588 MCGRAW-HILL’S SAT
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Questions 11 and 12 are based on the following passage.
It may be difficult for adults to learn not to in-
terfere but rather to support the child’s desire
for freedom and autonomy. For example, if
you watch a boy of three trying to tie his
shoes, you may see him work with extraordi-
nary motivation even though the loops aren’t
matched, and well over half the time as he
tries for the final knot, he ends up with two
separate laces, one in each hand. Then watch
his parents as they watch their children at-
tempt a task like this. Too often the parent
will step in and take over, tie the shoes the
“right way” and defeat the child’s growing
attempt at self-mastery. The same goes for
putting on boots, coats, and even playing with
toys. It is exceedingly easy to fall into the trap
of almost always responding negatively to a
child at this age. Commonly, a parent might
say no up to 200 times a day at this stage.
Such nagging not only is aversive in the
extreme, but also a constant reminder to the
child of his or her lack of self-control.- The passage suggests that helping a boy to tie
his shoes the “right way” (line 13) can be
(A) necessary to his self-esteem
(B) important to his personal hygiene
(C) appropriate only if the boy has the neces-
sary fine motor skills
(D) essential to teaching him patience
(E) harmful to his autonomous development - The passage indicates that negative responses to
a child can lead to the child’s
(A) rebellion
(B) feeling of helplessness
(C) persistence in the task
(D) mimicking of the negative behavior
(E) anger
Questions 13–18 are based on the following passage.The following is an essay about T. S. Eliot, an
American poet of the early 20th century, and the
Modernist movement, of which he was a part.Modernism is the most peculiar of all artistic
movements of the twentieth century and the
most difficult to pin down since people started
coming up with “movements” in the first
place. Modernism is the only thing that strikes
more fear into the heart of an English under-
graduate than the idea of going to a lecture.
Critics and academics, not unwisely, prefer
their artistic movements to be readily compre-
hensible and clearly enough defined to make
some logical sense. Modernism, however, will
not be tamed. It is straggly, begins nowhere
and with no one in particular, and ends only
when its writers have started to baffle even
themselves. One treads carefully through its
key texts: James Joyce’s Ulysses,T. S. Eliot’s
The Waste Land(both 1922), and Virginia
Woolf’s Mrs. Dalloway(1925). The authors of
these aberrations, these posturing, egotistical,
lunatic, kaleidoscopic works of blatant and
self-conscious genius, have laid literary land-
mines throughout their works. Joyce said of
Ulyssesthat “I’ve put in so many enigmas and
puzzles that it will keep the professors busy
for centuries arguing over what I meant, and
that’s the only way of insuring one’s immortal-
ity.” This statement sums up the enigma of
modernism (if one can be said to sum up an
enigma) in that it contains arrogance min-
gling with modesty, cleverness tied up in self-
effacing humour, and above all absurdity with
a purpose. Plots, such as they exist at all in
modernist writing, are submerged beneath
wave upon wave of classical allusions,
archaisms, neologisms, foreign languages,
quotations, swear words and other hyper-
literary and meta-literary indulgences. If I
haven’t made it clear already, it is hard not to
love modernism. It is hard to work out what
exactly it is.Line510
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Second passage: Educational Psychology: A Developmental^40
Approach,Norman A. Sprinthall et al., McGraw-Hill, 1994, p. 149