LSAT 55 RC2 2x
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Review these RC quizzes right after you do them. For anything that you’re not 100% on google the first bunch of words of the question and seek out explanations online. If after spending some time reviewing you’re still having a tough time then bring the question to your next tutoring session. Really fight to understand the logic of these questions. Remember: 1 is correct 4 are incorrect. Really push yourself to be black and white with correct v. incorrect. It is extremely rare that two answer choices are technically OK but one is stronger. It can happen but we’re talking 1% of the time. So, with that in mind let’s have the mindset that it never happens and that we need to be binary: 1 correct. 4 incorrect. That mindset is key to improvement.
Answer key:
LSAT55 RC2 Q1 – A
LSAT55 RC2 Q2 – D
LSAT55 RC2 Q3 – C
LSAT55 RC2 Q4 – B
LSAT55 RC2 Q5 – C
LSAT55 RC2 Q6 – D
LSAT55 RC2 Q7 – B
LSAT55 RC2 Q8 – A
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Question 1 of 8
1. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story.
1. Which one of the following most accurately states the main point of the passage?
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Question 2 of 8
2. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story.
2. Which one of the following can be most reasonably inferred from the passage?
CorrectIncorrect -
Question 3 of 8
3. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of (32) personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story.
3. It can be inferred from the passage that the author uses the phrase “personally remembered stories” (line 32) primarily to refer to
CorrectIncorrect -
Question 4 of 8
4. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. (51) In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story. (55)
4. In which one of the following is the use of cotton fibers or cotton cloth most analogous to Kingston’s use of the English language as described in lines 51–55?
CorrectIncorrect -
Question 5 of 8
5. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story.
5. The passage most clearly suggests that Kingston believes which one of the following about at least some of the stories contained in her writings?
CorrectIncorrect -
Question 6 of 8
6. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story.
6. The author’s argument in the passage would be most weakened if which one of the following were true?
CorrectIncorrect -
Question 7 of 8
7. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
(43) Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. (51) In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story.
7. The author’s specific purpose in detailing typical talk-story forms (lines 43–51) is to
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Question 8 of 8
8. Question
With their recognition of Maxine Hong Kingston as a major literary figure, some critics have suggested that her works have been produced almost ex nihilo, saying that they lack a large traceable body of direct literary antecedents especially within the Chinese American heritage in which her work is embedded. But these critics, who have examined only the development of written texts, the most visible signs of a culture’s narrative production, have overlooked Kingston’s connection to the long Chinese tradition of a highly developed genre of song and spoken narrative known as “talk-story” (gong gu tsai).
Traditionally performed in the dialects of various ethnic enclaves, talk-story has been maintained within the confines of the family and has rarely surfaced into print. The tradition dates back to Sung dynasty (A.D. 970–1279) storytellers in China, and in the United States it is continually revitalized by an overlapping sequence of immigration from China. Thus, Chinese immigrants to the U.S. had a fully established, sophisticated oral culture, already ancient and capable of producing masterpieces, by the time they began arriving in the early nineteenth century. This transplanted oral heritage simply embraced new subject matter or new forms of Western discourse, as in the case of Kingston’s adaptations written in English.
Kingston herself believes that as a literary artist she is one in a long line of performers shaping a recalcitrant history into talk-story form. She distinguishes her “thematic” storytelling memory processes, which sift and reconstruct the essential elements of personally remembered stories, from the memory processes of a print-oriented culture that emphasizes the retention of precise sequences of words. Nor does the entry of print into the storytelling process substantially change her notion of the character of oral tradition. For Kingston, “writer” is synonymous with “singer” or “performer” in the ancient sense of privileged keeper, transmitter, and creator of stories whose current stage of development can be frozen in print, but which continue to grow both around and from that frozen text.
Kingston’s participation in the tradition of talk-story is evidenced in her book China Men, which utilizes forms typical of that genre and common to most oral cultures including: a fixed “grammar” of repetitive themes; a spectrum of stock characters; symmetrical structures, including balanced oppositions (verbal or physical contests, antithetical characters, dialectical discourse such as question-answer forms and riddles); and repetition. In China Men, Kingston also succeeds in investing idiomatic English with the allusive texture and oral-aural qualities of the Chinese language, a language rich in aural and visual puns, making her work a written form of talk-story.
8. Which one of the following most accurately identifies the attitude shown by the author in the passage toward talk-story?
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