Part VI.# X0 X+ o7 e1 D5 Y' T9 |2 ?( T$ g
1. Unlike the easily studied neutral and ionized___ that compose the primary disk of the Milky Way itself, the components of the ___surrounding our galaxy have proved more resistant to study. ^ N! ^+ R/ E( i. T; R% o& {& U
(A) figments.. envelope: Y$ Z C& f6 d* z4 \ j
(B) essences.. fluctuations K0 n* j7 Y! a
(C) elements. .problems
; P# U3 V4 y3 X9 K) Z(D) calculations. .perimeter; Z! `. T# p! c, l* [
(E) materials.. region 2. As Juanita argued, this new code of conduct is laughable; its principles are either ___, offering no wisdom but the obvious, or are so devoid of specific advice as to make almost any action ___.
, G# t |2 O( z$ [2 j* x, n(A) irresolute.. unlikely% W6 M, @+ f, U! ^" e6 @7 w
(B) corroborative. .redundant3 l7 C; m2 y/ x. @2 g6 Y" ?
(C) platitudinous.. justifiable, @8 h2 N g" W' p6 W7 G5 A
(D) homogeneous.. impartial9 c4 `5 h5 u0 ~. u2 O+ x" q
(E) labyrinthine.. unacceptable& y: g: a: @ l) u7 _/ D. V; Y. \
3. The self-important cant of musicologists on record jackets often suggests that true appreciation of the music is an ___process closed to the uninitiated listener, however enthusiastic.
5 X; t0 k$ F/ T9 Y# J, y0 z( Z(A) unreliable
# X% @' E! [0 `3 t; n. W, K(B) arcane
8 V) r2 r% E& a @$ r0 g6 s(C) arrogant# F4 E: b% J; J5 Z; T
(D) elementary
9 S: w4 a& }5 m4 m- {& B' ]7 t(E) intuitive- y+ T8 _ C0 i5 }
4. It is strange how words shape our thoughts and trap us at the bottom of deeply ___canyons of thinking, their imprisoning sides carved out by the___ of past usage.( E( \+ W' B E& H0 ]
(A) cleaved.. eruptions: |0 E7 _9 }6 S
(B) rooted.. flood
0 \8 Q8 K$ k, v9 G2 H; d8 r0 Q(C) incised. .river
- D+ i2 C8 z+ `2 R2 K(D) ridged.. ocean
1 |+ u' K0 p' C+ z3 K) e+ w(E) notched.. mountains: k; E! N. b+ ?; w5 S
5. Cezanne's delicate watercolor sketches often served as___ of a subject, way of gathering fuller knowledge before the artist's final engagement of the subject in an oil painting.
/ g! @& e l, Z# ^- w0 r/ m(A) an abstraction
9 i4 A5 `: b; S" G1 h$ g7 j/ [, A7 X(B) an enhancement. E+ Z1 O; {: y2 q# F
(C) a synthesis
1 Z3 a. T$ u3 t, r(D) a reconnaissance8 C( K1 {+ H W: N+ p8 a
(E) a transcription
$ x2 W- ?; I$ S' X$ l1 W J* a* C' K6. Without seeming unworldly, William James appeared wholly removed from the _____ of society, the conventionality of academe.: F4 |. F4 A8 P: L* m; k1 H
(A) ethos! A5 e5 V- E1 f# y% e
(B) idealism
% G2 o! w8 y0 G- j(C) romance
- E5 l: j7 p. W& s5 e(D) paradoxes
# m3 K! Q- o. d+ p- V(E) commonplaces0 ~% c: J6 p1 V3 s
7. Just as astrology was for centuries _____faith, countering the strength of established churches, so today believing in astrology is an act of_____ the professional sciences.
+ z% [, r1 c2 r( L' t# Q9 S: }(A) an individual.. rebellion by. Q6 `! t; F' s. f1 ~0 M% v
(B) an accepted.. antagonism toward
/ a5 u7 k: `4 V, P$ ], V7 [! p(C) an underground.. defiance against
4 d; H% J0 M- x# N- h; L" w(D) a heretical.. support for
. `8 x& D# i# q( v4 H(E) an unknown.. concern about( F$ z6 ?- H2 |% U5 T
8. Some scientists argue that carbon compounds play such a central role in life on Earth because of the possibility of___ resulting from the carbon atom's ability to form an unending series of different molecules.
4 j$ Q D( G+ r+ [(A) deviation
! Q# x" @0 x" R2 X0 r3 S6 |(B) stability6 w7 f' S9 ~$ e* F0 m" `9 r" J
(C) reproduction, s' x& Q8 l/ C t8 k
(D) variety
) t- D& E. R4 I! Z+ e p* D(E) invigoration
}& k1 U$ X: q& {4 I! e* ~8 p) C0 ?6 F
9. Aptly enough, this work so imbued with the notion of changing times and styles has been constantly___ over the years, thereby reflecting its own mutability.
9 |9 ]' [" m+ F% e(A) appreciated
5 w) ?. c3 s; u(B) emulated1 y5 b) r- K4 j+ s
(C) criticized* c6 K6 M) ?- p+ N: |4 A+ ~
(D) revised7 O. K6 i% @2 D& ~% M. p
(E) reprinted
. Z. P* j4 e* u* ~: @10. Nineteenth-century scholars, by examining earlier geometric Greek art, found that classical Greek art was not magical___ or a brilliant ___blending Egyptian and Assyrian art, but was independently evolved by Greeks in Greece.
2 X: G# ^3 c6 p5 f' G6 _(A) stratagem.. appropriation* Z8 R/ [9 E1 R- j, p. I( b. M
(B) exemplar.. synthesis4 r: b! y/ ]6 }" ]4 L5 b
(C) conversion.. annexation
% ~ X3 W0 C. u6 \- l* _(D) paradigm.. construct
: v% w A$ x! ]! s(E) apparition. .amalgam |