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Below I am providing you a paper in file format;

1. There is hardly a generalization that can be made
about people’s social behavior and the values
informing it that cannot be ------from one or another
point of view, or even ------as simplistic or vapid.
(A) accepted… praised
(B) intuited… exposed
(C) harangued… retracted
(D) defended… glorified
(E) challenged… dismissed
2. Although any destruction of vitamins caused by
food irradiation could be ------ the use of diet
supplements, there may be no protection from
carcinogens that some fear might be introduced into
foods by the process.
(A) counterbalanced by
(B) attributed to
(C) inferred from
(D) augmented with
(E) stimulated by
3. Though he refused any responsibility for the failure
of the negotiations, Stevenson had no right to
------himself: it was his ------that had caused the
debacle.
(A) blame… skill
(B) congratulate… modesty
(C) berate… largesse
(D) accuse… obstinacy
(E) absolve… acrimony
4. The prevailing union of passionate interest in
detailed facts with equal devotion to abstract ------is
a hallmark of our present society; in the past this
union appeared, at best, ------and as if by chance.
(A) data… extensively
(B) philosophy… cyclically
(C) generalization… sporadically
(D) evaluation… opportunely
(E) intuition… .selectively
5. A century ago the physician’s word was ------ to
doubt it was considered almost sacrilegious
(A) inevitable
(B) intractable
(C) incontrovertible
(D) objective
(E) respectable
6. So much of modern fiction in the United States is
autobiographical, and so much of the autobiography
fictionalized, that the ------sometimes seem
largely------.
(A) authors… ignored
(B) needs… unrecognized
(C) genres… interchangeable
(D) intentions… misunderstood
(E) misapprehensions… uncorrected
7. Robin’s words were not without emotion: they
retained their level tone only by a careful ------
imminent extremes.
(A) equipoise between
(B) embrace of
(C) oscillation between
(D) limitation to
(E) Subjection to
8. OIL : LUBRICATE::
(A) preservative : desiccate
(B) wine : ferment
(C) honey : pollinate
(D) antiseptic : disinfect
(E) soil : fertilize
9. CONSTRUCT : REMODEL::
(A) exhibit : perform
(B) compose : edit
(C) demolish : repair
(D) quantify : estimate
(E) predict : assess
10. SPOKE : HUB::
(A) radius : center
(B) parabola : equation
(C) line : point
(D) vector : direction
(E) slope : change
11. ILLUSTRATE : PICTURES::
(A) particularize : details
(B) abridge : texts
(C) parse : sentences
(D) regularize : inconsistencies
(E) economize: words
12. PANTRY : FOOD::
(A) museum : replicas
(B) ship : cargo
(C) office : business
(D) armory : weapons
(E) warehouse : storage
13. MIRTH : LAUGHTER::
(A) uncertainty : nod
(B) approval : applause
(C) danger : alarm
(D) labor : sweat
(E) love : respect
14. ABRADED : FRICTION::
(A) refined : combustion
(B) attenuated : coagulation
(C) diluted : immersion
(D) strengthened : compression
(E) desiccated : dehydration
15. PARSIMONY : MISER::
(A) temerity : despot
(B) belligerence: traitor
(C) remorse : delinquent
(D) equanimity : guardian
(E) rebelliousness: insurgent
16. NTTPICK : CRITICIZE::
(A) mock : imitate
(B) complain : argue
(C) interogate : probe
(D) fret : vex
(E) cavil : object
Directions: Each passage in this group is followed by
questions based on its content. After reading a passage,
choose the best answer to each question. Answer all
questions following a passage on the basis of what is
stated or implied in that passage.
(This passage is from a book published in 1960.)
When we consider great painters of the past, the
study of art and the study of illusion cannot always be
separated. By illusion I mean those contrivances of
line color, line, shape, and so forth that lead us to see
(5) marks on a flat surface as depicting three-dimensional
objects in space. I must emphasize that I am not
making a plea, disguised or otherwise, for the exer- cise of illusionist tricks in painting today, although
I am, in fact, rather critical of certain theories of non-
(10) representational art. But to argue over these theories
would be to miss the point. That the discoveries and
effects of representation that were the pride of earlier
artists have become trivial today I would not deny for
a moment. Yet I believe that we are in real danger of
(15) losing contact with past masters if we accept the
fashionable doctrine that such matters never had
anything to do with art. The very reason why the
representation of nature can now be considered
something commonplace should be of the greatest
(20) interest to art historians. Never before has there been
an age when the visual image was so cheap in every
sense of the word. We are surrounded and assailed by
posters and advertisements, comics and magazine
illustrations. We see aspects of reality represented
(25) on television, postage stamps, and food packages.
Painting is taught in school and practiced as a
pastime, and many modest amateurs have mastered
tricks that would have looked like sheer magic to the
fourteenth-century painter Giotto. Even the crude
(30) colored renderings on a cereal box might have made
Giotto's contemporaries gasp. Perhaps there are
people who conclude from this that the cereal box is
superior to a Giotto; I do not. But I think- that the
victory and vulgarization of representational skills
(35) create a problem for both art historians and critics.
In this connection it is instructive to remember the
Greek saying that to marvel is the beginning of
knowledge and if we cease to marvel we may be in
GRE10-9(98.11)
213
danger of ceasing to know. I believe we must restore
(40) our sense of wonder at the capacity to conjure up by
forms, lines, shades, or colors those mysterious
phantoms of visual reality we call "pictures." Even
comics and advertisements, rightly viewed, provide
food for thought. Just as the study of poetry remains
(45) incomplete without an awareness of the language of
prose, so, I believe, the study of art will be increasingly
supplemented by inquiry into the “linguistics” of the
visual image. The way the language of art refers to
the visible world is both so obvious and so myste-
(50) rious that it is still largely unknown except to artist.
who use it as we use all language – without needing
to know its grammar and semantics.
17. The author of the passage explicitly, disagrees with
which of the following statements'
(A) In modern society even nonartists can master
techniques that great artists of the fourteenth
century did not employ.
(B) The ability to represent a three-dimensional
object on a flat surface has nothing to do with
art.
(C) In modern society the victory of
representational skills has created a problem
for art critics.
(D) The way that artists are able to represent the
visible world is an area that needs a great deal
more study before it can be fully understood.
(E) Modern painters do not frequently make use of
illusionist tricks in their work.
18. The author suggests which of the following about
art historians?
(A) They do not believe that illusionist tricks have
become trivial.
(B) They generally spend little time studying
contemporary artists.
(C) They have not given enough consideration to
how the representation of nature has become
commonplace.
(D) They generally tend to argue about theories
rather than address substantive issues.
(E) They are less likely than art critics to study
comics or advertisements.
19. Which of the following best states the author's
attitude toward comics, as expressed in the
passage?
(A) They constitute an innovative art form.
(B) They can be a worthwhile subject for study.
(C) They are critically important to an
under-standing of modem art.
(D) Their -visual structure is more complex than
that of medieval art.
(E) They can be understood best if they are
examined in conjunction with advertisements.
20.The author's statement regarding how artists use
the language of art (lines 48-52) implies that
(A)artists are better equipped than are art
historians to provide detailed evaluations of
other artists' work
B) many artists have an unusually quick, intuitive
understanding of language
(C)artists can produce works of art even if they
cannot analyze their methods of doing so
(D) artists of the past, such as Giotto, were better
educated about artistic issues than were artists
of the author's time
(E) most artists probably consider the processes
involved in their work to be closely akin to
those involved in writing poetry
21. The passage asserts which of the following about
commercial art?
(A) There are many examples of commercial art
whose artistic merit is equal to that of great
works of art of the past.
(B) Commercial art is heavily influenced by
whatever doctrines are fashionable in the
serious art world of the time.
(C) The line between commercial art and great art
lies primarily in how an image is used, not in
the motivation for its creation.
(D) The level of technical skill required to produce
representational imagery in commercial art
and in other kinds of art cannot be compared.
(E) The pervasiveness of contemporary
commercial art has led art historians to
undervalue representational skills.
GRE10-9(98.11)
214
22. Which of the following can be inferred from the
passage, about the adherents of "certain theories of
nonrepresentational art" (lines 9-10) ?
(A) They consider the use of illusion to be
inappropriate in contemporary art.
(B) They do not agree that marks on a flat surface
can ever satisfactorily convey the illusion of
three-dimensional space.
(C) They do not discuss important works of art
created in the past.
(D) They do not think that the representation of
nature was ever the primary goal of past
painters.
(E) They concern themselves more with types art
such as advertisements and magazine
illustrations than with traditional art.
23. It can be inferred from the passage that someone
who wanted to analyze the “grammar and
semantics” (line52) of the language of art would
most appropriately comment on which of the
following?
(A) The relationship between the drawings in a
comic strip and the accompanying text
(B) The amount of detail that can be included in a
tiny illustration on a postage stamp
(C) The sociological implications of the images
chosen to advertise a particular product
(D) The degree to which various colors used in
different versions of the same poster would
attract the attention of passersby
(E) The particular juxtaposition of shapes in an
illustration that makes one shape look as
though it were behind another
The 1973 Endangered Species Act made into legal
policy the concept that endangered species of wildlife
are precious as part of a natural ecosystem. The nearly
unanimous passage of this act in the United States
(5) Congress, reflecting the rising national popularity of
environmentalism, masked a bitter debate. Affected
industries clung to the former wildlife policy of
valuing individual species according to their economic
usefulness. They fought to minimize the law's impact
(10) by limiting definitions of key terms, but they lost on
nearly every issue. The act defined "wildlife" as
almost all kinds of animals-from large mammals to
invertebrates-and plants. "Taking" wildlife was
defined broadly as any action that threatened an
(15) endangered species; areas vital to a species' survival
could be federally protected as “critical habitats”
Though these definitions legislated strong environ- mentalist goals, political compromises made in the
enforcement of the act were to determine just what
(20) economic interests would be set aside for the sake of
ecological stabilization.
24. According to the passage, which of the following
does the Endangered Species Act define as a
“critical habitat"?
(A) A natural ecosystem that is threatened by
imminent development
(B) An industrial or urban area in which wildlife
species have almost ceased to live among
humans
(C) A natural area that is crucial to the survival of
a species and thus eligible for federal
protection
(D) A wilderness area in which the "taking" of
wildlife species is permitted rarely and only
under strict federal regulation
(E) A natural environment that is protected under
law because its wildlife has a high economic
value
25.According to the passage, which of the following is
an explanation for the degree of support that the
Endangered Species Act received in Congress?
(A) Concern for the environment had gained
increasing national popularity.
(B) Ecological research had created new economic
opportunities dependent on the survival of
certain species.
(C) Congress had long wanted to change the
existing wildlife policy.
(D) The growth of industry had endangered
increasing numbers of wildlife species.
(E) Legislators did not anticipate that the act could
be effectively enforced.
GRE10-9(98.11)
215
26. It can be inferred from the passage that if business
interests had won the debate on provisions of the
1973 Endangered Species Act, which of the
following would have resulted?
(A) Environmentalist concepts would not have
become widely popular.
(B) The definitions of key terms of the act would
have been more restricted.
(C) Enforcement of the act would have been more
difficult.
(D) The act would have had stronger support from
Congressional leaders.
(E) The public would have boycotted the
industries that had the greatest impact in
defining the act.
27. The author refers to the terms "wildlife" (line 11),
"taking" (line 13), and "critical habitats" (line 16)
most likely in order to
(A) illustrate the misuse of scientific language and
concepts in political processes
(B) emphasize the importance of selecting precise
language in transforming scientific concepts
into law
(C) represent terminology whose definition was
crucial in writing environmentalist goals into
law
(D) demonstrate the triviality of the issues debated
by industries before Congress passed the
Endangered Species Act
(E) show that broad definitions of key terms in
many types of laws resulted in ambiguity and
thus left room for disagreement about how the
law should be enforced
Since some of the questions require you to distinguish
fine shades of meaning, be sure to consider all the
choices before deciding which one is best.
28. SWERVE:
(A) maintain direction
(B) resume operation
(C) slow down
(D) divert
(E) orient
29. HUSBAND:
(A) rearrange
(B) alarm
(C) assist
(D) prize
(E) squander
30. DEACTIVATE:
(A) palpate
(B) alleviate
(C) inhale
(D) articulate
(E) potentiate
31. INTRANSIGENT:
(A) accustomed to command
(B) qualified to arbitrate
(C) open to compromise
(D) resigned to conflict
(E) opposed to violence
32. OCCLUDED:
(A) unvaried
(B) entire
(C) functional
(D) inverted
(E) unobstructed
33. ASSUAGE:
(A) intensify
(B) accuse
(C) correct
(D) create
(E) assert
34. QUIXOTIC:
(A) displaying consistently practical behavior
(B) considering several points of view
(C) expressing dissatisfaction
(D) suggesting uneasiness
(E) acting decisively

Attached Files

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