해커스 GRE 버벌 송종옥 선생님의 특급 자료

Ethel Waters was a musical pioneer and brilliant performer whose natural yet exacting phrasing sounds modern even today. Yet she never quite became an icon. The reason may lie in the nature of her art: she didn’t impose a signature style on her singing. She wasn’t enough of a jazz singer to find herself in the jazz pantheon, or enough of a blues artist to become an idol of later rock singers. Furthermore, her singing fame came primarily from the 1920s and early 1930s, before the LP record era, and later generations remembered her more as an actress than as a singer. Finally, her life story lacked the tragic denouement characteristic of such legendary singers as Bessie Smith and Billie Holiday.

The late zoologist Sidnie Manton acknowledged that arthropods-animals with jointed exoskeletons, such as flies, crabs, and spiders-are all descended from soft- bodied segmented worms. Yet he maintained that differences in limb form, musculature, and embryonic development indicate that these three arthropod groups insects, crustaceans, and chelicerates, respectively evolved independently from worms rather than from a common arthropod ancestor. Consequently, according to Manton, shared characteristics such as a jointed exoskeleton and large compound eyes represent cases of convergent evolution-similar yet independent developments in these organisms. But if they evolved convergently, then one would expect significant differences in the neurological systems supporting sight. In fact, however, many nerve cells play virtually identical roles in supporting complex visual responses in both insects and crustaceans, suggesting that their common ancestor already possessed highly developed eyes, and therefore was probably already an arthropod. Yet the compound eyes of chelicerates differ neurologically from those of insects and crustaceans, suggesting that the eyes of chelicerates did evolve independently and providing partial confirmation of Manton’s views.

What is really meant by “ownership” of works of art? When a museum or an art gallery takes refuge in the argument that something it possesses has been legitimately acquired by the standards of its day and has been properly cared for ever since, it is not a trivial piece of special pleading, but a valid appeal to our sense of fairness. This sort of claim can be strengthened when a museum returns other objects not acquired lawfully. Such concessions recognize that injustices can occur, and they serve to undergird legitimate claims rather than undermine them. But even with legitimate claims, possession of art is not out-and-out ownership, but a duty of care, since stewardship comes as the counterpart of possession.

From about 1925 to 1936, no American writer seemed more promising than John Dos Passos (1896–1970), but by 1951 the critic Arthur Mizener could remark that Dos Passos had “very nearly achieved the rank of a neglected novelist.” This eclipse was partly the result of the Second World War (1939-1945), which made such socially committed and politically radical writing of the 1930s as Dos Passos’ masterpiece-the trilogy of novels gathered under the immodest title USA-seem somehow beside the point (except in France, where Jean-Paul Sartre called Dos Passos “the greatest writer of our time”). Dos Passos’sharp swing to the political right after 1945 put off critics on the left without inspiring conservatives to read his preconversion works.

According to Helen Vendler, the value of any poetry anthology is measured by its representation of major poets. However, Brad Leithauser argues that an anthology has the greatest impact through its handling of minor poets. Were the editors of an anthology of twentieth-century American poetry to exclude T. S. Eliot, Eliot’s reputation would be unaffected, though the anthology itself would be handicapped by excluding one of the most influential English-language poets of the Period. The situation is quite different with figures who are considered secondary, like Sara Teasdale or Allen Tate: because publishers rarely keep in print volumes by poets who sell in modest numbers, most such poets have no noteworthy existence outside of anthologies. Furthermore, anthology editors’ selections of particular poems may significantly benefit or harm the reputations of minor poets. If notable works by major poets are omitted, serious readers will easily find those poets’ collected works elsewhere, but editors’ choices of minor poets’ works may make the critical difference in whether or not readers choose to seek out more of such poets’ work.

Susan Sontag’s theoretical essays on art and aesthetics generally have not received much attention from philosophers. Even those who prize her critical work have tended to sell short the early, more theoretical essays like “Against Interpretation” and “On Style.” Perhaps this neglect is self-wrought. Sontag is often at her best when engaged in critical practice, that is, criticism of particular works of art on their own terms. Her theoretical work, however, tends to be both abstracting and declamatory and, so, operates against her strong suit. Moreover, Sontag herself gave precedence to critical practice over theorizing. Accordingly, she is led to reduce the importance of those early essays.

In the Lake Ontario food chain, small fish called alewives are prey for predator fish such as salmon. Any successful effort to reduce pollution in Lake Ontario will also result in a reduced alewife population, but reductions of that population will not, as some have feared, lead to smaller populations of salmon in Lake Ontario, since _______________.

Spanish documents concerning the Southwestern United States show that after A.D. 1600, the Apache, Athapaskan-speaking Native Americans, inhabited Southwestern locations in sizable numbers. Traditional interpretations of the rapid spread of these Athapaskan speakers across this region during the seventeenth and eighteenth centuries assume that Apaches moved into largely unoccupied territory. However, existing data fail to confirm that the Apache were actually moving across this territory in the large numbers suggested by post-1600 Spanish documents. An explanation for this discrepancy may lie in sixteenth-century Spanish expeditionary narratives that, despite their uneven quality and tendency to exaggerate, generally suggest that much of the Southwest was inhabited by non-Athapaskan speaking, mobile hunter-gatherer Native American groups who had once been sedentary pueblo-dwellers. If Athapaskan speakers such as the Apache routinely assimilated indigenous hunter-gatherer populations, as they did during the seventeenth century in the La Junta region, then the large number of people that the post-1600 Spanish documents identified as Apache may actually include indigenous groups who were assimilated by the Apache.

This passage is adapted from material published in 1996. Hip-hop music has emerged as a powerful African American cultural form addressing a broad spectrum of social issues. Yet hip-hop’ s breadth is belied by hip-hop criticism, which has focused primarily on controversies about the antisocial content of some of its lyrics. Such discussions have almost preempted more sophisticated critical analysis. For example, little has been written about hip-hop’ s relationship to its artistic precursors. Critics might examine parallels between hip-hop and the Black Arts Movement of the 1960s. Both movements produced art expressing the alienation felt by many African Americans. Furthermore, like the Black Arts Movement, hip-hop artists have collided with the profit-oriented nature of institutions of cultural production. Black artists continue to face restrictive conventions that the writers Zora Neale Hurston and Langston Hughes faced in the Harlem Renaissance of the 1920s: commercial publishers’ tendency to favor particular themes, subjects, or treatments for Black artists’ work. The Black Arts Movement dealt with this dilemma by seeking outlets for autonomous cultural production, including theater companies and publishing houses. Hip-hop is similarly threatened by mainstream commercialism. As Palmer notes, many commercialized hip-hop lyrics are light and innocuous. Committed hip-hop artists have therefore sought out alternatives to mainstream commercial venues.

“Flight-Initiation Distance” (FID) is the distance at which birds flee from an approaching human. Birds adjust their FIDs in relation to a range of factors, including body mass, encounter rates with stimuli, and aspects of the stimulus such as starting distance (the distance at which a human approach begins), stimulus type (e.g., vehicle or walker), proximity to refuge, directness and speed of approach. The ability to discriminate between stimuli within species demonstrates that cognition is involved in the specifics of bird escape, and the substantial cognitive ability of at least some birds has recently been highlighted. Accurate judgment of risk, and appropriate mediation of response, is likely to be critical for the survival of many birds that encounter potentially threatening stimuli such as humans in increasing numbers and places. The “cognitive buffer” hypothesis suggests larger-brained birds will be better able to adapt to novel environmental conditions, such as those created by anthropogenic landscape change. In theory, these birds may be able to more accurately judge risk when presented with a stimulus, or be able to learn (habituate or sensitize) to adjust responses appropriately based on their previous experience. If so, one would predict that there would be a negative association between FID and brain size within and across species.