"Poetry and Philosophy" by Justin Bailey

As the logical positivism rose to ascendancy, poetic language was increasingly seen as merely emotive. Wittgenstein’s influential Tractatus argued that only language corresponding to observable states of affairs in the world was meaningful, thus ruling out the value of imaginative language in saying anything about the world. Poetry’s contribution was rather that it showed what could not be said, a layer of reality which Wittgenstein called the “mystical.” Despite Wittgenstein’s interest in the mystical value of poetry, his successors abandoned the mystical as a meaningful category, exiling poetry in a sort of no man’s land where its only power to move came through the empathy of shared feeling.

Yet some thinkers, like Martin Heidegger, reacted strongly to the pretensions of an instrumental theory of knowledge to make sense of the world. Heidegger, Hans-Georg Gadamer and Paul Ricoeur all gave central value to poetry in their philosophical method; signifying a growing sense among continental thinkers that poetic knowing was an important key to recovering some vital way of talking about and experiencing the world that had been lost.

The word "ascendancy" used in the first sentence most nearly means __________.

"Developments in Understanding Ancient Greek Art" by Will Floyd

Most people imagine stark white temples and plain marble statues as the ideal of ancient Greek art. Nothing could be further from the truth, as the ancient Greeks lavished their statues, sculptures, and buildings with bright colors. The common misconception of plainly adorned Hellenic art can be blamed on the ancient Greeks’ biggest proponents in history. Enlightenment-era classicists eagerly visited ancient ruins in the eighteenth century and saw artifacts that had been weathered to plain white stone through decades of neglect. By the time nineteenth-century archaeologists found proof that the Parthenon and images of the Gods were meant to be in vivid hues, eminent scholars in Europe refused to countenance that pure white marble was not antiquity’s aesthetic paradigm. Widespread acknowledgement of the ancient Greeks’ adoration of bright colors only came in the late twentieth and twenty-first centuries, as scientific tests proved ancient statuary and buildings had once been covered in polychrome paint.

The word "countenance" in the passage means __________.

"Developments in Understanding Ancient Greek Art" by Will Floyd

Most people imagine stark white temples and plain marble statues as the ideal of ancient Greek art. Nothing could be further from the truth, as the ancient Greeks lavished their statues, sculptures, and buildings with bright colors. The common misconception of plainly adorned Hellenic art can be blamed on the ancient Greeks’ biggest proponents in history. Enlightenment-era classicists eagerly visited ancient ruins in the eighteenth century and saw artifacts that had been weathered to plain white stone through decades of neglect. By the time nineteenth-century archaeologists found proof that the Parthenon and images of the Gods were meant to be in vivid hues, eminent scholars in Europe refused to countenance that pure white marble was not antiquity’s aesthetic paradigm. Widespread acknowledgement of the ancient Greeks’ adoration of bright colors only came in the late twentieth and twenty-first centuries, as scientific tests proved ancient statuary and buildings had once been covered in polychrome paint.

The word "paradigm" in the passage means __________.

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.

"Fatuousness," as used in the second sentence, in context means __________.

The following 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 phrase "part and parcel" underlined in the passage means __________.

The following 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 word "engrafted" in the last sentence means __________.

"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 does not stop there. Remarkably, the rhyming component of the phrase is often 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 have been an intentional aspect 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 underlined word "terminal" in the first paragraph means __________.

"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 underlined word "trope" in the first paragraph most closely means __________.

"Science Fiction and Society" by Will Floyd

Science fiction and fantasy novels are often seen as pure escapism; however, many authors use the fantastic or futuristic aspects of their work to comment on contemporary problems. Normally this is done by including things that seem quite familiar to a reader, but giving them small twists rooted in the author’s fabricated world. Subjects like racism are often hard for certain writers to analyze without causing an uproar among certain readers. By subverting the prejudice to being directed against a space alien, a completely unfamiliar being, a science fiction author can reinterpret why humans possess hatred for other groups. This can take the form of prejudice against things that people in reality are not normally prejudiced against. These analyses show the erratic and arbitrary nature of racism.

Fantasy books can offer a similar level of surprise for readers who think they know what the usual course of events would be in the regular world. By making the fantasy the focus of what's occurring in the narrative, love stories, war stories, and simple tales of overcoming obstacles can become pleasantly mystifying. Fantasy authors can create interesting takes on basic morality by simply injecting a small amount of magic into an old tale. Black-and-white approaches to good and evil seem much less trite and hackneyed when set in a fantastical, magical world. The ability for an audience to get lost in a magical world changes the expectations of the reader. Often, the threat of destruction in a beloved fantasy world will seem a darker occurrence than the threat to the world in which they live. This attachment to a created world allows science fiction and fantasy authors to discuss serious issues in a different manner to authors in other genres.

The word "escapism" underlined in the first paragraph means __________.

"Science Fiction and Society" by Will Floyd

Science fiction and fantasy novels are often seen as pure escapism; however, many authors use the fantastic or futuristic aspects of their work to comment on contemporary problems. Normally this is done by including things that seem quite familiar to a reader, but giving them small twists rooted in the author’s fabricated world. Subjects like racism are often hard for certain writers to analyze without causing an uproar among certain readers. By subverting the prejudice to being directed against a space alien, a completely unfamiliar being, a science fiction author can reinterpret why humans possess hatred for other groups. This can take the form of prejudice against things that people in reality are not normally prejudiced against. These analyses show the erratic and arbitrary nature of racism.

Fantasy books can offer a similar level of surprise for readers who think they know what the usual course of events would be in the regular world. By making the fantasy the focus of what's occurring in the narrative, love stories, war stories, and simple tales of overcoming obstacles can become pleasantly mystifying. Fantasy authors can create interesting takes on basic morality by simply injecting a small amount of magic into an old tale. Black-and-white approaches to good and evil seem much less trite and hackneyed when set in a fantastical, magical world. The ability for an audience to get lost in a magical world changes the expectations of the reader. Often, the threat of destruction in a beloved fantasy world will seem a darker occurrence than the threat to the world in which they live. This attachment to a created world allows science fiction and fantasy authors to discuss serious issues in a different manner to authors in other genres.

The word "contemporary" underlined in the first paragraph means __________.