sat virtual reality ii explanations phần 4 doc

Westerners and Arabs PassageThe author of this passage is interested, as the introduction alerts you, in how Arabs and Americans respond differently to spatial relationships.. E may have

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“verbal” (D) is out because you wouldn’t need to specify that a bunch of letters contained words

7 B The sentence sets up a contrast between the woman’s opinion of the film and how

she usually feels about such “dramatic stories.” You don’t know what either of these (her opinion or her general attitude) is, exactly; you just know that the two have to

be roughly the opposite of each other Be careful, though This doesn’t mean that all you need are two opposite words for the blanks “Predictable spontaneity” (A) are rough opposites, but “spontaneity” doesn’t fit in the sentence How can someone have “spontaneity” towards dramatic stories? The words in (B),

“poignant impassivity,” work the best “Poignant” means “touching” and

“impassivity” is “being unresponsive emotionally.” Clearly it would be a surprise that

a woman who normally has no emotional response to dramatic stories found a film

“poignant.” (C) is wrong because it wouldn’t be surprising that someone with

“animosity,” or “ill will,” towards dramatic stories would find the film “irrelevant.”

“Anachronistic” (D) means “chronologically out of place,” while “perspicacity” means

“shrewdness.” “Affected” (E) describes something that is faked in order to impress people, for example, a foreign accent

8 E There’s no reason to get worried as soon as you see words in the sentence you

don’t understand, like “epiphytic” in this one Usually you can either figure out what the word means or you don’t need to know what it means, as with “epiphytic.” What you do need to see is that the semi-colon signals that the two halves of the

sentence are related in meaning If epiphytic ferns can’t survive without constant moisture, then they can only live in tropical rain forests, which have a lot of moisture You can predict something like “only found in” for the blank “Endemic to” (E), which means “restricted to a region,” matches the prediction This is a tough word, but that’s to be expected, since we’re getting near the end of the set

“Steeped in” (B) means “plunged into a liquid.” Tea bags are steeped in hot water

to make tea “Inimical to” (C) means “hostile to.”

9 D The word “despite” tells you that the scientist’s conviction about his hypothesis

starkly contrasts with what he has been forced to do Since he thinks his hypothesis is right, you can predict that he has been forced to “change” or “retract”

it Only a “lack” of supporting evidence could have caused him to do this (D) matches both predictions: the “dearth,” or “scarcity,” of supporting evidence forced him to “recant,” or “renounce,” the hypothesis “Revise” (A) fits in the second blank, but “surfeit,” which means “surplus,” is the opposite of the word needed in the first blank Both words in (B), “availability accept,” have meanings opposite to those of the predicted words (C) is out because although “lack” fits in the first blank, a

“lack” of evidence wouldn’t force him to “print” the hypothesis Similarly, consistent

“agreement” (E) of the evidence would not force him to “deny” it

10 E The adjective in the blank has to be related to “winning over many viewers who

previously supported her rival.” A good prediction would be “persuasive.” The only word that comes even close is “disarming” (E), which means “capable of winning favor.” “Presumptuous” (A) means “overstepping bounds of propriety.” “Dogmatic” (D) means “acting as though one possessed absolute truth”; the candidate wouldn’t have won over many people speaking dogmatically

11 E A GARAGE is a special place for parking CARS Likewise, a “hangar” is a special

place for keeping “aircraft” If you didn’t know the word “hangar” you could have

worked by process of elimination, since the bridge between the stem words is clear

You know that in (A), for example, a “highway” is not a place for parking “buses.”

You could have done this down the list, until you were left with no choice but (E)

12 C The PROLOGUE, the introduction to a PLAY, whets your appetite for what’s to

come An “appetizer” is similarly the introduction to a meal (A) and (E) may have

looked good because they involve the same sort of subject matter—literature and

writing—as the stem words However, a “chapter” is a division of a “novel,” not its

introduction A “screenplay” is the script and shooting directions for a “movie.”

13 C To have CURIOSITY is to have a desire to KNOW, just as to have “greediness” is to

have a desire to “possess.” (A) and (D) have bridges that are opposite to the stem

bridge Someone who shows “chattiness” has no desire to “listen,” and someone

using “deception” probably has no desire to “disclose” or give out information (E)

doesn’t work because someone who has “boredom” does not necessarily have a

desire to “entertain.”

14 D A MARATHON is a very long RACE The only choice that fits this stem bridge is

(D): an “epic” is a very long narrative “poem,” like the “Iliad” and the “Odyssey.” (A)

reverses the bridge that you want A “highway” can be thought of as a very long

“street”; the order of the words in this choice is what makes it wrong In (B), a

“sprint” is faster than a “jog,” but not usually longer In (E), a “vice” is a bad “habit.”

15 E The difference between DESIRE and COVET is a matter of degree To COVET

something is to DESIRE it excessively Similarly, to “loathe” something it is to

“dislike” it excessively (A) is tricky because “multiply” and “increase” have very

similar meanings, but to “multiply” is not to “increase” excessively “Supplement”

and “subtract” in (B) are opposites The SAT never uses strict opposites like the

words in choice (B) as the stem pair or the right answer Likewise, strict synonyms

are never the right answer or the stem pair on SAT analogies

16 D Someone GULLIBLE is, by definition, easy to DECEIVE Likewise, something

“combustible” is, by definition, easy to “burn.” (B), (C) and (E) don’t fit this model: in

(B), someone “reputable” wouldn’t necessarily be easy to “blackmail”; in (C),

something “liquid” is not always easy to “evaporate”; in (E), something “broken” may

not be easily fixed (A) has things muddled Someone trusting, not “trustworthy,”

might be easy to “cheat,” and even then the word pair would not be connected by

definition

17 B If you REND something—like a piece of clothing—thoroughly, what will be left is

TATTERS, or ragged shreds The only choice that has the same bridge is (B): if

you “burn” something thoroughly, what will be left is “ashes.” A couple of the other

choices, (C) and (E), contain pairs of words that are closely associated with each

other, but the relationship between the two words is not the same as between the

stem words

18 B CALLOWNESS means “a lack of sophistication.” Someone characterized by

CALLOWNESS is not COSMOPOLITAN, which means “worldly and sophisticated.”

Likewise, someone characterized by “uninventiveness” is not “original,” or

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“inventive.” You can get rid of (E) easily because there is no link between

“intelligence” and being “friendly.” The other three choices are wrong because they contain pairs of words that are strongly connected in a positive way, unlike the stem pair In (A), someone with “skepticism” does tend to be “cynical,” and in (C),

someone in “ecstasy” is very definitely “happy.” “Despotism” (D) is a form of government that involves “tyrannical” rule

19 D The NAP of a piece of VELVET is its texture related to the direction in which the

fabric goes—if you run your hand against the NAP, the VELVET will not feel smooth Similarly, the “grain” is the texture of wood related to the direction in which the wood grows None of the other choices possesses a similar relationship In (B), the “luster” of a “pearl” is its gloss or shine In (C), the “bouquet” is the odor or perfume of a “wine.”

20 C A common word is being used in an unusual way here A group of LIONS is called

a PRIDE; a group of “geese” is called a “gaggle.” In (B), a group of “workers” may

or may not be a “syndicate,” or “union.” Not all workers are unionized You might find “violinists” (A) in a “quartet” or “elephants” (E) in a “circus,” but groups of violinists are not necessarily quartets and groups of elephants do not make a circus

Likewise, a “monarchy” is one in which the “sovereign,” the one possessing absolute power, holds power In (B), the “elite” don’t hold power in a “democracy,”

at least not in theory “Anarchy” (C) means the “absence of government,” which means no one, not even the “populace,” holds power In (E), an “oligarchy” is a system in which a small group holds power, but the group isn’t necessarily the

“military.”

22 E A CONSTELLATION is made up of STARS that are grouped together The Big

Dipper is a constellation Likewise, in (E) a “range” is made up of “mountains” that have been grouped together The other choices don’t have this relationship In (A),

a “play” usually involves “actors” but it isn’t made up of “actors.” In (B) a “hospital”

is made up of more than just “doctors” In (C), a “garden” can have more than

“flowers” in it, and they haven’t been formed into a group, necessarily In (D), a family doesn’t consist of only “parents.”

23 E A MISANTHROPE hates and distrusts HUMANKIND Even if you weren’t sure of

the meaning of the word MISANTHROPE, you could have figured out from the MIS prefix that it meant something negative: think of the words “misinformed” or

“mistake.” And even if you didn’t know that a “xenophobe” hates and distrusts

“foreigners,” you could have eliminated all of the other choices to get the right answer In (A), a “cynic” may sometimes distrust “kindness,” but he doesn’t by definition hate kindness A “martyr” (B) does not hate “punishment”; he dies as a result of it A “deserter” (C) is cowardly, not a hater of “cowardice.” An “optimist” (D) is full of hope

Westerners and Arabs Passage

The author of this passage is interested, as the introduction alerts you, in how

Arabs and Americans respond differently to spatial relationships After introducing

his subject, known as the study of proxemics, the author goes on to consider

various examples of the differences between Arabs and Americans In the second

paragraph he shows how Arabs and Americans have different expectations

regarding body position during a conversation Arabs expect “involvement” when

interacting with friends This notion of involvement extends to public domains,

according to the third paragraph; involvement and even intervention is expected on

levels ranging from business transactions to government

The differences are not limited to public places, as the author establishes in the last

two paragraphs Arabs arrange their homes to get large open spaces, thus creating

“an environment where personalities are intermingled ” They feel socially and

sensorially deprived in America This does not mean, however, that Arabs cannot

attain privacy in their own homes; they do so merely by not talking Since not

talking has a completely different meaning in America, awkward situations—such as

that of the Arab exchange student in Kansas—can arise out of miscommunication

between members of the two cultures

24 D The first question is fairly straightforward Reading the lines directly below the

phrase “two conflicting sensations” will clue you in to what sensations the author

has in mind Americans feel “compressed and overwhelmed” in public in the Middle

East and “exposed” in the wide open spaces of the Arab home (D), “crowding and

spaciousness,” sums up the sensations well (A) is wrong because Americans may

experience “confusion” in the Middle East but the author doesn’t say there is any

“understanding.” “Involvement and participation” (B) are not conflicting, nor is there

any evidence to suggest that Americans feel either of the two in the Middle East

The author does not mention “friendliness and hostility” (C) (E) may have been

tempting because Americans do experience high noise levels in Arab public places,

but the author doesn’t talk about “silence” in the first paragraph

25 C The author uses the example of the difficulty of walking and talking with his Arab

friend to highlight the difference in “position of the bodies of people in conversation

from culture to culture.” In other words, the author is “demonstrat[ing] that Arabs

respond differently from Americans to spatial relationships” (C) The incident with

his Arab friend was not a breakthrough in his research (A) but rather one of his

“earliest discoveries.” (B) is out because the author and his friend are certainly

communicating with each other; the Arab is merely having difficulty doing so while

walking alongside the author Although it took the author a little while to understand

his friend’s behavior, he does not mention this to emphasize that it is difficult to

learn foreign customs (D)—the scope of (D) is far too broad (a typical wrong

answer type) Finally, (E) can be eliminated because the author never mentions

“American cities” in the passage

26 E The work you do in answering one question may help you answer another If you

had re-read the second paragraph in order to answer the last question, you should

have been able to pick out the correct answer here The author’s Arab friend was

“unable to walk and talk at the same time” because, as the author learns, “to view

another person peripherally is regarded as impolite.” The Arab doesn’t “wish to

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seem rude” (E) Perhaps the most tempting wrong choice was (C); it’s wrong because the fact that the Arab is behaving according to his own customs and not according to Western customs does not mean that he is not familiar with Western customs There is no evidence for (A), (B) and (E) in the second paragraph or anywhere else in the passage

27 B Beware of the obvious choice, (A) “apprehended”, which is the most common use of

the word “arrested.” “Arrested” has a completely different meaning as it is used in the passage From the context of the passage, it is clear that the Arab is stopping,

or “delaying” (B), the progress of the two of them walking together by insisting on facing the author while they talk

28 D The author says that “the notion of privacy in a public place is a foreign concept” to

Arabs In the next few lines, he supports this statement by discussing how everyone

in a marketplace can participate in a business transaction, how grownups are expected to discipline other people’s kids etc This type of behavior would certainly not be common in America What the author means by the phrase “foreign concept,” then, is that Arabs “do not recognize a custom that is common elsewhere.” The author never says that Arabs “prefer not to conduct business transactions in public” (A)—this is an inference that goes too far Nor does the author say that the Arabs see the “right to privacy” as an American idea (B) or that Arabs behave towards friends and strangers in different ways Finally, (E) is wrong because there is no evidence in the passage that Arabs are adjusting their way of life at all

29 E The example of intervening when two men fight is presented in the third paragraph,

where the previous question also came from Since the author is discussing the Arabs’ emphasis on public participation in this paragraph as a whole, (E) should have jumped right out (A), (B), (C) and (D) are all reasonable-sounding answers that don’t reflect the context of the passage, which just goes to show that you should always go back to check the context before picking an answer

30 D The Arab attitude toward government policy is that when a government does not

intervene “when trouble is brewing,” this is the same thing as taking sides The answer to this question lies in the next sentence: it is normal for Arabs to see the actions of other governments this way because they don’t understand the “cultural mold” of their own thoughts (D) is the best paraphrase of this idea The author does not make the judgment that not taking sides is “an effective strategy” (A) or that the Arab approach is simplistic (C) (B) has things backwards: the author is talking about how Arabs misunderstand the actions of Western governments, not the other way around Finally, (E) is out because it is too broad and sweeping (remember that wrong answer type?); the author isn’t making any global statement about Middle Eastern politics

31 D You don’t have to go very far in paragraph 4 to realize that the word “space” keeps

appearing again and again This is indeed what the author is talking about here: the use of space inside Arab homes and how different it is from what you find in

American homes If you had a good grasp of the Big Picture, perhaps you didn’t even need to re-read the paragraph, for you would know that the use of space inside of the Arab home was its general topic All of the other choices are things that the author never mentions at all

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32 A Several of the possible answers to this Vocabulary-in-Context question are

definitions of the word “value,” but only one fits in the context of the passage:

“belief ” (A) The statement that the word “value” refers to in the passage, “if one is

not with people and actively involved in some way, one is deprived of life,” is a

belief

33 E A few lines into the fifth paragraph, the author says that the Arabs’ “way to be alone

is to stop talking.” Silence doesn’t mean that “anything is wrong or that [the Arab] is

withdrawing, only that he wants to be alone with his thoughts ” The best

paraphrase of this among the answer choices is (E); silence is a way for Arabs to

“obtain a psychological form of privacy.” The dangerous choices to be avoided are

(B) “indicate displeasure with guests” and “express unhappiness within families,” (C)

both of which are ways that silence can be used in American culture (B) especially

may have been tempting because of the author’s story at the end of the passage

Always be sure to read the question stem carefully

34 C In the author’s story, the Arab exchange student does not realize that his hosts are

mad at him because silence does not mean the same thing to him as it does to

them As you know from the fifth paragraph, “silence is not considered unusual in

Arab households” (C ) Although it may be true that Arabs visiting the U.S often

experience homesickness (A) and that ignoring other people is rarely an effective

punishment (B), the author doesn’t tell his story to make either of these points

Sense of humor isn’t discussed in the passage at all, so (D) is out Finally, the story

does show that it can be difficult to recognize anger in foreign cultures (E), but once

again, this isn’t what the author is trying to illustrate

35 D The author mentions at the end of the first paragraph that Americans “rattle around”

in Arab homes because there is too much space It stand to reason, then, that an

Arab would feel just the opposite, “crowded” (D), in an American home There is no

reason given in the passage that an Arab would find an American home “noisy” (A),

“empty” (B), or “quiet” (E) (C) is wrong because paragraph 3 indicates that Arabs

prefer spacious homes

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Section 6 (V erbal)

Writer Pair

Just a reminder about general strategy: read the first passage and do the questions relating to it (questions 1-5 in this case), then read the second passage and do the rest of the questions These two passages are not that difficult to get through, and the authors’ points of view on the process of writing contrast clearly and sharply The author of Passage 1 believes that the writer experiences his writing as an “act

of discovery” which is not in his power to control When the writer finds the proper tone of voice for his writing, he enters some sort of magical state in which

“sentences mysteriously shape themselves” right before his eyes After he is finished, he will feel “that there is an order to things, and that he himself is part of that order.” The author of Passage 2, on the other hand, approaches his writing “as

if it were a job like any other.” He ascribes “dangerous” notions like that of the author of Passage 1 to the influence of the nineteenth-century Romantic movement Writing to him is “hard labor with no guaranteed reward.” Although being a good writer takes talent, it also requires a lot of difficult learning and, for him at least, “an enormous amount of bruising self-questioning.”

1 C The author of Passage 1 says that unless a writer is “writing mechanically,” he

experiences his writing as an act of discovery “Mechanically” is used here in the sense of “unimaginatively” (C) None of the other choices works in the context of the sentence

2 E Reading a few lines up from the reference to “unlocking the floodgates,” you find the

author asserting that creative writing is “not within the power of [the writer’s] will to summon forth” or to resist When he talks about how to “unlock the floodgates,” then, he is suggesting that creative writing is “in part beyond the writer’s conscious control” (E) The author of Passage 1 never says that almost anyone can be a writer (A), that writing derives its power from depicting dramatic events (C), or that it requires a rigid sense of structure and form (D) He does suggest that writing can

be very difficult (B), but not until the end of the passage

3 C In lines 16-25, the author describes his vision of what happens when the writer

finds the right tone of voice for his writing: he sits and watches as sentences and paragraphs mysteriously form themselves, etc What is being conveyed here is the writer’s sense of “wonder at the seemingly magical process of creation” (C) You probably could have picked out (C) without going back to the passage, simply by eliminating the other choices The author of Passage 1 never talks about “frustration

at the unpredictability of writing” (A) or about “discovering an unsuspected talent” (D) A writer is driven by a “dim vision” and does not seem to need to plan a project (B) Writing is “hard labor” (E) to the author of Passage 2, not the author of Passage 1

4 A Look at the context in which “dim” appears The author is poetically describing what

happens during creative writing: “ paragraphs begin to shape themselves into an organically coherent pattern that corresponds only better, much better to the dim vision which had driven him to his desk in the first place.” Cutting through the

flowery language, you see that the writer only has a vague idea of what he wants to

write when he sits down, but things get much clearer once he starts to write “Dim”

is used in the sense of “vague” (A)

5 A Re-reading the sentence at the end of the third paragraph should be enough to

enable you to pick out the right choice It is “the writer’s search for order,” according

to the author, “ which exists not only in poems and stories, but in any form of

writing, however humble or trivial.” (A) paraphrases this nicely The other choices

may seem to be plausible general reasons for referring to different forms of writing,

but they don’t work in the context of Passage 1

6 B As with the previous question, all of the choices here seem like plausible reasons

for adopting a “professional attitude to writing.” Only one can fit what the author

actually says, though–which is that the only way he can “ensure a consistent output

is to approach writing as if it were a job like any other.” He wants to “maintain a high

level of productivity” (B)

7 D In lines 50-68, the author of Passage 2 attacks the “dangerous misconceptions” that

many people have about the creative process of writing The problem, he states, is

that we still believe the “fanciful notions” of the Romantic movement “Fanciful”

clearly has a negative connotation here, which makes “unrealistic” (D) the best

choice

8 B As we saw in the last question, the author of Passage 2 launches an attack on the

Romantics and their fanciful notions about artistic creativity His main target is

Coleridge, whose work led to the belief “that the creation of art is unlike every other

form of human productivity”–an idea the author doesn’t agree with at all The author

is suggesting, therefore, that Coleridge’s writings “propagated erroneous ideas

about artistic creativity” (B) The author himself, not Coleridge, emphasizes the

“role of maturity in an artist,” so (A) is out (C) is wrong because the author thinks

that Coleridge spread false ideas about art, not that Coleridge “exaggerated the

importance of the arts.” Furthermore, there is no suggestion in the passage that

Coleridge ignored how long it takes to learn writing skills (D) or that he exalted

experience over talent (E)

9 D The author of Passage 2 compares writing to “breaking rocks to look for gold” in

emphasizing that writing is hard work with no guaranteed reward Looking through

the answer choices, the one that echoes this sentiment most reasonably is (D)

The author does think that writing requires unusual talent (A), but that has nothing

to do with his analogy (B) is far too extreme, while (C) is out because the author is

not considering here what other people think of writers Nor is he concentrating on

the possible rewards of writing (E), although such rewards do, no doubt, exist

10 D When he says that “writers are born rather than made,” the author means that some

people feel compelled to write by their “response to narrative sensitivity towards

language, and curiosity about human nature.” These are “innate abilities” that “play

an important role in determining who will become a writer” (D) (A) contradicts the

author’s continual stress on writing as hard labor (B) is reasonable but does not

explain the author’s statement (C) and (E) both contradict the idea that writers are

born, not made; if childhood experiences make someone a writer, then a writer

would be made, not born

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11 A Several of the choices here look good, especially (E), until you re-read the last

paragraph of Passage 2 The author criticizes the publishing world for overlooking

“craft and maturity of vision” in favor of “novelty and originality.” (A) is therefore the right answer None of the other choices, plausible as it may seem to be, is

mentioned by the author in his criticism of the publishing world

12 A The second paragraph of Passage 1 has been the subject of several questions so

far It’s the description of creative writing as a kind of blissful mystical experience in which sentences and paragraphs form before the writer’s eyes Look through the choices to see which one jumps out–you know enough at this point to predict what Passage 2’s author would say He would see this description of the writing process

as overly romantic, and point out that it “does not reflect the hard work that writing involves” (A) The author of Passage 2 doesn’t give an opinion about the musicality

of words (B) or the structure of a work (E) His idea that writers are “born, not made” (C) is not his main concern; the true nature of writing is As for (D), this criticism simply doesn’t apply to the description of the writing process in Passage 1

13 E The author of Passage 1 spends his last paragraph discussing the terror that a

writer faces staring a blank page, and the fact that a writer has to be willing to risk suffering in the process of writing The author of Passage 2 talks about the

“enormous amount of bruising self-questioning” he had to undertake before he started to write Judging from this, the two authors would agree that writing entails a lot of “emotional pain” (E) The author of Passage 2, but not the author of Passage

1, stresses the importance of “life experience” (A), “background reading” (C) and

“maturity” (D) Only the author of Passage 1 emphasizes the importance of

“inspiration” (B)

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Section 7 (Math)

1 C If a car needs 15 gallons of gas to travel 300 miles, it will need a lot more to travel

500 miles, certainly more than 16, so one thing you can do here is eliminate choice

(A) Let’s call the number of gallons you need to go 500 miles x To solve, the best

thing to do is set up a proportion:

=

=

300x = (15)(500)

x = 25

2 D This one is certainly solvable by multiplying 8 × 27 × 64 on your calculator and then

finding the cube root of the result, but it’s just as easy to do on paper If 8 × 27 × 64

equals r cubed, then the logical thing to do is to try to put 8, 27, and 64 in the form

“something cubed.” 8 is 23, 27 is 33, and 64 is 43 The equation can be rewritten as

23 × 33× 43= r3 If you remember all the rules of exponents you’ll know that 23× 33

× 43 can be rewritten as (2 × 3 × 4)3 Even if you didn’t remember that, you could

figure it out by just multiplying out and shifting terms around:

23 × 33 × 43= 2 × 2 × 2 × 3 × 3 × 3 × 4 × 4 × 4

= 2 × 3 × 4 × 2 × 3 × 4 × 2 × 3 × 4

= (2 × 3 × 4)3

2 × 3 × 4 is 24, so 243= r3and r = 24, choice (D).

3 E Here we’ve got 2 equations, one with 2 variables and one with 1 variable Let’s start

with the equation that has only 1 variable If 2a = 10, then dividing both sides by 2

gives us a = 5 If a = 5, then a2– 16 = b2 can be written 52– 16 = b2, or 25 – 16 =

b2, or 9 = b2 If b2 is 9, then b must be 3 or –3, and choice (E), 3, could be a value

for b.

4 A The sequence that you’re given has 8 numbers, 4 of which are odd and 4 of which

are even You want to know how the sum of those numbers would change if the

individual numbers changed by various amounts You don’t need to start adding up

the numbers in the sequence — you’re only concerned with how the sum would

change, not what its value is There are 4 odd numbers in the sequence The

question stem tells you that each odd-valued term will be increased by 3 How

much will the sum of a group of numbers change when 4 terms in the group are

each increased by 3? Right, the sum will increase by 4 × 3, or 12 If each e

ven-valued term is decreased by 2, that’s the same as decreasing 4 of the terms by 2

each, or the entire sequence by 4 × 2, or 8 So the sum of the sequence will

increase by 12 and decrease by 8 That’s like adding 12 and then subtracting 8,

which is the same as adding 12 – 8, or 4, so the sum will increase by 4, choice (A)

x

 500

15

 300

x gallons



500 miles

15 gallons



300 miles

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