Practice Test 2 Problems Flashcards
How many integers from 100 to 1,000 contain NO repeated digits? (Numbers like 252 and 991 are considered to have repeated digits.) (A) 632 (B) 648 (C) 720 (D) 810 (E) 900
x Looking at all the choices makes it oretty clear that writing out all the possible numbers is going to take more than a little while. TO simplify the counting, USE THE FUNDAMENTAL COUNTING PRINCIPAL. First, notice that all of the integers between 100 and 1000 have three digits, so “choosing” one of these integers involves specifiyign three digits. There are only 9 choices for the first digit, since it can not be 0. Once that first digit is chosen, there are nine digits remaining for the second digit. Remember that you can use 0 as the second digit, but you CAN NOT use the first digit again. Then, since you can’t use either of the first two digits again, there are only 8 digits remaining for the last digit. THis give a total of 9x9x8=648 integers (Chapter 10 Lesson 5: COunting Problems)
Dr. John Conway, for one, cannot imagine
he is doing anything but discovering results
that exist without him and that he did not
20 create. Why? “Because they couldn’t be
otherwise than what they are,” he said. “Two
and two might be five and pigs might fly. But in
the world I come from, two and two are four
and pigs don’t fly
The quotation in lines 21–24 (“Two and
two … don’t fly”) is intended to refute the
idea that
(A) mathematical discoveries do not require
intuition
(B) mathematical proofs are beautiful
(C) mathematicians do not require formal
education to make profound discoveries
(D) logic is never violated in mathematics
(E) mathematical truths are open to
interpretation
xE.John Conway is mentioned becuase he CANNOT imagine he is doing anything but discovering rather than inventing mathematical results. His quotation reinforces that point saying that mathematical truths are as closed to interpretation as the truth that pigs don’t fly.
THe following passage discusses some of the owrk of Henri Matisse, an INFLUENTIAL twentieth century French artist. Henri Matisse wrote in a 1948 letter: I have always tried to hide my own efforts and wished my work to have the lightness and joyousness of a springtime which never lets anyone know the labors it has cost. (insert more text here) scissors were an extension of pencil, charcoal
stick, and paintbrush. “My de´coupages,” he
60 stated, “do not break away from my former
pictures. It is only that I have achieved more
completely and abstractly a form reduced to the
essential, and have retained the object, no
longer in the complexity of its space, but as the
65 symbol which is both sufficient and necessary
to make the object exist in its own right, as well
as for the composition in which I have
conceived it.”
Old and crippled, Matisse could have rested
70 on the laurels of his past accomplishments. But
afraid the young, seeing in my work only the
apparent facility and negligence in the drawing,
will use this as an excuse for dispensing with
certain efforts I believe necessary.
10 The Flowing Hair Matisse’s , made of cut and
pasted paper, appears so unlabored that one
might misunderstand all that is behind and
went before it. Few would guess that a work as
lively and energetic as The Flowing Hair was
15 executed by a man eighty-three years old.
Moreover, The Flowing Hair is just one work in
an entire cut paper series of joyous, colorful
pieces suggesting dance and music.
The Flowing Hair shows no three-
20 dimensional modeling of the forms or shadows.
The female form is depicted as an intense blue
shape of flowing curves, a graceful rhythmic
arabesque. The whole figure—arms, legs, torso,
even the hair—seems to be in motion. The
25 footless legs have strength, and the arms have
almost become wings. One feels that at any
moment the figure might dance off the paper.
How did Matisse, as an old man, come to
create such vital works? One answer is his
30 development of a new art form: cut paper, or as
it is called in French, Papier colle´, Papier
de´coupe´, or de´coupage. Partly crippled by illness
and repeated surgery in 1941, Matisse came to
rely on the less strenuous medium of cut paper,
35 rather than oil painting, as his major art form.
He could work in the new art form lying down
in his bed or from his chair. He had studio
assistants paint expanses of paper in brilliant
hues of gouache, an opaque watercolor paint,
40 to his requirements. The old master then cut
shapes directly out of the paper without any
preparatory drawings. He felt he was drawing
with scissors. He loved the directness of the
process of cutting. After the shapes were cut,
45 Matisse instructed his assistants to pin the
pieces onto his studio wall. The many tiny
pinholes in the paper show that Matisse had his
helpers adjust the arrangement of the cutouts
numerous times until the most expressive
50 spatial relationship had been achieved.
Out of the painted, cut, and pasted papers
arose a self-sufficient medium of great pictorial
strength. Cutting paper with scissors gave him
a very strong feeling for line and enabled him to
55 develop forms of great simplicity and economy.
Yet Matisse did not use his scissors to declare
war on drawing and painting. Rather, hisnot Matisse. He truly enjoyed the challenge, the
directness, the intimacy of his new approach to
collage. He relished the opportunity to select,
place, and reposition the cut paper shapes. His
75 habit of hard work in the studio was so deeply
rooted and his creative vitality was so strong
that he let nothing, not even bad health,
interrupt his art. In the end, Matisse came to
esteem his cut paper works as the high point of
80 his creative career.
The central purpose of this passage is to
(A) contrast the artistic works of Henri
Matisse with those of his contemporaries
(B) enumerate the merits of The Flowing
Hair
(C) analyze a controversy regarding the life
of Henri Matisse
(D) describe the development of a new art
form
(E) examine several artistic movements of
the early twentieth century
The overall purpose of the passage is to
examine the art form of cut and pasted paper (lines
10–11) which was pioneered by Henri Matisse.
Notice that every paragraph refers to cut and pasted
paper, collage, or decoupage, which all refer to the
same art form.
Perelman was an essayist and travel writer
and many generations of humorists were
inspired by him, such as Woody Allen.
(A) and many generations of humorists were
inspired by him, such as Woody Allen
(B) who inspired many generations of
humorists such as Woody Allen
(C) that inspired many generations, such as
Woody Allen, of humorists
(D) by whom many generation of humorists,
like Woody Allen, were inspired
(E) of whom many generations of humorists,
such as Woody Allen, were inspired
``THe original phrasing is redundant and contains two problems: a lack of parallelism and a misplaced modifier. THe two clauses have the same subject so they should be in the active voice. ALso, the phrase such as WOody ALlen should be closer to the noun it modifies, humorists. Choice B corrects both problems most concisely and effectively.
Chapter 13 Lesson 3 Parallelism
Chapter 13 LEsson 12 Other Problems with Modifiers
Many visitors were impressed by the mounment's sheer size, but for others it was its solemn gravity. (A) size, but for others it was (B) size; but others thought it was (C) size, others were impressed by (D) size and not, like for others, (E) size; others by
E. In the original sentence, the phrasing of the two clauses is not parallel, and the pronoun IT has no clear antecedent. Choice E might sound odd at first reading, becuase it uses ellipsis, that is, the ommission of a phrase that is implied by the parallelism in the sentence. In other words, the sentence is equivalent to Many visitors were impressed by the monument’s sheer size; others [were impressed] by its solemn gravity. The phrase in brackets can be omitted because it is implied by the parallel clause that came before. (chapter 13 Lesson 5 Pronoun agreement) Chapter 13 Lesson 3 Parallelism
Our girl scout troop has already raised A twice as much B money for the children’s hospital C this year as last year D . No error E
D. This is an illogical comparison. The comparison should be between the money collected this year and the MONEY collected last year, so the correct phrasing in D is we collected last year
(CHapter 13 Lesson 4: COmparison Errors)
The inspiring A movies of Frank Capra, unlike many modern directors B , capture C the most hopeful aspects D of American life. No error
- B This comparison is illogical. It should
compare the movies of Frank Capra to the movies of
many modern directors.
(Chapter 13 Lesson 4: Comparison Errors)
ENTER ANY ERRORS FROM QUESTIONS 35-39 ONCE THEY ARELOCATED
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