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　　Passage 1

　　Late-eighteenth-century English cultural authorities seemingly concurred that women readers should favor history, seen as edifying, than fiction, which was regarded as frivolous and reductive. Readers of Marry Ann Hanway’s novel Andrew Stewart, or the Northern Wanderer, learning that its heroine delights in David Hume’s and Edward Gibbon’s histories, could conclude that she was more virtuous and intelligent than her sister, who disdains such reading. Likewise, while the naïve, novel-addicted protagonist of Jane Austen’s Northanger Abbey, Catherine Morland, finds history a chore, the sophisticated, sensible character Eleanor Tilney enjoys it more than she does the Gothic fiction Catherine prefers. Yet in both cases, the praise of history is more double-edged than it might actually appear. Many readers have detected a protofeminist critique of history in Catherine’s protest that she dislikes reading books filled with men “and hardly any women at all.” Hanway, meanwhile, brings a controversial political edge to her heroine’s reading, listing the era’s two most famous religious skeptics among her preferred authors. While Hume’s history was generally seen as being less objectionable than his philosophy, there were widespread doubts about his moral soundness even as a historian by the time that Hanway was writing, and Gibbon’s perceived tendency to celebrate classical paganism sparked controversy from the first appearance of his history of Rome.

　　1. The author’s primary purpose is that

　　A. the evidence used in support of a particular argument is questionable

　　B. a distinction between two genres of writing has been overlooked

　　C. a particular issue is more complex than it might appear

　　D. two apparently different works share common features

　　E. two eighteenth-century authors held significantly different attitudes toward a particular

　　2. According to the passage, which of the following is true of Hume’s reputation in the late eighteenth century?

　　A. He was more regarded as a historian than Gibbon

　　B. His historical writing, like his philosophical writing, came to be regarded as problematic

　　C. He was more well-known for his historical writing than for his philosophical writing

　　D. His historic writing came to be regarded as morally questionable because of his association with Gibbon

　　E. His views about classical paganism brought him disapproval among the general reading public

　　3. The highlighted sentence exemplifies which of the following?

　　A. Cultural authorities’ attempt to use novels to support their view about the value of reading fiction

　　B. Eighteenth-century women authors’ attempts to embody in their work certain cultural authorities’ views about reading

　　C. A point about the educational value of reading books about history

　　D. An instance in which a particular judgment about the value of reading history is apparently presupposed

　　E. A challenge to an assumption about eighteenth-century women’s reading habits

　　4. The author mentions the “widespread doubts” in order to

　　A. support a point about the scholarly merit of Hume’s writings

　　B. contrast Hume’s philosophical writing with his writing on historical subjects

　　C. suggest that Hanway did not understand the implicit controversy depicting her heroine as reading Hume

　　D. identify an ambiguity in Hanway’s depiction of the philosopher in The Northern Wanderer

　　E. illustrate a point about a way eighteenth-century fiction sometimes represented historians

　　答案：C B D E

　　Passage 2

　　In the late nineteenth century, art critics regarded seventeenth-century Dutch paintings as direct reflections of reality. The paintings were discussed as an index of the democracy of a society that chose to represent its class, action, and occupations exactly as they were, wide-ranging realism was seen as the great accomplishment of Dutch art. However, the achievement of more recent study of Dutch art has been the recovery of the fact that such paintings are to be taken as symbolizing mortality, the renaissance of earthly life, and the power of God, and as message that range from the mildly moralizing to the firmly didactic. How explicit and consistent the symbolizing process was intended to be is a much thornier matter, but anyone who has more familiarity than a passing acquaintance with Dutch literature or with the kinds of images used in illustrated books (above all emblem books) will know how much less pervasive was the habit of investing ordinary objects than of investing scenes with meaning that go beyond their surface and outward appearance. In the mid-1960s, Eddy de Jongh published an extraordinary array of material—especially from the emblem books and vernacular literature—that confirmed the unreliability of taking Dutch pictures at surface value alone.

　　The major difficulty, however, with the findings of critics such as de Jongh is that it is not easy to assess the multiplicity of levels in which Dutch viewers interpreted these pictures. De Jongh’s followers typically regard the pictures as purely symbolic. Not every object within Dutch paintings need be interpreted in terms of the gloss given to its equivalent representation in the emblem books. Not every foot warmer is to be interpreted in terms of the foot warmer in Rowmer Visscher’s Sinnepoppen of 1614, not every bridle is an emblem of restraint (though many were indeed just that).

　　To maintain as Brown does, that the two children in Netscher’s painting A Lady Teaching a Child to Read stand for industry and idleness is to fail to understand that the painting has a variety of possible meanings, even though the picture undoubtedly carriers unmistakable symbolic meanings, too. Modern Art historians may well find the discovery of parallels between a painting and a specific emblem exciting, they may, like seventeenth-century viewers, search for the double that lie behind many paintings. But seventeenth-century response can hardly be reduced to the level of formula. To suggest otherwise is to imply a laboriousness of mental process that may well characterize modern interpretations of seventeenth-century Dutch Art, but that was, for the most part, not characteristic in the seventeenth century.

　　1. The passage is primarily concerned with which of the following?

　　A. Reconciling two different points of view about how art reflects

　　B. Criticizing a traditional method of interpretation

　　C. Tracing the development of an innovative scholarly approach

　　D. Describing and evaluating a recent critical approach

　　E. Describing a long-standing controversy and how it was resolved

　　2. The author of the passage mentions bridles in the highlighted portion of the passage most likely in order to

　　A. Suggest that restraint was only one of the many symbolic meanings attached to bridles

　　B. Provide an example of an everyday, physical object that was not endowed with symbolic meaning

　　C. Provide an example of an object that modern critics have endowed with symbolic meaning different from the meaning assigned it by seventeenth-century Dutch artists

　　D. Provide an example of an object with symbolic meaning that was not always used as a symbol E. Provide an example of an everyday object that appears in a significant number of seventeenth century Dutch paintings

　　3. Which of the following best describes the function of the last paragraph of the passage?

　　A. It provides specific applications of the critical approach introduced in the preceding paragraph

　　B. It present a caveat about the critical approach discussed in the preceding paragraph

　　C. It presents the research on which a theory presented in the preceding paragraph is based

　　D. It refutes a theory presented in the preceding paragraph and advocates a return to a more traditional approach

　　E. It provides further information about the unusual phenomenon described in the preceding paragraph

　　4. The passage suggests which of the following about emblem books in seventeenth-century Holland?

　　A. They confirm that seventeenth century Dutch painting depict some objects and scenes rarely found in daily life.

　　B. They are more useful than vernacular literature in providing information about the symbolic content of seventeenth-century Dutch painting.

　　C. They have been misinterpreted by art critics, such as de Jongh, who claim seventeenth-century

　　Dutch paintings contain symbolic meaning

　　D. They are not useful in interpreting seventeenth-century Dutch landscape painting.

　　E. They contain material that challenges the assumptions of the nineteenth-century critics about seventeenth-century Dutch painting.

　　答案：　D D B E

　　Passage 3

　　In February 1848 the people of Paris rose in revolt against the constitutional monarchy of Louis-Philippe. Despite the existence of excellent narrative accounts, the February Days, as this revolt is called, have been largely ignored by social historians of the past two decades. For each of the three other major insurrections in nineteenth-century Paris—July 1830, June 1848, and May 1871—there exists at least a sketch of participants’ backgrounds and an analysis, more or less rigorous, of the reasons for the occurrence of the uprisings. Only in the case of the February Revolution do we lack a useful description of participants that might characterize it in the light of what social history has taught us about the process of revolutionary mobilization.

　　Two reasons for this relative neglect seem obvious. First, the insurrection of February has been overshadowed by that of June. The February Revolution overthrew a regime, to be sure, but met with so little resistance that it failed to generate any real sense of historical drama. Its successor, on the other hand, appeared to pit key socioeconomic groups in a life-or-death struggle and was widely seen by contemporary observers as marking a historical departure. Through their interpretations, which exert a continuing influence on our understanding of the revolutionary process, the impact of the events of June has been magnified, while, as an unintended consequence, the significance of the February insurrection has been diminished. Second, like other “successful” insurrections, the events of February failed to generate the most desirable kinds of historical records. Although the June insurrection of 1848 and the Paris Commune of 1871 would be considered watersheds of nineteenth-century French history by any standard, they also present the social historian with a signal advantage: these failed insurrections created a mass of invaluable documentation as a by-product of authorities’ efforts to search out and punish the rebels.

　　Quite different is the outcome of successful insurrections like those of July 1830 and February 1848. Experiences are retold, but participants typically resume their daily routines without ever recording their activities. Those who played salient roles may become the objects of highly embellished verbal accounts or in rare cases, of celebratory articles in contemporary periodicals. And it is true that the publicly acknowledged leaders of an uprising frequently write memoirs. However, such documents are likely to be highly unreliable, unrepresentative, and unsystematically preserved, especially when compared to the detailed judicial dossiers prepared for everyone arrested following a failed insurrection.

　　As a consequence, it may prove difficult or impossible to establish for a successful revolution a comprehensive and trustworthy picture of those who participated, or to answer even the most basic questions one might pose concerning the social origins of the insurgents.

　　1. With which of the following statements regarding revolution would the author most likely agree?

　　A. Revolutionary mobilization requires a great deal of planning by people representing disaffected groups.

　　B. The objectives of the February Revolution were more radical than those of the June insurrection.

　　C. The process of revolutionary mobilization varies greatly from one revolution to the next.

　　D. Revolutions vary greatly in the usefulness of the historical records that they produce.

　　E. As knowledge of the February Revolution increases, chances are good that its importance will eventually eclipse that of the June insurrection.

　　2. Which of the following is the most logical objection to the claim made in the last paragraph?

　　A. The February Revolution of 1848 is much less significant than the July insurrection of 1830.

　　B. The backgrounds and motivations of participants in the July insurrection of 1830 have been identified, however cursorily.

　　C. Even less is known about the July insurrection of 1830 than about the February Revolution of 1848.

　　D. Historical records made during the July insurrection of 1830 are less reliable than those made during the May insurrection of 1871.

　　E. The importance of the July insurrection of 1830 has been magnified at the expense of the significance of the February Revolution of 1848.

　　3. The purpose of the second paragraph is to explain why

　　A. the people of Paris revolted in February 1848 against the rule of Louis-Philippe

　　B. there exist excellent narrative accounts of the February Days

　　C. the February Revolution met with little resistance

　　D. a useful description of the participants in the February Revolution is lacking

　　E. the February Revolution failed to generate any real sense of historical drama

　　4. It can be inferred from the passage that the author considers which of the following essential for understanding a revolutionary mobilization?

　　A. A comprehensive theory of revolution that can be applied to the major insurrections of the nineteenth century

　　B. Awareness of the events necessary for a revolution to be successful

　　C. Access to narratives and memoirs written by eyewitnesses of a given revolution

　　D. The historical perspective provided by the passage of a considerable amount of time

　　E. Knowledge of the socioeconomic backgrounds of a revolution’s participants

　　答案：D B D E

　　Passage 4

　　“Blues is for singing,” writes folk musicologist Paul Oliver, and “is not a form of folk song that stands up particularly well when written down.” A poet who wants to write blues can attempt to avoid this problem by poeticizing the form—but literary blues tend to read like bad poetry rather than like refined folk song. For Oliver, the true spirit of the blues inevitably eludes the self-conscious imitator. However, Langston Hughes, the first writer to grapple with these difficulties of blue poetry, in fact succeeded in producing poems that capture the quality of genuine, performed blues while remaining effective as poems. In inventing blues poetry, Hughes solved two problems: first, how to write blues lyrics in such a way that they work on the printed page, and second, how to exploit the blues form poetically without losing all sense of authenticity.

　　There are many styles of blues, but the distinction of importance to Hughes is between the genres referred to as “folk blues” and “classic blues.” Folk blues and classic blues are distinguished from one another by differences in performers (local talents versus touring professionals), patronage (local community versus mass audience), creation (improvised versus composed), and transmission (oral versus written). It has been a commonplace among critics that Hughes adopted the classic blues as the primary model for his blues poetry, and that he writes his best blues poetry when he tries least to imitate the folk blues. In this view, Hughes’ attempts to imitate the folk blues are too self-conscious, too determined to romanticize the African American experience, too intent on reproducing what he takes to be the quaint humor and naïve simplicity of the folk blues to be successful.

　　But a more realistic view is that by conveying his perceptions as a folk artist ought to—through an accumulation of details over the span of his blues oeuvre, rather than by overloading each poem with quaintness and naivety–Hughes made his most important contributions to the genre. His blues poems are in fact closer stylistically to the folk blues on which he modeled them than to the cultivated classic blues. Arnold Rampersad has observed that virtually all of the poems in the 1927 collection in which Hughes essentially originated blues poetry fall deliberatively within the “range of utterance” of common folk. This surely applies to “Young Gal’s Blues,” in which Hughes avoids the conventionally “poetic” language and images that the subjects of death and love sometimes elicit in his ordinary lyric poetry. To see what Hughes’ blues poetry might have been like if he had truly adopted the classic blues as his model, one need only look to “Golden Brown Blues,” a song lyric Hughes wrote for composer W.C. Handy. Its images, allusions, and diction are conspicuously remote from the common “range of utterance.”

　　1. The primary purpose of the passage is to

　　A. describe the influence of folk and classic blues on blues poetry

　　B. analyze the effect of African American culture on blues poetry

　　C. demonstrate that the language used in Hughes’ blues poetry is colloquial

　　D. defend Hughes’ blues poetry against criticism that it is derivative

　　E. refute an accepted view of Hughes’ blues poetry style

　　2. The author of the passage uses the highlighted quotation primarily to

　　A. indicate how blues poetry should be performed

　　B. highlight the difficulties faced by writers of blues poetry

　　C. support the idea that blues poetry is a genre doomed to fail

　　D. illustrate the obstacles that blues poetry is unable to overcome

　　E. suggest that written forms of blues are less authentic than sung blues

　　3. It can be inferred from the passage that, as compared with the language of “Golden Brown Blues,” the language of “Young Gal’s Blues” is

　　A. more colloquial

　　B. more melodious

　　C. marked by more allusions

　　D. characterized by more conventional imagery

　　E. more typical of classic blues song lyrics

　　4. According to the passage, Hughes’ blues poetry and classic blues are similar in which of the following ways?

　　A. Both are improvised

　　B. Both are written down

　　C. Both are intended for the same audience

　　D. Neither uses colloquial language

　　E. Neither is professionally performed

　　答案：E B A B

　　Passage 5

　　Despite winning several prestigious literary awards of the day, when it first appeared, Alice Walker’s The Color Purple generated critical unease over puzzling aspects of its compositions. In what, as one reviewer put it, was “clearly intended to be a realistic novel,” many reviewers perceived violations of the conventions of the realistic novel form, pointing out variously that late in the book, the narrator protagonist Celie and her friends are propelled toward a happy ending with more velocity than credibility, that the letters from Nettie to her sister Celie intrude into the middle of the main action with little motivation or warrant, and that the device of Celie’s letters to God is especially unrealistic inasmuch as it forgoes the concretizing details that traditionally have given the epistolary novel (that is, a novel composed of letters) its peculiar verisimilitude: the ruses to enable mailing letters, the cache, and especially the letters received in return.

　　Indeed, the violations of realistic convention are so flagrant that they might well call into question whether The Color of Purple is indeed intended to be a realistic novel, especially since there are indications that at least some of those aspects of the novel regarded by viewers as puzzling may constitutes its links to modes of writing other than Anglo-European nineteenth-century realism. For example, Henry Louis Gates, Jr., has recently located the letters to God within an African American tradition deriving from slave narrative, a tradition in which the act of writing is linked to a powerful deity who “speaks” through scripture and bestows literacy as an act of grace. For Gates, the concern with finding a voice, which he sees as the defining feature of African American literature, links Celie’s letters with certain narrative aspects of Zora Neale Hurston’s 1937 novel Their Eyes Were Watching God, the acknowledged predecessor of The Color Purple.

　　Gates’s paradigm suggests how misleading it may be to assume that mainstream realist criteria are appropriate for evaluating The Color Purple. But in his preoccupation with voice as a primary element unifying both the speaking subject and the text as a whole Gates does not elucidate many of the more conventional structural features of Walker’s novel. For instance, while the letters from Nettie clearly illustrate Nettie’s acquisition of her own voice, Gates’s focus on “voice” sheds little light on the place that these letters occupy in the narrative or on why the plot takes this sudden jump into geographically and culturally removed surroundings. What is needed is an evaluative paradigm that, rather than obscuring such startling structural features (which may actually be explicitly intended to undermine traditional Anglo-European novelistic conventions), confronts them, thus illuminating the deliberately provocative ways in which The Color Purple departs from the traditional models to which it has been compared.

　　1. The author of the passage would be most likely to agree with which of the following statements about the letters from Nettie to Celie?

　　A. They mark an unintended shift to geographically and culturally removed surroundings

　　B. They may represent a conscious attempt to undermine certain novelistic conventions

　　C. They are more closely connected to the main action of the novel than is at first apparent

　　D. They owe more to the tradition of the slave narrative than do Celie’s letters to God

　　E. They illustrate the traditional concretizing details of the epistolary novel form

　　2. In the second paragraph, the author of the passage is primarily concerned with

　　A. examining the ways in which The Color Purple echoes its acknowledged predecessor, Their Eyes Were Watching God

　　B. providing an example of a critic who has adequately addressed the structural features of The Color Purple

　　C. suggesting that literary models other than the nineteenth-century realistic novel may inform our understanding of The Color Purple

　　D. demonstrating the ineffectiveness of a particularly scholarly attempt to suggest an alternative way of evaluating The Color Purple

　　E. disputing the perceived notion that The Color Purple departs from conventions of the realistic novel form

　　3. According to the passage, an evaluative paradigm that confronts the startling structural features of The Color Purple would accomplish which of the following?

　　A. It would adequately explain why many reviewers of this novel have discerned its connections to the realistic novel tradition

　　B. It would show the ways in which this novel differs from its reputed Anglo-European nineteenth-century models

　　C. It would explicate the overarching role of voice in this novel

　　D. It would address the ways in which this novel echoes the central themes of Hurston’s Their Eyes Are Watching God

　　E. It would reveals ways in which these structural features serve to parody novelistic conventions

　　4. The author of the passage suggests that Gates is most like the reviewers mentioned in the first paragraph in which of the following ways?

　　A. He points out discrepancies between The Color Purple and other traditional epistolary novels

　　B. He sees the concern with finding a voice as central to both The Color Purple and Their Eyes Are Watching God

　　C. He assumes that The Color Purple is intended to be a novel primarily in the tradition of Anglo-American nineteenth-century realism

　　D. He does not address many of the unsettling structural features of The Color Purple

　　E. He recognizes the departure of The Color Purple from traditional Anglo-European realistic novel conventions.

　　答案：B C B E

　　Passage 6

　　Although, recent years have seen substantial reductions in noxious pollutants from individual motor vehicles, the number of such vehicles has been steadily increasing, consequently, more than 100 cities in the United States still have levels of carbon monoxide, particulate matter, and ozone (generated by photochemical reactions with hydrocarbons from vehicle exhaust) that exceed legally established limits. There is a growing realization that the only effective way to achieve further reductions in vehicle emissions—short of a massive shift away from the private automobile—is to replace conventional diesel fuel and gasoline with cleaner-burning fuels such as compressed natural gas, liquefied petroleum gas, ethanol, or methanol.

　　All of these alternatives are carbon-based fuels whose molecules are smaller and simpler than those of gasoline. These molecules burn more cleanly than gasoline, in part because they have fewer, if any, carbon-carbon bonds, and the hydrocarbons they do emit are less likely to generate ozone. The combustion of larger molecules, which have multiple carbon-carbon bonds, involves a more complex series of reactions. These reactions increase the probability of incomplete combustion and are more likely to release uncombusted and photochemically active hydrocarbon compounds into the atmosphere. On the other hand, alternative fuels do have drawbacks. Compressed natural gas would require that vehicles have a set of heavy fuel tanks—a serious liability in terms of performance and fuel efficiency—and liquefied petroleum gas faces fundamental limits on supply.

　　Ethanol and methanol, on the other hand, have important advantages over other carbon-based alternative fuels: they have a higher energy content per volume and would require minimal changes in the existing network for distributing motor fuel. Ethanol is commonly used as a gasoline supplement, but it is currently about twice as expensive as methanol, the low cost of which is one of its attractive features. Methanol’s most attractive feature, however, is that it can reduce by about 90 percent the vehicle emissions that form ozone, the most serious urban air pollutant.

　　Like any alternative fuel, methanol has its critics. Yet much of the criticism is based on the use of “gasoline clone” vehicles that do not incorporate even the simplest design improvements that are made possible with the use of methanol. It is true, for example, that a given volume of methanol provides only about one-half of the energy that gasoline and diesel fuel do; other things being equal, the fuel tank would have to be somewhat larger and heavier. However, since methanol-fueled vehicles could be designed to be much more efficient than “gasoline clone” vehicles fueled with methanol, they would need comparatively less fuel. Vehicles incorporating only the simplest of the engine improvements that methanol makes feasible would still contribute to an immediate lessening of urban air pollution.

　　1. According to the passage, incomplete combustion is more likely to occur with gasoline than with an alternative fuel because

　　A. the combustion of gasoline releases photochemically active hydrocarbons

　　B. the combustion of gasoline involves an intricate series of reactions

　　C. gasoline molecules have a simple molecular structure

　　D. gasoline is composed of small molecules.

　　E. gasoline is a carbon-based fuel

　　2. Which of the following most closely parallels the situation described in the first sentence of the passage?

　　A. Although a town reduces its public services in order to avoid a tax increase, the town’s tax rate exceeds that of other towns in the surrounding area.

　　B. Although a state passes strict laws to limit the type of toxic material that can be disposed of in public landfills, illegal dumping continues to increase.

　　C. Although a town’s citizens reduce their individual use of water, the town’s water supplies continue to dwindle because of a steady increase in the total population of the town.

　　D. Although a country attempts to increase the sale of domestic goods by adding a tax to the price of imported goods, the sale of imported goods within the country continues to increase.

　　E. Although a country reduces the speed limit on its national highways, the number of fatalities caused by automobile accidents continues to increase.

　　3. It can be inferred from the passage that a vehicle specifically designed to use methanol for fuel would

　　A. be somewhat lighter in total body weight than a conventional vehicle fueled with gasoline

　　B. be more expensive to operate than a conventional vehicle fueled with gasoline

　　C. have a larger and more powerful engine than a conventional vehicle fueled with gasoline

　　D. have a larger and heavier fuel tank than a “gasoline clone” vehicle fueled with methanol

　　E. average more miles per gallon than a “gasoline clone” vehicle fueled with methanol

　　4. The passage suggests which of the following about air pollution?

　　A. Further attempts to reduce emissions from gasoline-fueled vehicles will not help lower urban air-pollution levels.

　　B. Attempts to reduce the pollutants that an individual gasoline-fueled vehicle emits have been largely unsuccessful.

　　C. Few serious attempts have been made to reduce the amount of pollutants emitted by gasoline-fueled vehicles.

　　D. Pollutants emitted by gasoline-fueled vehicles are not the most critical source of urban air pollution.

　　E. Reductions in pollutants emitted by individual vehicles have been offset by increases in pollution from sources other than gasoline-fueled vehicles.

　　答案：B C E A

　　Passage 7

　　Mary Barton, particularly in its early chapters, is a moving response to the suffering of the industrial worker in the England of the 1840s. What is most impressive about the book is the intense and painstaking effort made by the author, Elizabeth Gaskell, to convey the experience of everyday life in working class homes. Her method is partly documentary in nature: the novel includes such features as a carefully annotate reproduction of dialect, the exact details of food prices in an account of a tea party, an itemized description of the furniture of the Bartons’ living room, and a transcription (again annotated) of the ballad “The Oldham Weaver”. The interest of this record is considerable, even though the method has a slightly distancing effect.

　　As a member of the middle class, Gaskell could hardly help approaching working-class life as an outside observer and a reporter, and the reader of the novel is always conscious of this fact. But there is genuine imaginative re-creation in her accounts of the walk in Green Heys Fields, of tea at the Bartons’ house, and of John Barton and his friend’s discovery of the starving family in the cellar in the chapter “Poverty and Death.” Indeed, for a similarly convincing re-creation of such families’ emotions and responses (which are more crucial than the material details on which the mere reporter is apt to concentrate), the English novel had to wait 60 years for the early writing of D. H. Lawrence. If Gaskell never quite conveys the sense of full participation that would completely authenticate this aspect of Mary Bartons, she still brings to these scenes an intuitive recognition of feelings that has its own sufficient conviction.

　　The chapter “Old Aice’s History” brilliantly dramatizes the situation of that early generation of workers brought from the villages and the countryside to the urban industrial centers. The account of Job Leigh, the weaver and naturalist who is devoted to the study of biology, vividly embodies one kind of response to an urban industrial environment: an affinity for living things that hardens, by its very contrast with its environment, into a kind of crankiness. The early chapters—about factory workers walking out in spring into Green Heys Fields, about Alice Wilson, remembering in her cellar the twig-gathering for brooms in the native village that she will never again see, about job Leigh, intent on his impaled insects—capture the characteristic responses of a generation to the new and crushing experience of industrialism. The other early chapters eloquently portray the development of the instinctive cooperation with each other that was already becoming an important tradition among workers.

　　1. It can be inferred from examples given in the last paragraph of the passage that which of the following was part of “the new and crushing experience of industrialism” for many members of the English working class in the nineteenth century.

　　A. Extortionate food prices

　　B. Geographical displacement

　　C. Hazardous working conditions

　　D. Alienation from fellow workers

　　E. Dissolution of family ties

　　2. It can be inferred that the author of the passage believes that Mary Barton might have been an even better novel if Gaskell

　　A. concentrated on the emotions of a single character

　　B. made no attempt to re-create experiences of which she had no firsthand knowledge

　　C. made no attempt to reproduce working-class dialects

　　D. grown up in an industrial city

　　E. managed to transcend her position as an outsider

　　3. Which of the following best describes the author’s attitude toward Gaskell’s use of the method of documentary record in Mary Barton?