Passage 121

　　Benjamin Franklin is portrayed in American history as the quintessential self-made man. In “Self-reliance”, Emerson asks, “Where is the master who could have instructed Franklin...?” In fact, Franklin took instruction widely, and his scientific work was highly collaborative. Friends in England sent equipment needed for his electrical experiments, others, in Philadelphia, helped him set up his workshop there. Philip Syng constructed a device for generating electrical charges, while Tomas Hopkinson demonstrated the potential of pointed conductors. Franklin, in addition to being the group’s theoretician, wrote and published its results. His fame as an individual researcher is partly a consequence of the shorthand by which when one person writes about a group’s discoveries, history sometimes grants singular credit for collective effort.

　　1. Which of the following best describes the function of the highlighted sentence?

　　A. It states a viewpoint about Franklin with which the author disagrees.

　　B. It introduces new evidence about Franklin’s role in the collaborative process.

　　C. It explains Franklin’s reputation in terms of a broad scholarly phenomenon.

　　D. It emphasizes the extent to which Franklin relied on others in his workshop.

　　E. It describes Franklin’s approach to writing scientific results.

　　2. Emerson is mentioned in the passage primarily to

　　A. identify the origin of a particular understanding of Franklin

　　B. elaborate on a view of Franklin that the author takes issue with

　　C. point to a controversial claim about Franklin’s historical legacy

　　D. introduce the question of who Franklin’s main scientific influences were

　　E. suggest that Franklin was resistant to collaboration with other scientists

　　Passage 135

　　The revival of mural painting that has occurred in San Francisco since the 1970s, especially among the Chicano population of the city’s Mission District, has marked differences from its social realist forerunner in Mexico and the United States some 40 years earlier. Rather than being government sponsored and limited to murals on government buildings, the contemporary mural movement sprang from the people themselves, with murals appearing on community buildings and throughout college campuses. Perhaps the biggest difference, however, is the process. In earlier twentieth-century Mexico, murals resulted from the vision of individual artists. But today’s murals are characteristically the products of artists working with local residents on design and creation.

　　Such community engagement is characteristic of the Chicano art movement as a whole, which evolved from the same foundations as the Chicano civil rights movement of the mid-1960s. Both were a direct response to the needs of Chicanos in the United States, who were fighting for the right to adequate education, political empowerment, and decent working conditions. Artists joined other cultural workers in making political statements and played a key role in taking these statements to the public. They developed collectives and established cultural centers that functioned as the public-relations arm of the Chicano sociopolitical movement.

　　1. The primary purpose of the passage is to

　　A. argue for the superiority of a style of art

　　B. consider the impact of an art movement

　　C. describe the political content of a certain works of art

　　D. detail the characteristic style of an art movement

　　E. place an art movement in its historical context

　　2. According to the passage, which of the following statements about the “cultural centers” is true?

　　A. They were the venue where many later leaders of the Chicano civil rights movement first became politically active.

　　B. Though later widespread, they originated in San Francisco area.

　　C. Springing up in a number of communities, they initially had largely apolitical goals centered on art instruction.

　　D. They constituted the nucleus from which the Chicano civil rights movement originated.

　　E. Founded by artists, they provided support for the Chicano civil rights movement.

　　3. Which of the following best describes the relationship between the first paragraph and the second paragraph of the passage?

　　A. The first focuses on the mural artists as individuals; the second, on their actions as a group.

　　B. The first compares the mural revival with an earlier artistic movement; the second describes the context contemporary to the revival

　　C. The first defines the revival by distinguishing it from an earlier artistic movement; the second addresses the political goals of both the revival and its forerunner

　　D. The first presents an apparently plausible account of the relationship between the revival and is forerunner, the second calls that account into question

　　E. The first is concerned with the artistic aims and ambitions behind the San Francisco murals; the second considers their political significance

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