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Admission Tests GRE General Test Sample Questions:

1. For the 3 days shown with the greatest daily number of television viewers, approximately what was the average (arithmetic mean) daily number of television viewers who watched Show XI

A) 16 million
B) 23 million
C) 20 million
D) 27 million
E) 25 million

2. Despite the (i)_________name given to the fossil species, the fossil itself was (ii)_________: a wing bone, it measured nearly 0.6 meters (two feed long, indicating that its owner had been a very large bird, twice the size of some modern albatrosses.

A) suggestive
B) uninspiring
C) ancient
D) ambiguous
E) primitive

3. Although the percentage of first graders in Almaria who were excellent readers varied little between 1995 and
2010 the percentage of first graders who had considerable difficult)" reading their schoolbooks increased markedly during that period. This evidence strongly indicates that the average reading ability of first craders decreased between 1995 and 2010.
Which of the following, if true, provides the strongest additional support for the argument?

A) The average difficulty of the schoolbooks used in first-grade classrooms m Almaria decreased between
1995 and 2010.
B) The number of children in Almaria who were enrolled as first graders decreased steadily between 1995 and 2010.
C) The number of hours devoted to reading activities in first-grade classrooms in Almana did not vary significantly, on average, between 1995 and 2010.
D) The average number of schoolbooks used in first-grade classrooms in Almaria increased between 1995 and 2010.
E) The percentage of first graders in Almaria who had difficulty solving arithmetic problems did not increase as much between 1995 and 2010 as did the percentage of first graders who had reading difficulties.

4. The poet Paul Laurence Dunbar (1872-1906) was the premier Black writer of poetry that used the dialect of rural African Americans of the southern United States. Although Dunbar's works were both popular with readers and acclaimed by literary critics during his lifetime, after the First World War a radical shift occurred, at least in critical opinion of his poetry, and twentieth-century critical evaluation of his work has been generally negative. Some critics attacked his work on social grounds for failing to challenge plantation stereotypes of African Americans. Other critics, such as the poet James Weldon Johnson, argued from aesthetic grounds that dialect poetry in general was too limited as an artistic medium, and capable of producing only two effects: pathos and humor. The negative critical trend only began to reverse itself in the
1970s, when scholars began to emphasize the importance of mythic, psychological, and historical dimensions of Dunbar's works, focusing on the interior and exterior realities of African American life after the Civil War.
Which of the following can be inferred from the passage concerning scholars' use of mythic, psychological, and historical considerations in evaluating Dunbar's works?

A) Such use supports the claim that Dunbar's poetry was aesthetically more limited when written in dialect.
B) Such use challenges the claim that dialect poetry is well suited to producing effects of pathos and humor.
C) Such use suggests that earlier twentieth-century evaluations of Dunbar's poetry may have been too negative.
D) Such use disputes the claim that Dunbar's work failed to challenge plantation stereotypes of African Americans.
E) Such use suggests that the initial reception accorded Dunbar's poetry may have been too positive.

5. When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles The introduced an entirely new way of representing dress in portraiture. In women's portraits. he left off fashionable accessories, depicted subjects in unbuttoned sleeves and collars, and added lavish drapery and jewels. For the first time an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.
Van Dyck's Portrait of Thomas Killigrew and Willian. Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men's dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew. a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting, and Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew's right hand depicts two Itinerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.
At historians have interpreted the clothing depicted in this portrait, particularly Crofts' doublet which is worn unbuttoned in back, as an allusion to the subjects' grief-stricken distraction. It is true that Killigrew's dress includes references to his loss-he wears a cross inscribed with his wife's initials. There is an intimate nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, diis reading of the costumes as signs of grief does not take account of seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire; Crofts" dress would be quite appropriate for a formal portrait. Though black clothing, such as that won by Crofil, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mounting no shiny surfaces, such as Crofts' satin doublet, would be permitted. The unbuttoned slit on Crofts" doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse. who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s a certain calculated looseness was conventional in men's formal dress. Ribeiro. for example, cites the writings of moralists objecting to this style.
Killigrew's attire, though even looser than Crofts", should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew's
"undress" lends this portrait a distinctive intimacy, it might also refer to Killigrew's literary career. Many of Van Dyck's other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew's loss but also of his solace: he had but to express his grief in writing.
The passage suggests which of the following about Van Dyck's portraits of men?

A) They frequently depicted subjects in states of melancholy or mounting.
B) They were less innovative than were his portraits of women.
C) They gave less attention to men's clothing than did most paintings of the time.
D) They included fewer fashionable accessories than did his portraits of women.
E) They did not usually include loose or disheveled clothing

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