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12.Practice.Tests.for.the.SAT_2015-2016_1128p

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12 Practice <strong>Tests</strong> <strong>for</strong> t h e <strong>SAT</strong> /<br />

Practice Test Four Answers and Explanations<br />

379<br />

passage suggests t h is. C h oice (C) is out of scope; t h is<br />

is certain l y idea l istic, but it's not exp l icit l y mentioned in<br />

t h e passage anyw h ere. C h oice (D) captures t h e aut h or's<br />

words we ll . C h oice (E) is an opposite; actua ll y, t h e aut h or<br />

be l ieves t h at Vonnegut is against t h e nihilism of some ot h er<br />

Postmodern aut h ors.<br />

19. c<br />

Difficulty: Hig<br />

T h is question asks h<br />

about t h e organization of t h e passage,<br />

so it wi ll probabl y h e l p to quic kl y go over t h e main point of<br />

eac h paragrap h to summarize t h e aut h or's argument.<br />

T h e aut h or spends two paragrap h s discussing Modernism<br />

and Postmodernism, and t h e fo ll owing two paragrap h s<br />

app l ying t h ese ideas to Vonnegut. Loo k <strong>for</strong> t h e answer<br />

c h oice t h at fits t h is progression.<br />

Ch h oice (A) is a misused detai l ; t h e aut h or doesn't ever reverse<br />

is overa ll opinion in t h is passage. C h oice (B) is an opposite;<br />

actua ll y, if anyt h ing, t h e aut h or begins wit h genera l topics and<br />

t h en becomes more specific. C h oice (C) works we ll -t h e first<br />

two paragrap h s provide artistic background, and Vonnegut is<br />

t h e extended example. C h oice (D) is distortion; t h is passage<br />

isn't rea ll y just t h e same point over and over again. C h oice (E)<br />

is out of scope; t h is rea ll y h as not h ing to do wit h t h e argument<br />

in t h e passage.<br />

Questions 20-25<br />

Paragrap h l introduces readers to t h e idea t h at art a ll ows<br />

peop l e to communicate w h en words cannot. T h ere<strong>for</strong>e, art<br />

is beneficia l <strong>for</strong> emotiona ll y disturbed peop l e. Paragrap h 2<br />

compares emotiona ll y disturbed peop l e to artists, saying<br />

bot h must l earn to contro l t h e untamabl e creative <strong>for</strong>ce but<br />

a ll ow room <strong>for</strong> expression. Art t h erapy teac h es peop l e to<br />

master t h at ba l ance. Paragrap h 3 states t h at being abl to<br />

communicate and be understood by ot h ers is va l uabl e to<br />

peop l w h o are emotiona ll y disturbed. Paragrap h 4 sums<br />

up t h e passage. T h e writer says art a ll ows t h erapists to see<br />

into peop l e's minds and address t h e issues t h at h aunt t h ese<br />

peop l e.<br />

20. D<br />

Difficulty: Low<br />

T h e passage starts out fair l y broad and becomes more<br />

specific as it progresses. W h at idea does t h e aut h or focus<br />

on by t h e end of t h e passage?<br />

Avoid c oices t h at describe minor points in t h e passage<br />

rat h er t h an t h e overa ll focus or t h eme.<br />

T h e aut h or portrays art t h erapy as a usefu l too l in h e l ping<br />

emotiona ll y disturbed peop l e. Expect t h e answer to refl ect<br />

t h is positive attitude about art t h erapy.<br />

C h oice (A) is extreme; art t h erapy is one effective way, but<br />

it may not be t h e only way to treat emotiona ll y disturbed<br />

individua l s. C h oice (B) is out of scope; t h e aut h or never<br />

addresses t e deve l opment of art t h erapy across t h e<br />

disturbed<br />

decades. C h oice (C) is distortion; making emotiona ll y<br />

peop l e productive is not t h e main focus of t h e<br />

passage. C h oice (D) is a nice matc h <strong>for</strong> your prediction.<br />

C h oice (E) is out of scope; t h e passage does not discuss<br />

methods by w h ic h t h erapists interpret art.<br />

21. D<br />

Difficulty: Medium<br />

W h at contrast is t h e aut h or suggesting between <strong>the</strong> brush<br />

and <strong>the</strong> pen and voice?<br />

To determine what a phrase signifies, research how it<br />

is used in t h e passage. The context wi ll h e l p reveal t h e<br />

p h rase's meaning.<br />

Be<strong>for</strong>e and after t h cited p h rase, t h e aut h or discusses<br />

t h e va l ue of art in h e l ping emotiona ll y disturbed peop l e<br />

communicate w h at's in t h eir minds. T h e contrast between<br />

<strong>the</strong> brush and <strong>the</strong> pen and voice is a contrast between<br />

artistic expression and written or verba l expression. T e<br />

aut l h or's suggestion is t h at art t h erapy can succeed w h ere<br />

anguage- based communication fai l s.<br />

C h oice (A) is out of scope; t h e aut h or never discusses<br />

artistic equipment. C h oice (B) is out of scope; t h e aut h or<br />

does not express a preferred <strong>for</strong>m of communication.<br />

C h oice (C) is a misused detai l ; art t erapy is not l imited to<br />

painting. C h oice (D) is a good matc h <strong>for</strong> your prediction.<br />

C h oice (E) is a misused detai l ; <strong>the</strong> brush signifies artistic<br />

creation itse l f, not t h e ideas it can be used to communicate.

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