PT113.S1.P3.Q19 > Analytics

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Published in 1952, Invisible Man featured a protagonist whose activities enabled the novel's author, Ralph Ellison, to explore and to blend themes specifically tied to the history and plight of African Americans with themes, also explored by many European writers with whose works Ellison was familiar, about the fractured, evanescent quality of individual identity and character. ███

Intro topic · Ralph Ellison's Invisible Man

Novel blended themes tied to African American experience with themes about individual identity, which were explored by European writers.

Other people's perspective · Two related criticisms of Invisible Man

It wasn't political enough, and didn't contribute to a distinct African American style.

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Ellison's response · The two criticisms make unwarranted assumptions

They assume that some historical circumstances require cultural segregation in the arts, that artists can't see world in unique ways, and that readers can only see the world from their own perspectives.

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Perspective · Jazz music is a better model for understanding Invisible Man

Jazz musicians can play music influenced by Europe, but that explore African American themes.

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Additional benefit of jazz model · Individual's relationship to community

Jazz solos involve individualistic playing rooted in broader context of the band. That relationship is like the one between Invisible Man's protagonist and the wider context of community.

Passage Style

Critique or debate

Spotlight

19.

It can be inferred from ███ ███████ ████ ███████ ████ ███████ █████ █████ ███ ██ ███ █████████ █████ █████████ ██ ██████████ ████████████ ██ █████ ██ ████

Question Type

Implied

Other’s perspective

We’re told about Ellison’s opinion of audiences at the end of P2: “Such a view characterizes all artists as incapable of seeing the world—with all its subtleties and complications—in unique yet expressive ways, and it makes the narrow assumption that audiences are capable of viewing the world only from their own perspectives.” Given that this quote describes Ellison’s rejection of the critics’ view about his work, we can infer that Ellison believes audiences are capable of viewing the world from more than just their own perspective.

Audiences respond more █████████ ██ ███ ████ ███ ██ █████████ ████████

Not supported, because Ellison’s comment about audiences doesn’t suggest audiences like non-political art more than political art. Rather, Ellison believes audiences do not just want to see political art.

Groundless criticism of ██ ████████ ████ ███ ██████ ██ ██████████ █████████ ██ ███ █████

Not supported, because Ellison’s comment about audiences doesn’t say anything about how audiences might be affected by critics’ comments.

Audiences have the ████████ ███ ███████ ████████ ██ ██████████ ██████ ███ ██████████ ████

This is the best answer. Ellison rejects the critics’ assumption that audiences can see the world only from their own perspectives. In other words, Ellison thinks audiences are open to art from other perspectives.

76%

The most conscientious ███████ ██ ███ ████████ ███ █████ ███ ███ █████ ██ ███ ████████ ██████████ ████████ ██ ███ ███████

Not supported, because Ellison’s comment about audiences doesn’t say anything about the audiences’ understanding of specific techniques.

Most audience members ███ █████ ██ █████ ████████ ██████████ ██ ████ ███ ████ ████ ████████ ████████████

This describes the critics’ view about audiences; Ellison rejects this view. Ellison thinks (E) is a narrow (false) assumption made about audiences.

14%

PrepTest 113 - Section 1 - Passage 3 - Question 19

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