PT133.S4.P2.Q15

PrepTest 133 - Section 4 - Passage 2 - Question 15

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P1

The literary development of Kate Chopin, author of . ███ █████████ ███████ ████ ███ ███████ ███████ ██████ ██ ██████████████████ ███████ ████████ ███

Intro Topic · Chopin's literary development
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Background · Chopin grew up with sentimental novels
Features of sentimental novels.
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Intro Group · Local Colorists (L.C.)
Chopin initially modeled her work on local colorists. Who were they?
P2

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L.C. Social Context · Expanding opportunities for women
Local colorists liked that traditional "women's culture" was dissolving.
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L.C. Attitude · Local colorists neutrally observed these changes
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L.C. Attitude Change · Local colorists mourn the loss of "women's culture"
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Illustrate L.C. Attitude · House as female nurturing, etc.
P3

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Contrast to L.C. · Chopin writes about different subjects
Loneliness, isolation, frustration... not traditional "women's culture."
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Similar to L.C. · Chopin uses the same conventions
Callback to "scientific detachment" of the L.C. to tell melodramatic tales
P4

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Evolution · Chopin discards L.C. in favor of New Women (N.W.)
Moved past L.C.'s nostalgia (for "women's culture"). Modeled later work on N.W.
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N.W. Details · Innovation in form and content
Unlike both sentimental novels and L.C.'s short stories, N.W. explores fantasy; parable; different worlds; and uses impressionistic methods to explore female consciousness
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The Awakening · Took N.W. approach further
Used impressionistic methods to render the female consciousness.
Passage Style
Single position
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15.

The work of the New ██████ ██ ██ ██ █████████████ ██ ███ ████████ █████ ███ ████ ███████ ███ █████ ███ ██ ███ █████████ ████████████████

a

Works of fiction ███████ ██ █ ███████████ ███████ █████ ███ ████ ███ ██ ██████ ███████ ██ ██████ ███████ ████ ███ █████ ███████ ██ █ ███████████ ████████ ██████

Unsupported. The author says nothing about whether the work of the New Women had any effect on social customs in the first place, so their work doesn’t tell us anything about which approach is more or less effective.

5%
b

Even writers who ████████ ██████ ██████ ███ ███ ██ ██████████ ███ ██████ ████ ██ ███ █████████

Unsupported. The author says nothing about whether the New Women advocated social change or regretted anything.

1%
c

Changes in social ███████ ██████████ ████ ██ ███████ ██ ████████ ██████████ ██ ███████ ███████ ██ ████ █████ ██ ███ ███ ██████ ██████████

Misdirection. If this is supported, it’s supported by the work of the local colorists, not the New Women. The local colorists witnessed the decline of “women’s culture” and changed their literary techniques in response. Even then, to say that (C) “inevitably” happens is too strong too conclude based on a single example. Meanwhile, we're only interested in the New Women for this question. And nothing suggests that they were responding to, or trying to make sense of, social changes. They were just innovative.

35%
d

Innovations in fictional █████████ ████ ███ ██ ████████ ████████ ██ ████████ ███████ ██ ███████ ████ ████ ████ █████████ ██ ████████ ██████

Strongly supported. The New Women innovated by experimenting with impressionistic methods in an attempt to describe previously neglected aspects of female consciousness.

55%
e

Writers can most ██████████ ██████ ███████ █████████████ ██████ ██ █████ ██ ███████████ ███████

Unsupported. It was Chopin, under the influence of the local colorists (not the New Women), who depicted extreme psychological states by using an uninflected manner. (Also, nothing suggests how accurately she was able to do so, or whether it was the most accurate approach.) Meanwhile, we're only interested in the New Women for this question. And, as far as we know, their only way of depicting psychological states was to use elements of fantasy and impressionistic methods. Nothing suggests they used an uninflected manner or depicted extreme psychological states.

3%

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