PT153.S3.Q19 > Question

SECTION 1 · rc

PASSAGE 1

Question 1 Question 2 Question 3 Question 4 Question 5 Question 6

PASSAGE 2

Question 7 Question 8 Question 9 Question 10 Question 11 Question 12 Question 13 Question 14

PASSAGE 3

Question 15 Question 16 Question 17 Question 18 Question 19 Question 20 Question 21

PASSAGE 4

Question 22 Question 23 Question 24 Question 25 Question 26 Question 27

SECTION 2 · lr

Question 1 Question 2 Question 3 Question 4 Question 5 Question 6 Question 7 Question 8 Question 9 Question 10 Question 11 Question 12 Question 13 Question 14 Question 15 Question 16 Question 17 Question 18 Question 19 Question 20 Question 21 Question 22 Question 23 Question 24 Question 25 Question 26

SECTION 3 · lr

SECTION 4 · rc

PASSAGE 1

Question 1 Question 2 Question 3 Question 4 Question 5 Question 6 Question 7

PASSAGE 2

Question 8 Question 9 Question 10 Question 11 Question 12 Question 13

PASSAGE 3

Question 14 Question 15 Question 16 Question 17 Question 18 Question 19 Question 20 Question 21

PASSAGE 4

Question 22 Question 23 Question 24 Question 25 Question 26 Question 27

The author concludes that sentimentality does not detract from aesthetic value. This is based on the fact that critics who claim that it does detract from aesthetic value hold that belief because absence of sentimentality is more interesting to people who watch a lot of movies.

The author assumes that the reason critics hold their belief constitutes evidence that the belief is wrong. This is flawed, because the reason the critics hold their belief doesn’t have anything to do with whether sentimentality does or does not detract from aesthetic value.

The author doesn’t argue that we should reject the critics’ claim because some authority also rejects the claim.

The author comments on how the critics came to hold their belief. This is not a comment on any “ulterior motive.” There’s a difference between the origin of a belief and the motivation someone has in advocating for the belief.

The argument doesn’t use conditional reasoning, so there isn’t a confusion of sufficient and necessary conditions.

The author rejects the critics’ view merely on the grounds of how the critics came to believe that sentimentality detracts from aesthetic value.

The argument doesn’t use conditional reasoning, so there isn’t a confusion of sufficient and necessary conditions.

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