The literary development of Kate Chopin, author of The Awakening (1899), took her through several phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit. Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

1. Which one of the following statements most accurately summarizes the content of the passage?

The literary development of Kate Chopin, author of The Awakening (1899), took her through several phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit. Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

2. With which one of the following statements about the local colorists would Chopin have been most likely to agree?

The literary development of Kate Chopin, author of The Awakening (1899), took her through several phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit. Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

3. According to the passage, which one of the following conventions did Chopin adopt from other nineteenth-century women writers?

The literary development of Kate Chopin, author of The Awakening (1899), took her through several phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded (14) as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit.

Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

4. As it is used by the author in line 14 of the passage, “women’s culture” most probably refers to a culture that was expressed primarily through women’s

The literary development of Kate Chopin, author of The Awakening (1899), took her through several (3) phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she (9) started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit.

Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

5. The author of the passage describes the sentimental novels of the mid-nineteenth century in lines 3–9 primarily in order to

The literary development of Kate Chopin, author of The Awakening (1899), took her through several phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit. Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

6. The passage suggests that one of the differences between The Awakening and the work of the New Women was that The Awakening

The literary development of Kate Chopin, author of The Awakening (1899), took her through several phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit. Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

7. The primary purpose of the passage is to

The literary development of Kate Chopin, author of The Awakening (1899), took her through several phases of nineteenth-century women’s fiction. Born in 1850, Chopin grew up with the sentimental novels that formed the bulk of the fiction of the mid-nineteenth century. In these works, authors employed elevated, romantic language to portray female characters whose sole concern was to establish their social positions through courtship and marriage. Later, when she started writing her own fiction, Chopin took as her models the works of a group of women writers known as the local colorists.

After 1865, what had traditionally been regarded as “women’s culture” began to dissolve as women entered higher education, the professions, and the political world in greater numbers. The local colorists, who published stories about regional life in the 1870s and 1880s, were attracted to the new worlds opening up to women, and felt free to move within these worlds as artists. Like anthropologists, the local colorists observed culture and character with almost scientific detachment. However, as “women’s culture” continued to disappear, the local colorists began to mourn its demise by investing its images with mythic significance. In their stories, the garden became a paradisal sanctuary; the house became an emblem of female nurturing; and the artifacts of domesticity became virtual totemic objects.

Unlike the local colorists, Chopin devoted herself to telling stories of loneliness, isolation, and frustration. But she used the conventions of the local colorists to solve a specific narrative problem: how to deal with extreme psychological states without resorting to the excesses of the sentimental novels she read as a youth. By reporting narrative events as if they were part of a region’s “local color,” Chopin could tell rather shocking or even melodramatic tales in an uninflected manner. Chopin did not share the local colorists’ growing nostalgia for the past, however, and by the 1890s she was looking beyond them to the more ambitious models offered by a movement known as the New Women. In the form as well as the content of their work, the New Women writers pursued freedom and innovation. They modified the form of the sentimental novel to make room for interludes of fantasy and parable, especially episodes in which women dream of an entirely different world than the one they inhabit. Instead of the crisply plotted short stories that had been the primary genre of the local colorists, the New Women writers experimented with impressionistic methods in an effort to explore hitherto unrecorded aspects of female consciousness. In The Awakening, Chopin embraced this impressionistic approach more fully to produce 39 numbered sections of uneven length unified less by their style or content than by their sustained focus on faithfully rendering the workings of the protagonist’s mind.

8. The work of the New Women, as it is characterized in the passage, gives the most support for which one of the following generalizations?