"Technology of the Future" by Will Floyd

Technological revolutions rarely come in expected forms. Predictions of the future are usually found to be humorous in retrospect, as the theories put forward usually involve too much of the present. Typically, an author who imagines the future sees some small developments in the technology already in use, without countenancing a possible sudden change in how gadgets are made. Science fiction from before the personal computer’s rise tended to show computers as large machines only run by specialists. Before the development of tablets, small reading devices belonging to each person were hardly imagined. None of these now-strange conjectures on the future should be ridiculed. Even those researchers and scientists who are trying to create new breakthroughs in technology often have no idea of what their work will produce. The personal computer was initially divided into office models and home models, which were supposed to have different graphics, power, and performance specifics. In reality, people desired the office model in their home. Such adoptions happen all the time in the world of technology, with such disparate examples as the personal computer and the Model T automobile both changing future technology by becoming the most popular forms in the marketplace. Looking to product trends in the marketplace may allow us to predict future technological developments with more accuracy.

The main idea of the passage is __________.

Adapted from "Ramblings in Cheapside" by Samuel Butler (1890)

Walking the other day in Cheapside I saw some turtles in Mr. Sweeting’s window, and was tempted to stay and look at them. As I did so I was struck not more by the defenses with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defensefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself—"catching on” through them to things that are thus both turtle and not turtle at one and the same time—these holes stultify the armor, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence one-sidedness, than of that quick sense of relative importance and their changes, which is the main factor of good living.

The turtle obviously had no sense of proportion; it differed so widely from myself that I could not comprehend it; and as this word occurred to me, it occurred also that until my body comprehended its body in a physical material sense, neither would my mind be able to comprehend its mind with any thoroughness. For unity of mind can only be consummated by unity of body; everything, therefore, must be in some respects both knave and fool to all that which has not eaten it, or by which it has not been eaten. As long as the turtle was in the window and I in the street outside, there was no chance of our comprehending one another.

The author's primary purpose in discussing a turtle in a shop window is to __________.

Adapted from "Ramblings in Cheapside" by Samuel Butler (1890)

Walking the other day in Cheapside I saw some turtles in Mr. Sweeting’s window, and was tempted to stay and look at them. As I did so I was struck not more by the defenses with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defensefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself—"catching on” through them to things that are thus both turtle and not turtle at one and the same time—these holes stultify the armor, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence one-sidedness, than of that quick sense of relative importance and their changes, which is the main factor of good living.

The turtle obviously had no sense of proportion; it differed so widely from myself that I could not comprehend it; and as this word occurred to me, it occurred also that until my body comprehended its body in a physical material sense, neither would my mind be able to comprehend its mind with any thoroughness. For unity of mind can only be consummated by unity of body; everything, therefore, must be in some respects both knave and fool to all that which has not eaten it, or by which it has not been eaten. As long as the turtle was in the window and I in the street outside, there was no chance of our comprehending one another.

The author's main argument in the passage is __________.

Adapted from The God-Idea of the Ancients: or, Sex in Religion, by Elizabeth Burt Gamble (1897)

Regarding the introduction of Christianity into Ireland it is claimed by certain writers that the Irish did not receive the “new religion” from Greek missionaries; but when at the close of the cycle, a new solar deity, an avatar of Vishnu or Krishna was announced, and when missionaries from the East proclaimed the glad tidings of a risen Savior, the Irish people gladly accepted their teachings, not, however, as a new system, but as the fulfillment to them of the prophecy of the most ancient seers of the East, and as part and parcel of the religion of their forefathers. Therefore when the devotees of the Roman faith, probably about the close of the fifth century of the Christian era, attempted to “convert” Ireland, they found a religion differing from their own only in the fact that it was not subject to Rome, and was free from the many corruptions and superstitions which through the extreme ignorance and misapprehension of its Western adherents had been engrafted upon it.

The author's main argument is best summarized as __________.

"A Short History of Recent Zoos" by Will Floyd

Throughout the twentieth century, zoos underwent large-scale transformations. Before World War I, zoos were small parts of larger municipal parks, and featured sparse cages with little room for their inhabitants. This model held sway until mid-century, with many zoos struggling to remain open during the Great Depression and World War II. The successful zoos survived through making themselves cheap family entertainment. In the 1960s, zoos began to change in drastic ways. With the growing strength of environmental and animal rights movements, the public clamored for more naturalistic and spacious environments in which the animals could live.

The most emblematic of these transformations was the development of the Los Angeles Zoo. In 1966, the cramped and antiquated zoo used grants from the city government to move to a brand-new facility. Although the zoo moved just two miles away, the new location was exponentially bigger, and it featured fresh landscapes that resembled the animals’ natural habitats, instead of dilapidated cages. As the Los Angeles Zoo developed, it was able to work on preservation and conservation efforts for endangered species. New educational programs also became key elements of the Zoo’s mission. Now the old Zoo’s cages stand as ruins and reminders of what past generations saw when they visited years ago.

The main idea of the passage is __________.

"Unseen Characters" by Will Floyd

Many plays, films, and television shows use the storytelling device of the unseen character. As the name implies, this trope involves a character the audience never directly encounters, but instead only hears about through the words of other characters. A common assumption is that a character that never speaks or is visible to the viewers of a play or film would only be a minor element, left to be the butt of jokes or as a simple way to add depth to a major character. In fact, unseen characters are frequently quite important, and further the plot because of their absence. The most notable instance of such a character is Godot in Samuel Beckett’s play Waiting for Godot. The two main characters in the play, Vladimir and Estragon, sit patiently by a tree, expecting Godot to come by at any moment. Three other characters, Lucky, Pozzo, and a boy, all speak to Vladimir and Estragon, with Godot never alighting on the stage. Nonetheless, Godot’s machinations in making the men wait—along with his supposed intentions—drive the play’s narrative. Godot, never seen or heard from directly, becomes the largest force in the created world of the play. This use of an unseen character creates an added mystery and increases the tension between the two main characters. Beckett uses the unseen character not as a gimmick or cheap ploy, but instead as the central focus of his play.

The main idea of the passage is that __________.

"Fact and Representation" by Will Floyd

Professional wrestling is frequently criticized because of its unreality. For the wrestlers, promoters, and fans who love professional wrestling, the very fact that professional wrestling is “fake” is central to their love of wrestling. This love finds its home in the concept of “kayfabe.” Kayfabe is the fabricated world of wrestling, covering every element of its storytelling, from its outlandish characters to its bitter feuds, even to the specific politics about which wrestler will become champion.

Throughout the twentieth century, kayfabe was a closely guarded secret held only by those who were in the know about a wrestling company. Wrestlers could not appear out of character at any moment they were in public, for fear this revelation would give away the secrets of the wrestling promotion. A "good guy" wrestler could never even socialize with a "bad guy" wrestler, for fear that fans would see enemies together. While still quite fake, this strict adherence to the created world issued an air of believability for wrestling’s biggest fans. In recent years, wrestling’s curtain of believability has been torn apart, as the internet has allowed many personal details about wrestlers to come to light. Nonetheless, many wrestling fans still only refer to their heroes by their created names, understanding them through their invented personalities.

The main idea of the passage is that __________.

Adapted from “The Influence of the Conception of Evolution on Modern Philosophy” by H. Höffding (1909) in Evolution in Modern Thought (1917 ed.)

When The Origin of Species appeared fifty years ago, Romantic speculation, Schelling's and Hegel's philosophy, still reigned on the continent, while in England, Positivism, the philosophy of Comte and Stuart Mill, represented the most important trend of thought. German speculation had much to say on evolution; it even pretended to be a philosophy of evolution. But then the word "evolution" was to be taken in an ideal, not in a real, sense. To speculative thought, the forms and types of nature formed a system of ideas, within which any form could lead us by continuous transitions to any other. It was a classificatory system which was regarded as a divine world of thought or images, within which metamorphoses could go on—a condition comparable with that in the mind of the poet when one image follows another with imperceptible changes.

Goethe's ideas of evolution, as expressed in his Metamorphosen der Pflanzen und der Thiere, belong to this category; it is, therefore, incorrect to call him a forerunner of Darwin. Schelling and Hegel held the same idea; Hegel expressly rejected the conception of a real evolution in time as coarse and materialistic. "Nature," he says, "is to be considered as a system of stages, the one necessarily arising from the other, and being the nearest truth of that from which it proceeds; but not in such a way that the one is naturally generated by the other; on the contrary [their connection lies] in the inner idea which is the ground of nature. The metamorphosis can be ascribed only to the notion as such, because it alone is evolution.... It has been a clumsy idea in the older as well as in the newer philosophy of nature, to regard the transformation and the transition from one natural form and sphere to a higher as an outward and actual production."

Which of the following best describes the author’s presentation of Hegel’s thought about evolution?

Adapted from “The Influence of the Conception of Evolution on Modern Philosophy” by H. Höffding (1909) in Evolution in Modern Thought (1917 ed.)

When The Origin of Species appeared fifty years ago, Romantic speculation, Schelling's and Hegel's philosophy, still reigned on the continent, while in England, Positivism, the philosophy of Comte and Stuart Mill, represented the most important trend of thought. German speculation had much to say on evolution; it even pretended to be a philosophy of evolution. But then the word "evolution" was to be taken in an ideal, not in a real, sense. To speculative thought, the forms and types of nature formed a system of ideas, within which any form could lead us by continuous transitions to any other. It was a classificatory system which was regarded as a divine world of thought or images, within which metamorphoses could go on—a condition comparable with that in the mind of the poet when one image follows another with imperceptible changes.

Goethe's ideas of evolution, as expressed in his Metamorphosen der Pflanzen und der Thiere, belong to this category; it is, therefore, incorrect to call him a forerunner of Darwin. Schelling and Hegel held the same idea; Hegel expressly rejected the conception of a real evolution in time as coarse and materialistic. "Nature," he says, "is to be considered as a system of stages, the one necessarily arising from the other, and being the nearest truth of that from which it proceeds; but not in such a way that the one is naturally generated by the other; on the contrary [their connection lies] in the inner idea which is the ground of nature. The metamorphosis can be ascribed only to the notion as such, because it alone is evolution.... It has been a clumsy idea in the older as well as in the newer philosophy of nature, to regard the transformation and the transition from one natural form and sphere to a higher as an outward and actual production."

Which of the following is likely true about “Romantic speculation”?

Idioms and Rhyming Slang by Will Floyd

While dialects and slang exist in most corners of the world, a few peculiar language habits stand out as developing entirely new ways of speaking. Most famously, the rhyming Cockney slang of East London that developed in the late nineteenth century has created many different idioms. The process of creating rhyming slang appears quite simple. A common word gets replaced by a phrase whose terminal syllable rhymes with the word. Thus, “wife” would become “trouble and strife,” except rhyming slang quite frequently will not stop there. Remarkably, the rhyming component of the phrase will be dropped altogether, so that wife is actually just “trouble.” Other notable examples is “stairs” becoming “apples,” from “apples and pears,” and “bottle” becoming “aris,” shortened from “Aristotle.”

Obviously, this can lead to quite a bit of confusion to a person unfamiliar with rhyming slang, or someone who does not know the full rhymes. This problem is exacerbated by the fluidity of rhyming slang. Celebrities and politicians can often lend their names to new forms, and “Britney Spears” has become a term for “beers” in recent years. This confusion may actually be an intentional development of rhyming slang. Theories abound about the origin of rhyming slang, with the one constant being a form of deception by the people using the slang, with the language of shady shopkeepers or the doubletalk of thieves as the most commonly cited examples. No matter the origin, rhyming Cockney slang is a true innovation on the English language.

The main idea of the passage is __________.