CARS Vol 1 Question Pack Part 1

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CARS Vol 1 Question Pack Part 1

Post by ragtaguzoo » Wed May 13, 2020 1:47 pm

1. Why not A? Doesn't Ans D make more sense?

5. I picked B Bec he likes substituting stuff, so I didn't understand why C was the correct answer?

6. I chose answer C, why was B the correct answer?

8. I got this question right, but was curious what in the passage indicates choice A is incorrect?

12. I thought the answer was A bec the author said motivations should be included, so I didn't understand why C was correct?

16. Why is II and III not valid?

29. I didn't understand the explanation. Why would they get a higher profit for European novels if American novels are in demand? Are they trying to say that it is impressive that despite the great profits of European novels, American novels are still in demand?
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Re: CARS Vol 1 Question Pack Part 1

Post by NS_Tutor_Mathias » Mon May 25, 2020 7:08 am

1. The passage states, through Apollinaire in paragraph 4, that he was "the second type" of artist, the cerebral structurer, but that he was able to convert himself into a more spontaneous artist. Thus his spontaneity can be said to be 'apparent' (implying it only appears to be so!) and definitely not a characteristic that Picasso has exhibited since childhood - he was the opposite at that age, too studied and unspontaneous, at least according to himself in paragraph 2.

5. Remember that the only source we can trust for his own goals is the man himself, so we should definitely refer to the translated quotations in paragraph 2. Those tell us that he was aiming to paint the way children might. Of the 4 options present, only C represents the kind of art children spontaneously (without explicit direction) tend to make. This is where being familiar with Picasso's Blue Period is potentially a hindrance, when we are asked to only take information from the text, and in particular information from the text that has been attributed to Picasso himself.

6. You may be confusing the two types. Type 1 is spontaneous, type 2 is studied. Answer choice C suggests the studied type (unless you are working under the assumption that Picasso only ever lies, and consistently believe the opposite of anything he says ;) ). Answer choice B is the only one that is consistent with him being the type 1 artist all along, something that contradicts his own statements.

8. The first two sentences of paragraph 4 seem to get at this pretty well. Due to IP laws I cannot quote them directly. Go ahead, re-read them and let me know if you're still uncertain on why the formalist critic doesn't care about the effect of literature on any reader.

12. This may represent some trouble sussing out the core message of the passage. The passage overall takes the position that formalist criticism, while virtually surrounded by contradictions to it's workings that every formalist critic is well aware of, is the most viable of the critical traditions. Formalist criticism requires separating the work from the people. Therefore the author would strongly disagree with A.

(Your confusion is that you are mixing up the author's statement of facts, that the people and the time shape the literary work, with the author's actual opinion about what should and can be done.)
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