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Admission Tests GRE General Test 認定 GRE 試験問題:

1.
The circle graph above shows the results of a survey conducted at a high school in which each student was asked to name one favorite sport, if any. Of the students who named a favorite sport, what percent of students named either baseball or hockey?

A) 28%
B) 15.75%
C) 42%
D) 31.5%
E) 21%

2. The relevance of the literary personality-a writer's distinctive attitudes, concerns, and artistic choices-to the analysis of a literary work is being scrutinized by various schools of contemporary criticism.
Deconstructionists view the literary personality, like the writer's biographical personality, as irrelevant. The proper focus of literary analysis, they argue, is a work's intertextuality (interrelationship with other texts), subtexts (unspoken, concealed. or repressed discourses), and metatexts (self-referential aspects), not a perception of a writer's verbal and aesthetic "fingerprints." New historicists also devalue the literary personality, since, in their emphasis on a work's historical context, they credit a writer with only those insights and ideas that were generally available when the writer lived. However, to readers interested in literary detective work-say scholars of classical (Greek and Roman) literature who wish to reconstruct damaged texts or deduce a work's authorship- the literary personality sometimes provides vital clues.
Which of the following does the author mention in the passage as a concern of (^constructionists?

A) A cognizance of a work's unarticulated ideas
B) An awareness of a work's relation to the era in which it was written
C) An appreciation of a work's aesthetic distinctiveness
D) A knowledge of the writer's other literary works
E) A knowledge of the writer's artistic preferences

3. When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles The introduced an entirely new way of representing dress in portraiture. In women's portraits. he left off fashionable accessories, depicted subjects in unbuttoned sleeves and collars, and added lavish drapery and jewels. For the first time an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.
Van Dyck's Portrait of Thomas Killigrew and Willian. Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men's dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew. a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting, and Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew's right hand depicts two Itinerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.
At historians have interpreted the clothing depicted in this portrait, particularly Crofts' doublet which is worn unbuttoned in back, as an allusion to the subjects' grief-stricken distraction. It is true that Killigrew's dress includes references to his loss-he wears a cross inscribed with his wife's initials. There is an intimate nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, diis reading of the costumes as signs of grief does not take account of seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire; Crofts" dress would be quite appropriate for a formal portrait. Though black clothing, such as that won by Crofil, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mounting no shiny surfaces, such as Crofts' satin doublet, would be permitted. The unbuttoned slit on Crofts" doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse. who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s a certain calculated looseness was conventional in men's formal dress. Ribeiro. for example, cites the writings of moralists objecting to this style.
Killigrew's attire, though even looser than Crofts", should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew's
"undress" lends this portrait a distinctive intimacy, it might also refer to Killigrew's literary career. Many of Van Dyck's other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew's loss but also of his solace: he had but to express his grief in writing.
The author's reference to the "cross" worn by Killigrew serves primarily as

A) an illustration of the way in which Van Dyck used emblematic as well as realistic elements in his portraits
B) evidence supporting the author's main point about the significance of Killigrew's state of dress in the Portrait
C) an example of the type of adornment that was rarely seen in portraiture before Van Dyck
D) an example of the kind of detail overlooked by other art historians who have commented on the Portrait
E) a concession of partial agreement with a point made by other art historians about the Portrait

4. The poet Paul Laurence Dunbar (1872-1906) was the premier Black writer of poetry that used the dialect of rural African Americans of the southern United States. Although Dunbar's works were both popular with readers and acclaimed by literary critics during his lifetime, after the First World War a radical shift occurred, at least in critical opinion of his poetry, and twentieth-century critical evaluation of his work has been generally negative. Some critics attacked his work on social grounds for failing to challenge plantation stereotypes of African Americans. Other critics, such as the poet James Weldon Johnson, argued from aesthetic grounds that dialect poetry in general was too limited as an artistic medium, and capable of producing only two effects: pathos and humor. The negative critical trend only began to reverse itself in the
1970s, when scholars began to emphasize the importance of mythic, psychological, and historical dimensions of Dunbar's works, focusing on the interior and exterior realities of African American life after the Civil War.
Which of the following can be inferred from the passage concerning scholars' use of mythic, psychological, and historical considerations in evaluating Dunbar's works?

A) Such use suggests that earlier twentieth-century evaluations of Dunbar's poetry may have been too negative.
B) Such use supports the claim that Dunbar's poetry was aesthetically more limited when written in dialect.
C) Such use challenges the claim that dialect poetry is well suited to producing effects of pathos and humor.
D) Such use suggests that the initial reception accorded Dunbar's poetry may have been too positive.
E) Such use disputes the claim that Dunbar's work failed to challenge plantation stereotypes of African Americans.

5. All applicants for a certain job will take a skills test. An applicant who scores 80 percent or greater on the test has a probability of 0.65 of being hired.

A) Quantity A is greater.
B) The relationship cannot be determined from the information given.
C) Quantity B is greater.
D) The two quantities are equal.

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