Dreams are BLANK in and of themselves, but, when combined with other data, they can tell us much about the dreamer. Select the two answer choices that, when substituted for the BLANK, fit the context and produce the two sentences most nearly alike in meaning.
(A) astonishing
(B) disordered
(C) harmless
(D) inscrutable
(E) revealing
(F) uninformative
(A) astonishing
(B) disordered
(C) harmless
(D) inscrutable
(E) revealing
(F) uninformative
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Solution and Explanation
This is a sentence equivalence question. We need to find two words that are synonymous in this specific context and create sentences with the same meaning. The sentence structure hinges on the contrast word "but."
Step 2: Detailed Explanation:
The sentence sets up a contrast: Dreams by themselves are BLANK, \textit{but} with other data, they are informative ("can tell us much"). This means the word in the blank must be the opposite of informative. We are looking for words that mean "not informative" or "difficult to understand" when considered in isolation.
Analyzing the Options:
(D) inscrutable: This word means impossible to understand or interpret. If dreams are inscrutable on their own, it creates a perfect contrast with them becoming informative when combined with other data.
(F) uninformative: This word means not providing useful or interesting information. This also fits the logic of the sentence perfectly and is a direct synonym for "inscrutable" in this context.
The other options do not fit the logical contrast:
(A) astonishing: Creates no contrast.
(B) disordered: While dreams can be disordered, this doesn't directly contrast with being informative.
(C) harmless: Irrelevant to the theme of information.
(E) revealing: This is the opposite of the required meaning.
Step 3: Final Answer:
Both "inscrutable" and "uninformative" correctly convey the idea that dreams, when viewed alone, are difficult or impossible to get meaning from, which contrasts with their potential when analyzed with more data.
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Questions Asked in GRE exam
In early-twentieth-century England, it was fashionable to claim that only a completely new style of writing could address a world undergoing unprecedented transformation — just as one literary critic recently claimed that only the new ”aesthetic of exploratory excess” can address a world undergoing . . . well, you know. Yet in early-twentieth-century England, T. S. Eliot, a man fascinated by the ”presence” of the past, wrote the most innovative poetry of his time. The lesson for today’s literary community seems obvious: a reorientation toward tradition would benefit writers no less than readers. But if our writers and critics indeed respect the novel’s rich tradition (as they claim to), then why do they disdain the urge to tell an exciting story?
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In the 1970’s, two debates engaged many scholars of early United States history. One focused on the status of women, primarily White women. Turning on the so-called golden age the ory, which posited that during the eighteenth-century colonial era, American women enjoyed a brief period of high status relative to their English contemporaries and to nineteenth-century American women, this debate pitted scholars who believed women’s lives deteriorated after 1800 against those who thought women’s lives had been no better before 1800. At issue were the causes of women’s subordination: were these causes already in place when the English first settled North America or did they emerge with the rise of nineteenth-century industrial capital ism? The second debate, the so-called origins debate, concerned the emergence of racial slavery in the southern colonies: was slavery the inevitable result of the deep-rooted racial prejudice of early British colonists or did racial prejudice arise only after these planters instituted slave labor?
Although these debates are parallel in some respects, key differences distinguished them. Whereas the debate over women’s status revolved around implicit comparisons of colonial women to their counterparts in the antebellum period (1800-1860), thus inviting comment from scholars of both historical periods, the origins debate was primarily confined to a discussion about slavery in colonial America. Second, in contrast to the newness of the debate over women’s status and its continued currency throughout the early 1980’s, the debate over race and slavery, begun in the 1950’s, had lost some of its urgency with the publication of Morgan’s American Slavery, American Freedom (1975), widely regarded as the last word on the subject. Each debate also assumed a different relationship to the groups whose histories it concerned. In its heyday, the origins debate focused mainly on White attitudes toward Africans rather than on Africans themselves. With few exceptions, such as Wood’s Black Majority (1974) and Mullin’s Flight and Rebellion (1972), which were centrally concerned with enslaved African men, most works pertaining to the origins debate focused on the White architects, mostly male, of racial slavery. In contrast, although women’s historians were interested in the institutions and ide ologies contributing to women’s subordination, they were equally concerned with documenting women’s experiences. As in the origins debate, however, early scholarship on colonial women defined its historical constituency narrowly, women’s historians focusing mainly on affluent White women.
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Music critics have consistently defined James P. Johnson as a great early jazz pianist, originator of the 1920’s Harlem ”stride” style, and an important blues and jazz composer. In addition, however, Johnson was an innovator in classical music, composing symphonic music that incor porated American, and especially African American, traditions.
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