Murray, whose show of recent paintings and drawings is her best in many years, has been eminent hereabouts for a quarter century, although often regarded with BLANK, but the most BLANK of these paintings BLANK all doubts.
BLANK 1 Options: (A) partiality, (B) credulity, (C) ambivalence
BLANK 2 Options: (D) problematic, (E) successful, (F) disparaged
BLANK 3 Options: (G) exculpate, (H) assuage, (I) whet
BLANK 1 Options: (A) partiality, (B) credulity, (C) ambivalence
BLANK 2 Options: (D) problematic, (E) successful, (F) disparaged
BLANK 3 Options: (G) exculpate, (H) assuage, (I) whet
Show Hint
Solution and Explanation
Step 1: Understanding the Concept:
This sentence describes a shift in the reception of an artist's work. It moves from a state of uncertainty to a state of clarity and success. The words in the blanks must reflect this progression.
Step 2: Detailed Explanation:
Blank 1: The sentence begins by stating Murray has been "eminent" (famous and respected), but the word "although" introduces a contrast. So, while eminent, her work has been met with some form of mixed or uncertain feelings. (C) ambivalence, which means having mixed feelings or contradictory ideas about something, fits this context perfectly.
Blank 3: The final clause states that something about the new paintings removes "all doubts." This is the key outcome. The verb that fits here is one that means to soothe, remove, or satisfy these doubts. (H) assuage means to make an unpleasant feeling less intense, which is a perfect fit for what a great work of art would do to pre-existing doubts.
Blank 2: This blank describes the quality of the paintings that assuage all doubts. If the paintings resolve ambivalence and remove doubt, they must be very good. (E) successful is the most logical choice. The "most successful" paintings of the show would be the ones that definitively prove her talent and silence the doubters. "Problematic" or "disparaged" paintings would increase doubts, not assuage them.
Step 3: Final Answer:
The logical sequence is: Murray was regarded with ambivalence, but the most successful of her new paintings assuage all doubts.
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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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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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