According to the author, Picasso's artistic achievements were in large part the result of his: correct answers D. Learning to work with apparent spontaneity
In referring to "this transformation", the author implicitly accepts Apollinaire's judgment that Picasso "was able to convert himself into...
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According to the author, Picasso's artistic achievements were in large part the result of his:
correct answers D. Learning to work with apparent spontaneity
In referring to "this transformation", the author implicitly accepts Apollinaire's judgment that
Picasso "was able to convert himself into the first type of artist", an "unreflective virtuoso", by
consciously acquiring a childlike style. That is, the author attributes Picasso's artistic
achievements to his success in learning "to draw like [children]".
The word nature is used in the sense of: correct answers C. Intuitive artistic mastery
The information in the line cited, that it is the "unreflective virtuoso" who relies on nature,
indicates that nature, in Apollinaire's usage, refers to the artist's own creative nature, an intuitive
artistic mastery.
What is the author's response to the standard story about the origin of Picasso's genius? correct
answers D. Skepticism: Picasso's earliest drawings are presumed to be not especially precocious
The author's skepticism about the assumption that Picasso's mature style was simply the
uninterrupted extension of a childhood precocity is explicit: "My own conclusion is that Picasso's
output during the first decade of his life was unusually skilled rather than frankly precocious but
that no word short of prodigy can describe him in his spectacular progress over the next several
years".
Which passage information provides the strongest reason to suppose that Picasso had always
been an artist of Apollinaire's first type? correct answers B. Picasso's early drawings indicate
exuberant experimentation
Despite the author's endorsement of the belief of both Picasso and Apollinaire that Picasso
deliberately converted himself into an "unreflective virtuoso", the early "proliferation" of
exuberant, apparently improvisational, graphic experiments could encourage the speculation that
he had always been an artist of this type.
The author's characterization of Picasso's artistic aims suggests that the retort, "Don't worry, it
will" meant that the painting: correct answers C. Was concerned with pictorial qualities other
than a literally accurate likeness
The characterization of Picasso's artistic aims as a rejection of academic literalism in favor of the
expressive directness of childhood suggests that his response to detractors was an affirmation of
his achievement of this aim. That is, he meant to suggest that the criticism was misguided in
focusing on a literal likeness rather than the essence of the sitter, and that once the critics had
changed their perspective, they would see that the portrait did in this sense look like Stein.
, Implicit in the passage is the assumption that: correct answers A. Some critical evaluations of
literature are more valuable than others
The assumption that critical evaluations focused on structural aspects of a work are more
valuable than are those focused on its author or its readers is evident in the assertion that "the
reduction of a work of literature to its causes does not constitute literary criticism; nor does an
estimate of its effects".
For which of the following conclusions does the passage offer the most support? correct answers
C. The literary critic must assume an ideal reader
The need to evaluate literature from the perspective of an ideal reader, which is presented as one
of two premises of formalist criticism, is supported by the argument that the alternatives are
either to accept all interpretations as equally valid or to take as correct the most common opinion
about a text. The passage author rejects both proposals for avoiding the assumption of an ideal
reader as "desperate"-i.e., not true alternatives. The reasoning supporting this conclusion is that
the first proposal would in effect simply split the ideal reader into a group of ideal readers, while
the second would enter the area of social psychology-i.e., the consensus of responses to a work
would reveal more about its readers than about its literary merit.
The author of the passage probably rejects the use of biography and psychology in literary
criticism because these disciplines: correct answers D. Focus on the process of literary
composition and not on its product
To use biography in literary criticism would be to consider facts about an author's life; to use
psychology would be to speculate about the inner life of an author or of those who have
commented on a literary work. The passage author contends that the application of either of these
disciplines to an author is inappropriate for a literary critic because both "describe the process of
composition, not the structure of the thing composed". The argument against a critic's using
psychology to explore the various ways that readers have understood a work is that this
investigation, too, "is to be distinguished from a criticism of the work itself".
On the basis of the passage, one can most reasonably infer that formalist criticism has the
capacity to distinguish: correct answers A. Valid literary structures from invalid ones
The passage theme that formalist criticism confines its analyses to the structure of literary works
implies the existence of formal criteria that enable critics to distinguish valid from invalid
structures.
According to the passage, the job of the student of literature is to:
I. discover ways to approach literature intellectually.
II. separate the rational from the irrational elements in literary works.
III. integrate the experience of literature as art and the analysis of literature as knowledge. correct
answers A. I only
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