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Admission Tests GRE Exam Syllabus Topics:

Admission Tests GRE General Test Sample Questions:

Question 1

In the xy-plane, the graph of a certain quadratic function has a single x-intercept and passes through the point (2.8). If the x-intercept of the graph is - X what is its y-intercept?
A)

B)

C)

D)

E)

A. Option
B. Option
C. Option
D. Option
E. Option

Question 2

Writing for the New York Times in 1971. Saul Braun claimed that - todays superhero is about as much like his predecessors as today's child is like his parents." In an unprecedented article on the state of American comics,
"Shazam! Here Comes Captain Relevant. Braun wove a story of an industry whose former glory producing jingoistic fantasies of superhuman power in the 1930s and 1940s had given way to a canny interest in revealing the power structures against which ordinary people and heroes alike struggled following World War II Quoting a description of a course on *Comparative Comics" at Brown University, he wrote, 'New heroes are different-they ponder moral questions, have emotional differences, and are just as neurotic as real people.
Captain America openly sympathizes with campus radicals.. Lois Lane apes John Howard Griffin and turns herself black to study racism, and everybody battles to save the environment."" Five years earlier. Esquire had presaged Braun s claims about comic books: generational appeal, dedicating a spread to the popularity of superhero comics among university students in their special 'College Issue." As one student explained. "My favorite is the Hulk. I identify with him, he's the outcast against the institution.'1 Only months after the NW York Times article saw print. Rolling Stone published a six-page expose on the inner workings of Marvel Comics, while Ms. Magazine emblazoned Wonder Woman on the cover of its premier issue-declaring s Wonder Woman for President'"" no less-and devoted an article to the origins of the latter-day feminist superhero.
Where little more than a decade before comics had signaled the moral and aesthetic degradation of American culture, by 1971 they had come of age as America's "native art::: taught on Ivy League campuses, studied by European scholars and filmmakers, and translated and sold around the world, they were now taken up as a new generation's critique of American society. The concatenation of these sentiments among such diverse publications revealed that the growing popularity and public interest in comics (and comic-book superheroes) spanned a wide demographic spectrum, appealing to middle-class urbamtes, college-age men. members of the counterculture, and feminists alike. At the heart of this newfound admiration for comics lay a glaring yet largely unremarked contradiction: the cultural regeneration of the comic-book medium was made possible by the revamping of a key American fantasy figure, the superhero, even as that figure was being lauded for its realism"" and social relevance."" As the title of Braun's article suggests, in the early 1970s, "relevance" became a popular buzzword denoting a shift in comic-book content from oblique narrative metaphors for social problems toward direct representations of racism and sexism, urban blight, and political corruption.
It can be inferred that the author of the passage regards the concatenation" of sentiments surrounding comics as evidence of

A. the influence of international readers on the domestic popularity of comics
B. a consensus among critics that comics should be regarded as native art
C. a concerted effort by the comics industry to revamp the comic book superhero
D. the capacity of comics to appeal to readers with a variety of social and political affiliations
E. the impact of the counterculture on the regeneration of the comic book medium

Question 3

The poet Paul Laurence Dunbar (1872-1906) was the premier Black writer of poetry that used the dialect of rural African Americans of the southern United States. Although Dunbar's works were both popular with readers and acclaimed by literary critics during his lifetime, after the First World War a radical shift occurred, at least in critical opinion of his poetry, and twentieth-century critical evaluation of his work has been generally negative. Some critics attacked his work on social grounds for failing to challenge plantation stereotypes of African Americans. Other critics, such as the poet James Weldon Johnson, argued from aesthetic grounds that dialect poetry in general was too limited as an artistic medium, and capable of producing only two effects: pathos and humor. The negative critical trend only began to reverse itself in the
1970s, when scholars began to emphasize the importance of mythic, psychological, and historical dimensions of Dunbar's works, focusing on the interior and exterior realities of African American life after the Civil War.
Which of the following general criticisms of dialect poetry is mentioned in the passage?

A. Dialect poetry is highly limited in the number of artistic effects it can produce.
B. Dialect poetry too often uses only the dialect of African Americans living in rural areas of the southern United States.
C. The use of dialect in poetry tends to perpetuate plantation stereotypes of African Americans.
D. Dialect poetry has only a limited degree of popular appeal
E. Dialect poetry fails to represent mythic, psychological, and historical dimensions of experience.

Question 4

Typefaces, in one sense, are just like styles of shoes: they________ because different people have different tastes and identities and because both creators and users value novelty for its own sake.

A. abound
B. proliferate
C. bemuse
D. evolve
E. converge
F. coincide

Question 5

Robert Philip argues that the advent of recorded music has directed performance style into a search for greater precision and perfection, with a consequent loss of spontaneity and warmth. Various expressive devices once common in classical music have been almost outlawed, including portamento (sliding from one note to another on a stringed instrument), playing the piano with the hands not quite synchronized, and flexibility of tempo.
Philip fully documents these changes. However, other forces independent of recording were also at work. For example, the freedom of tempo so valued by Philip was. in its time, both a necessary expedient and disastrously abused. Recording alone did not cause the reaction against it. although hearing a particularly unintelligent use of it on disc may have reinforced the prejudice.
Hie author would most likely agree with which of the following statements about the "devices"?

A. Their use cannot usually be detected in a recording, even when they were used in the recorded performance.
B. At least some of them have been used inappropriately in the past.
C. Increases in the technical proficiency of performers have made their use superfluous.
D. The advent of recorded music had little or no effect on their popularity.
E. They are not useful tools for musical expressivity.

Solutions: