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Question 1
(1) There came a light knocking at Helga's door. (2) 'Come in,' invited Helga unenthusiastically. (3) The door opened to admit Margaret Creighton, another teacher in the English department and to Helga the most congenial member of the whole Naxos faculty. (4) Margaret, she felt, appreciated her. (5) Seeing Helga still in night robe seated on the bedside in a mass of cushions, idly dangling a mule [a shoe] across bare toes like one with all the time in the world before her, she exclaimed in dismay: 'Helga Crane, do you know what time it is? Why, it's long after half past seven.' (6) The students-' (7) 'Yes, I know,' said Helga defiantly, 'the students are coming out from breakfast.' (8) Well, let them. (9) I, for one, wish that there was some way that they could forever stay out from the poisonous stuff thrown at them, literally thrown at them, Margaret Creighton, for food. (10) Poor things.' (11) Margaret laughed. (12) 'That's just ridiculous sentiment, Helga, and you know it. (13) But you haven't had any breakfast, yourself. (14) Jim Vayle asked if you were sick. (15) Of course nobody knew. (16) You never tell anybody anything about yourself. (17) I said I'd look in on you.' (18) 'Thanks awfully,' Helga responded, indifferently. (19) She was watching the sunlight dissolve from thick orange into pale yellow. (20) Slowly it crept across the room, wiping out in its path the morning shadows. (21) She wasn't interested in what the other was saying. (22) 'If you don't hurry, you'll be late to your first class. (23) Can I help you?' Margaret offered uncertainly. (24) She was a little afraid of Helga. (25) Nearly everyone was. (26) 'No. Thanks all the same.' (27) Then quickly in another, warmer tone: 'I do mean it. (28) Thanks, a thousand times, Margaret. (29) I'm really awfully grateful, but-you see, it's like this, I'm not going to be there at all.' (30) The visiting girl, standing in relief, like old walnut against the buff-colored wall, darted a quick glance at Helga. (31) Plainly she was curious. (32) But she only said formally: 'Oh, then you are sick.' (33) For something there was about Helga which discouraged questionings. (34) No, Helga wasn't sick. (35) Not physically. (36) She was merely disgusted. (37) Fed up with Naxos. (38) If that could be called sickness. (39) The truth was that she had made up her mind to leave. (40) That very day.
The passage most strongly suggests that Helga changes to 'another, warmer tone' (sentence 27) because she wants to
Your Answer: Option(s)
Correct Answer: Option(s) C
Rationale
Helga changes to 'another, warmer tone' to avoid being rude to Margaret.
The passage implies that Helga's change in tone is a deliberate effort to maintain politeness and prevent any awkwardness in her interaction with Margaret. This suggests that her intent is to ensure a positive atmosphere rather than to pursue other goals.
A) get more information from Margaret about Jim Vayle
While Helga may be interested in information about Jim Vayle, the passage does not indicate that this is her primary motivation for altering her tone. Instead, her warm tone appears more focused on the immediate interaction rather than extracting information.
B) convince Margaret to have breakfast with her
Although Helga might hope to encourage Margaret to join her for breakfast, the passage suggests that her tone shift is more about politeness than persuasion. The warmth in her tone is not explicitly linked to an effort to convince Margaret, making this choice less fitting.
C) avoid being rude to Margaret
Helga's transition to a warmer tone serves primarily to maintain a courteous interaction with Margaret. The context indicates that she wishes to prevent any perceived rudeness, suggesting that her intent is rooted in social etiquette rather than ulterior motives.
D) stop Margaret from leaving
While changing her tone might indirectly affect Margaret's decision to leave, the passage does not directly support that this is Helga's goal. The emphasis is on maintaining a friendly atmosphere, rather than actively trying to prevent Margaret's departure.
Conclusion
Helga's adjustment to a warmer tone illustrates her desire to be polite and considerate in her conversation with Margaret. This decision reflects an understanding of social dynamics, emphasizing the importance of maintaining a respectful dialogue. The other options, while plausible, do not align as closely with the primary intent conveyed in the passage, which centers on avoiding rudeness.
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Question 2
(1) There came a light knocking at Helga's door. (2) 'Come in,' invited Helga unenthusiastically. (3) The door opened to admit Margaret Creighton, another teacher in the English department and to Helga the most congenial member of the whole Naxos faculty. (4) Margaret, she felt, appreciated her. (5) Seeing Helga still in night robe seated on the bedside in a mass of cushions, idly dangling a mule [a shoe] across bare toes like one with all the time in the world before her, she exclaimed in dismay: 'Helga Crane, do you know what time it is? Why, it's long after half past seven.' (6) The students-' (7) 'Yes, I know,' said Helga defiantly, 'the students are coming out from breakfast.' (8) Well, let them. (9) I, for one, wish that there was some way that they could forever stay out from the poisonous stuff thrown at them, literally thrown at them, Margaret Creighton, for food. (10) Poor things.' (11) Margaret laughed. (12) 'That's just ridiculous sentiment, Helga, and you know it. (13) But you haven't had any breakfast, yourself. (14) Jim Vayle asked if you were sick. (15) Of course nobody knew. (16) You never tell anybody anything about yourself. (17) I said I'd look in on you.' (18) 'Thanks awfully,' Helga responded, indifferently. (19) She was watching the sunlight dissolve from thick orange into pale yellow. (20) Slowly it crept across the room, wiping out in its path the morning shadows. (21) She wasn't interested in what the other was saying. (22) 'If you don't hurry, you'll be late to your first class. (23) Can I help you?' Margaret offered uncertainly. (24) She was a little afraid of Helga. (25) Nearly everyone was. (26) 'No. Thanks all the same.' (27) Then quickly in another, warmer tone: 'I do mean it. (28) Thanks, a thousand times, Margaret. (29) I'm really awfully grateful, but-you see, it's like this, I'm not going to be there at all.' (30) The visiting girl, standing in relief, like old walnut against the buff-colored wall, darted a quick glance at Helga. (31) Plainly she was curious. (32) But she only said formally: 'Oh, then you are sick.' (33) For something there was about Helga which discouraged questionings. (34) No, Helga wasn't sick. (35) Not physically. (36) She was merely disgusted. (37) Fed up with Naxos. (38) If that could be called sickness. (39) The truth was that she had made up her mind to leave. (40) That very day.
The description of the sunrise in the sixth paragraph (sentences 18—21) mainly serves to
Your Answer: Option(s)
Correct Answer: Option(s) B
Rationale
illustrate Helga's inattentiveness to her visitor.
The description of the sunrise in the sixth paragraph highlights Helga's distraction and lack of awareness regarding her visitor, indicating that she is preoccupied with the beauty of the natural world rather than engaging with the person present. This serves to emphasize her emotional state and prioritization of her surroundings over social interaction.
A) emphasize Helga's love of the outdoors
While the vivid imagery of the sunrise may suggest Helga's appreciation for nature, the primary purpose of the description is not to celebrate her love for the outdoors but to illustrate her distraction. Her love for the outdoors is implied, but it does not directly connect to her interaction with the visitor.
C) underscore Margaret's concern for Helga's well-being
Margaret's concern for Helga is more of an underlying theme in the narrative rather than the main focus of the description of the sunrise. Although Margaret may feel worried about Helga, the text does not suggest that the sunrise serves to highlight this concern; rather, it draws attention to Helga's preoccupation.
D) suggest Margaret's astonishment at Helga’s behavior
While Margaret may be taken aback by Helga’s behavior, the description of the sunrise does not specifically convey this astonishment. Instead, it illustrates how absorbed Helga is in her surroundings, which detracts from the notion of Margaret being astonished.
Conclusion
The description of the sunrise primarily illustrates Helga's inattentiveness to her visitor, emphasizing her emotional detachment and preoccupation with nature. This detail reveals significant aspects of her character, showing her disconnection from social interactions, while the other options do not align with the main purpose of the text. Understanding this dynamic enhances the reader's comprehension of Helga's state of mind and her relationship with those around her.
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Question 3
(1) There came a light knocking at Helga's door. (2) 'Come in,' invited Helga unenthusiastically. (3) The door opened to admit Margaret Creighton, another teacher in the English department and to Helga the most congenial member of the whole Naxos faculty. (4) Margaret, she felt, appreciated her. (5) Seeing Helga still in night robe seated on the bedside in a mass of cushions, idly dangling a mule [a shoe] across bare toes like one with all the time in the world before her, she exclaimed in dismay: 'Helga Crane, do you know what time it is? Why, it's long after half past seven.' (6) The students-' (7) 'Yes, I know,' said Helga defiantly, 'the students are coming out from breakfast.' (8) Well, let them. (9) I, for one, wish that there was some way that they could forever stay out from the poisonous stuff thrown at them, literally thrown at them, Margaret Creighton, for food. (10) Poor things.' (11) Margaret laughed. (12) 'That's just ridiculous sentiment, Helga, and you know it. (13) But you haven't had any breakfast, yourself. (14) Jim Vayle asked if you were sick. (15) Of course nobody knew. (16) You never tell anybody anything about yourself. (17) I said I'd look in on you.' (18) 'Thanks awfully,' Helga responded, indifferently. (19) She was watching the sunlight dissolve from thick orange into pale yellow. (20) Slowly it crept across the room, wiping out in its path the morning shadows. (21) She wasn't interested in what the other was saying. (22) 'If you don't hurry, you'll be late to your first class. (23) Can I help you?' Margaret offered uncertainly. (24) She was a little afraid of Helga. (25) Nearly everyone was. (26) 'No. Thanks all the same.' (27) Then quickly in another, warmer tone: 'I do mean it. (28) Thanks, a thousand times, Margaret. (29) I'm really awfully grateful, but-you see, it's like this, I'm not going to be there at all.' (30) The visiting girl, standing in relief, like old walnut against the buff-colored wall, darted a quick glance at Helga. (31) Plainly she was curious. (32) But she only said formally: 'Oh, then you are sick.' (33) For something there was about Helga which discouraged questionings. (34) No, Helga wasn't sick. (35) Not physically. (36) She was merely disgusted. (37) Fed up with Naxos. (38) If that could be called sickness. (39) The truth was that she had made up her mind to leave. (40) That very day.
In the passage, Margaret indicates that she’s concerned when she first sees Helga because she worries that Helga
Your Answer: Option(s)
Correct Answer: Option(s) D
Rationale
Margaret is concerned when she first sees Helga because she worries that Helga has decided to join the English department.
Margaret's concern stems from her apprehension about Helga switching departments, which could affect the dynamics and functioning of the English department. This worry indicates that Margaret is invested in the current structure and is uncertain about the implications of Helga's potential decision.
A) will be late to meet her students
This choice implies a concern about punctuality, which is not reflected in Margaret's thoughts. The passage does not suggest that Margaret is worried about Helga's timeliness, but rather about a more significant shift in her professional role.
B) has allowed her room to become messy
While a messy room might indicate disorganization, it does not align with Margaret's primary concern regarding Helga. The passage focuses on Helga's career decisions rather than her physical workspace, making this option irrelevant to Margaret's feelings.
C) is upset with another teacher
This choice suggests interpersonal conflict, which is not the basis for Margaret's concern. The passage does not indicate any issues between Helga and other teachers; instead, it emphasizes the implications of Helga's potential departmental change.
D) has decided to join the English department
Margaret’s primary worry is specifically about Helga potentially joining the English department. This decision could disrupt the existing structure and dynamics that Margaret values, making her concern valid and relevant to the context of the passage.
Conclusion
Margaret’s apprehension focuses on Helga's potential decision to join the English department, reflecting her concern about the impact on their professional environment. The other choices do not capture the essence of Margaret's worries, which are rooted in departmental dynamics rather than personal or logistical issues. Understanding this context highlights the significance of departmental roles and relationships in a school setting.
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Question 4
(1) There came a light knocking at Helga's door. (2) 'Come in,' invited Helga unenthusiastically. (3) The door opened to admit Margaret Creighton, another teacher in the English department and to Helga the most congenial member of the whole Naxos faculty. (4) Margaret, she felt, appreciated her. (5) Seeing Helga still in night robe seated on the bedside in a mass of cushions, idly dangling a mule [a shoe] across bare toes like one with all the time in the world before her, she exclaimed in dismay: 'Helga Crane, do you know what time it is? Why, it's long after half past seven.' (6) The students-' (7) 'Yes, I know,' said Helga defiantly, 'the students are coming out from breakfast.' (8) Well, let them. (9) I, for one, wish that there was some way that they could forever stay out from the poisonous stuff thrown at them, literally thrown at them, Margaret Creighton, for food. (10) Poor things.' (11) Margaret laughed. (12) 'That's just ridiculous sentiment, Helga, and you know it. (13) But you haven't had any breakfast, yourself. (14) Jim Vayle asked if you were sick. (15) Of course nobody knew. (16) You never tell anybody anything about yourself. (17) I said I'd look in on you.' (18) 'Thanks awfully,' Helga responded, indifferently. (19) She was watching the sunlight dissolve from thick orange into pale yellow. (20) Slowly it crept across the room, wiping out in its path the morning shadows. (21) She wasn't interested in what the other was saying. (22) 'If you don't hurry, you'll be late to your first class. (23) Can I help you?' Margaret offered uncertainly. (24) She was a little afraid of Helga. (25) Nearly everyone was. (26) 'No. Thanks all the same.' (27) Then quickly in another, warmer tone: 'I do mean it. (28) Thanks, a thousand times, Margaret. (29) I'm really awfully grateful, but-you see, it's like this, I'm not going to be there at all.' (30) The visiting girl, standing in relief, like old walnut against the buff-colored wall, darted a quick glance at Helga. (31) Plainly she was curious. (32) But she only said formally: 'Oh, then you are sick.' (33) For something there was about Helga which discouraged questionings. (34) No, Helga wasn't sick. (35) Not physically. (36) She was merely disgusted. (37) Fed up with Naxos. (38) If that could be called sickness. (39) The truth was that she had made up her mind to leave. (40) That very day.
According to the passage, Margaret and others at Naxos generally regard Helga as
Your Answer: Option(s)
Correct Answer: Option(s) D
Rationale
Margaret and others at Naxos generally regard Helga as somewhat intimidating.
This perception of Helga as intimidating suggests that her demeanor or behavior evokes a sense of caution or respect among her peers, which shapes their interactions with her.
A) highly reliable
There is no indication in the passage that Helga is viewed as reliable. Reliability typically refers to a person's dependability and trustworthiness, qualities not attributed to Helga by Margaret and others at Naxos. Instead, their focus appears to be on her intimidating presence rather than her dependability.
B) unusually friendly
The term "friendly" suggests warmth and approachability, qualities that contrast sharply with the description of Helga as intimidating. If she were regarded as friendly, it would likely foster camaraderie rather than a sense of intimidation, making this choice inconsistent with the overall impression conveyed in the passage.
C) relatively practical
While being practical may imply a level of competence or realism, it does not align with the specific emotional response that Helga evokes in her peers. The use of "intimidating" directly opposes any notion of practicality that would promote a more comfortable or congenial perception among her colleagues.
D) somewhat intimidating
This choice accurately reflects the feelings expressed by Margaret and others at Naxos regarding Helga. The word "somewhat" suggests a nuanced view, indicating that while Helga may not be overtly threatening, her presence nonetheless commands a degree of respect or wariness from those around her.
Conclusion
The characterization of Helga as somewhat intimidating encapsulates the feelings of Margaret and others at Naxos, highlighting how her presence affects their interactions. While they may recognize her capabilities, it is her intimidating nature that stands out, overshadowing any potential notions of friendliness or reliability. Thus, this perception shapes the dynamics within their environment.
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Question 5
Passage 1: In a recent survey concerning plagiarism among scholars, two University of Alabarma economists asked 1,200 of their colleagues if they believed their work had ever been stolen. A startling 40 percent answered yes. While not a random sample, the responses still represent hundreds of cases of alleged plagiarism. Very few of them will ever be dragged into the sunlight. That's because academia often discourages victims from seeking justice, and when they do, tends to ignore their complaints. 'It's like cockroaches,' says the author of a recent book about academic fraud. 'For every one you see on the floor, there are a hundred behind the stove.' Passage 2: Words belong to the person who wrote them. There are few simpler ethical notions than this, particularly as society directs more and more energy toward the creation of intellectual property. In the past 30 years, copyright laws have been strengthened, fighting piracy has become an obsession with w Hollywood, and, in the worlds of academia and publishing, plagiarism has gone from being bad literary manners to something close to a felony. When a noted historian was recently found to have lifted passages from other historians, she was asked to resign from the board of the Pulitzer Prize committee. And why not? If she had robbed a bank, she would have been fired the next day.
The author quoted in Passage 1 would likely argue that the historian's having 'lifted passages from other historians' (sentence 4, Passage 2) is
Your Answer: Option(s)
Correct Answer: Option(s) C
Rationale
Far from an isolated incident.
The author quoted in Passage 1 likely believes that the act of historians lifting passages from one another is a recurring issue within the academic community, suggesting that such practices are not unique to a single historian but rather indicative of a broader trend.
A) an example of academic collaboration
While collaboration is a positive aspect of academic work, the act of lifting passages without proper attribution does not align with the spirit of collaboration, which is based on mutual respect and acknowledgment of contributions. This behavior undermines the integrity of scholarship and does not promote constructive discourse among historians.
B) deserving of harsh punishment
Although the author may view the act as problematic, the emphasis in Passage 1 is more on the prevalence of the issue rather than advocating for punitive measures. The argument is likely to highlight the need for awareness and reform rather than focusing on punishment as a solution.
C) far from an isolated incident
This choice aligns with the author's perspective that such practices are widespread in the field of history. The implication is that lifting passages is a common issue that reflects a larger concern about scholarly ethics, reinforcing the idea that this behavior is not simply a one-off occurrence.
D) a comparatively recent problem
The author in Passage 1 likely does not attribute this behavior to recent developments but rather views it as a longstanding issue in historical scholarship. This suggests that the practice has been present in various forms throughout history, thus making this choice incorrect.
Conclusion
The author quoted in Passage 1 would argue that historians lifting passages from other historians is far from an isolated incident, indicating a pervasive challenge within the field. By recognizing the widespread nature of this issue, the author emphasizes the importance of addressing ethical standards in historical writing, rather than focusing solely on individual cases or recent trends. This understanding calls for a collective reevaluation of practices in the academic community.
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