It is his dubious distinction to have proved what nobody would think of denying, that Romero at the age of sixty-four writes with all the characteristics of BLANK.
Show Hint
- maturity
- fiction
- inventiveness
- art
- brilliance
The Correct Option is A
Solution and Explanation
This is a sentence completion question that relies on understanding the tone and specific phrasing of the sentence. The key phrases are "dubious distinction" and "proved what nobody would think of denying."
Step 2: Detailed Explanation:
A "dubious distinction" is an achievement that is not worthy of praise, often because it is unimpressive or obvious. "To have proved what nobody would think of denying" means to have demonstrated something that is completely self-evident or expected.
The sentence is saying that the writer has the unimpressive achievement of showing that Romero, a 64-year-old, writes with the characteristics one would expect from a 64-year-old. We need to find the word that represents the most obvious and expected characteristic of a writer of that age.
Analyzing the Options:
(A) maturity: It is a common and widely held expectation that a 64-year-old writer would exhibit maturity in their work. Stating this would be stating the obvious, making it a "dubious distinction." This fits the context perfectly.
(B) fiction: This is a genre, not a characteristic of a writer's style. It doesn't fit the blank.
(C) inventiveness: This is a positive quality, but it is not something automatically expected of every 64-year-old writer. Proving this would be a real achievement, not a dubious one.
(D) art: This is too general. It doesn't describe a specific characteristic.
(E) brilliance: Like inventiveness, brilliance is a high compliment and not an obvious or expected trait. Proving a writer has brilliance would be a significant claim, not a "dubious distinction."
Step 3: Final Answer:
"Maturity" is the most logical and expected characteristic for a writer of sixty-four. Proving this obvious fact is rightly described as a "dubious distinction."
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Fill in the blanks in the given sentences of List-I with the appropriate words given in List-II:
List-I (Sentences) and List-II (Words)
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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?
- GRE - 2024
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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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- GRE - 2024
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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.
Such a blend of musical elements was not entirely new: by 1924 both Milhaud and Gershwin had composed classical works that incorporated elements of jazz. Johnson, a serious musician more experienced than most classical composers with jazz, blues, spirituals, and popular music, was particularly suited to expand Milhaud’s and Gershwin’s experiments. In 1927 he completed his first large-scale work, the blues- and jazz-inspired Yamekraw, which included borrowings from spirituals and Johnson’s own popular songs. Yamekraw, premiered successfully in Carnegie Hall, was a major achievement for Johnson, becoming his most frequently performed extended work. It demonstrated vividly the possibility of assimilating contemporary popular music into the symphonic tradition.- GRE - 2024
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