So far, I have treated Only A is B as B-->A. So far so good.
Recently, I have come across this question:
Does the statement "only A is B" deny other necessary conditions?
If so, does that amount to A--> (anything not B ) a false statement (such as A-->C)?
Here's why I pose the above question.
The word 'only' seems to imply exclusivity. Take this example: "Only you are the winner of this competition."
(and in this competition, it is possible to have multiple winners. It just happens to be that you are the only winner
I lay this down to rule out 'context' issue)
To me, this sounds like "winner of this competition --> you" and nobody else.
This would logically mean that winner --> (anyone who is not you) be false.
Similarly, if I were to say
"Only A assures B"
does this rule out other sufficient conditions? (I am assuming A assures B = A-->B)does this render (anything not A) --> B a false statement?For example, Let us assume C-->A; given the statement above, would saying C-->B a false statement?
Related to this question is does this amount to bi-conditional? My gut tells me no, but I am uncertain.
Assuming (only A is B = B-->A and no other necessaries) is true, this does not necessarily mean A = B, since there could
be other elements within B that is not A.
#help PT 73 RC number 2
For this passage in general, I had a very difficult time (as I always do with art and literature, as they dance around subject matter with unnecessarily vague and flowery words IMO).
Specifically, I am failing to grasp this passage because of the following reasons:
1. How am I to know that Cameron did not intend the pictures to be comical/amateurish? My best guess is the end of the first paragraph where it says "If Cameron had succeeded in her project of making seamless works of illustrative art."
The possessive pronoun HER tells me that she had a project, which was to make seamless works of illustrative art. That rings no bell to me. Does 'seamless works of illustrative art' mean NOT comical/amateurish pictures? If so, how? Why does this deny the possibility that Cameron intended her photos to appear as they do?
2. Number 8:
As far as I understand, the author is saying that Cameron's picture is good precisely because it is amateurish and yet somehow art.
Line 13 starts with "These traces, (the blurred baby faces and hate-staring) are what gives the photos their life and charm."
Further on in lines 43-46, the author says "what gives Cameron's pictures of actors their special quality--their status as treasures of...--is their singular combination of amateurism and artistry.
I REALLY cannot see how this translates into (B). B says the charm derives from VIEWER's awareness of fictional scene and circumstances of its portrayal. I have replayed JY's explanation over and over again, but it seems more like glossing over rather than pin pointing actual value judgment present in the passage.
(The parts he refers to, IMO, does not attest to what author attributes as what makes Cameron's pictures good. It is just a distinction between photos and painting, to my understanding)
3. Number 11:
(C) '...a certain grandeur.' We were talking about amateurism being good. Now this says possessing grandeur.
From my understanding, the use of ordinary objects and the resulting amateurish appearance is why Cameron's photos good. Again, did she INTEND these photos to be grand? HOW??
4. Number 12: Same as 8 and 11. For E to be the answer, the intent has to be at least not amateurish. HOW??