cather’s novels to the archetypal form of the realistic novel
(E) examine the impact of European literature and literary theory on Cather’s work
(A) describe the primary influences on Cather’s work
(B) identify some of the distinctive characteristics of Cather’s work
(C) explain the critical reception Cather’s work received in her lifetime
(D) compare Cather’s novels to the archetypal form of the realistic novel
(E) examine the impact of European literature and literary theory on Cather’s work
RC Butler 2022 - Practice Two RC Passages Everyday.
Passage # 314 Date: 05-Aug-2022
This question is a part of RC Butler 2022. Click here for Details
Passage # 314 Date: 05-Aug-2022
This question is a part of RC Butler 2022. Click here for Details
- Source: LSAT Official PrepTest 57
- Difficulty Level: 700
16 Jan 2023, 09:07
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6. Both authors would be likely to agree that which one of the following, though typical of many novels, would NOT be found in Cather’s work?
(A) Description of the salient features of the setting, such as a chair in which a character often sits.
(B) A plot that does not follow chronological time, but rather moves frequently between the novel’s past and present.
(C) Description of a character’s physical appearance, dress, and facial expressions.
(D) Direct representation of dialogue between the novel’s characters, using quotation marks to set off characters’ words.
(E) A narration of a character’s inner thoughts, including an account of the character’s anxieties and wishes.
A
Turgenev’s method was to select
details that described a character’s appearance and
(10) actions without trying to explain them.
A writer, he
said, “must be a psychologist—but a secret one; he
must know and feel the roots of phenomena, but only
present the phenomena themselves.”
B
Narratologists tend
not to focus on the characteristics of narrative’s
dominant modern Western form, the “realistic novel”:
direct psychological characterization, realistic
treatment of time, causal plotting, logical closure.
(45)
These
(60) “non-novelistic” structures indirectly articulate the
essential and conflicting forces of desire at work
throughout Cather’s fiction.
Ans E
(A) Description of the salient features of the setting, such as a chair in which a character often sits.
(B) A plot that does not follow chronological time, but rather moves frequently between the novel’s past and present.
(C) Description of a character’s physical appearance, dress, and facial expressions.
(D) Direct representation of dialogue between the novel’s characters, using quotation marks to set off characters’ words.
(E) A narration of a character’s inner thoughts, including an account of the character’s anxieties and wishes.
A
Turgenev’s method was to select
details that described a character’s appearance and
(10) actions without trying to explain them.
A writer, he
said, “must be a psychologist—but a secret one; he
must know and feel the roots of phenomena, but only
present the phenomena themselves.”
B
Narratologists tend
not to focus on the characteristics of narrative’s
dominant modern Western form, the “realistic novel”:
direct psychological characterization, realistic
treatment of time, causal plotting, logical closure.
(45)
These
(60) “non-novelistic” structures indirectly articulate the
essential and conflicting forces of desire at work
throughout Cather’s fiction.
Ans E
16 Jan 2023, 09:14
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3. It can be inferred that both authors would be most likely to regard which one of the following as exemplifying Cather’s narrative technique?
An author must only depict the phenomenon but not the psychology/explanation behind the phenomenon
(A) A meticulous inventory of the elegant furniture and décor in a character’s living room is used to indicate that the character is wealthy. - does not talk about character - INCORRECT
(B) An account of a character’s emotional scars is used to explain the negative effects the character has on his family. - effect on family is OUT OF SCOPE - how the character himself reacts is important - INCORRECT
(C) A description of a slightly quivering drink in the hand of a character at a dinner party is used to suggest that the character is timid. - characters behaviour is given to suggest he is timid as his drink is quivering(shaking) - CORRECT
(D) A chronological summary of the events that spark a family conflict is used to supply the context for an in-depth narration of that conflict. - realistic treatment of time is not to be focussed - INCORRECT
(E) A detailed narration of an unprovoked act of violence and the reprisals it triggers is used to portray the theme that violence begets violence. - character is absent - INCORRECT
ans (C)
An author must only depict the phenomenon but not the psychology/explanation behind the phenomenon
(A) A meticulous inventory of the elegant furniture and décor in a character’s living room is used to indicate that the character is wealthy. - does not talk about character - INCORRECT
(B) An account of a character’s emotional scars is used to explain the negative effects the character has on his family. - effect on family is OUT OF SCOPE - how the character himself reacts is important - INCORRECT
(C) A description of a slightly quivering drink in the hand of a character at a dinner party is used to suggest that the character is timid. - characters behaviour is given to suggest he is timid as his drink is quivering(shaking) - CORRECT
(D) A chronological summary of the events that spark a family conflict is used to supply the context for an in-depth narration of that conflict. - realistic treatment of time is not to be focussed - INCORRECT
(E) A detailed narration of an unprovoked act of violence and the reprisals it triggers is used to portray the theme that violence begets violence. - character is absent - INCORRECT
ans (C)
