The playwright's approach is BLANK in that her works BLANK the theatrical devices normally used to create drama on the stage.
BLANK 1 Options: (A) pedestrian, (B) startling, (C) celebrated
BLANK 2 Options: (D) jettison, (E) experiment with, (F) distill
BLANK 1 Options: (A) pedestrian, (B) startling, (C) celebrated
BLANK 2 Options: (D) jettison, (E) experiment with, (F) distill
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Solution and Explanation
Step 1: Understanding the Concept:
This sentence has two linked blanks. The second blank describes an action (what the playwright does with theatrical devices), and the first blank is a word that characterizes the approach defined by that action.
Step 2: Detailed Explanation:
Blank 2: Let's first analyze the action. To (D) jettison something means to abandon or discard it. If a playwright jettisons the devices normally used to create drama, they are taking a radical, unconventional step by throwing away the standard toolkit.
Blank 1: Now we need a word to describe this approach. An approach that abandons all normal conventions would be highly unusual and surprising. Therefore, (B) startling is the most appropriate description. It would not be "pedestrian" (which means dull and unoriginal, the opposite of this action) or necessarily "celebrated" (the sentence describes the approach itself, not its critical reception).
Putting them together: The combination of startling and jettison creates a logical and coherent sentence: "The playwright's approach is startling in that her works jettison the theatrical devices normally used to create drama on the stage." The surprising nature of her approach is explained by her radical act of discarding conventions.
Step 3: Final Answer:
The most logical pairing is (B) startling and (D) jettison.
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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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