DIRECTIONS: The questions are based on the accompanying passages. Read each passage carefully, then answer the following questions. Consider only the material within the passage. For each question, select the ONE BEST ANSWER and indicate your selection by marking the corresponding letter on the Answer Form.

Passage I (Questions 1-7)

The American flapper, who came into existence during the revolution of manners and morals described by Allen and who owes her name, in part, to the British flapper, came to be associated in the 1920s withthe illustrations of John Held, Jr., America's leading cartoonist of theJazz Age. In film the first flapper was Colleen Moore, who appeared in themovie Flapperdom in 1922, and was shortly joined by Clara Bow, the"It" girl, who came to be considered as the quintessence of the flapper.But it is Fitzgerald who is, over and over in the popular magazines of histime credited with inventing or discovering the flapper, as the followingsamples demonstrate. A 1921 article in Shadowland,entitled "Fitzgerald, Flappers and Fame," acknowledgesFitzgerald as "the recognized spokesman of the younger generation ... sincethe publication of his now famous flapper tale 'This Side of Paradise."'in a newspaper clipping from 1922 pasted in the Fitzgeralds' scrapbooks,Fitzgerald is called "The Flapper Laureate." Another from the same periodis headlined, "F. Scott Fitzgerald Tells How He Discovered the Flapper."Even into the 1930s editors and reviewers continued to associate Fitzgeraldwith his tales of the Jazz Age and to echo the call for the flapper stories.Magazine editors continued into the mid-i 930s to ask for the old Fitzgeraldstories of flappers and "flask gin," but by the mid-1920s he had given uphis creation for which he is now perhaps most often remembered in favor offictional individuals that he hoped would defy stereotyping. The popularmagazines of the Jazz Age, now in the bound periodicals section of most libraries,remain the most accessible shrine, though now perhaps a dusty one, to theFitzgerald Flapper.

3. According to John O'Hara:

B. I and III

C. III and IV
D.  IV only
 

7. The passage would support:

8. This passage deals with:

A. agents that make an individual feel that he/ she "can take on the world."

B. primary and/or secondary reinforcers of behavior.

C. crutches for persons who have low self-esteem.

D. all of the above.
 

Passage III (Questions 16-24)

For almost a thousand years Alexandria was the world's center of higher learning. The library eventually contained a half million scrolls, and the museum contained a zoo, botanical garden, astronomical observatory, anatomical exhibit, and treasures from around the world. Teaching was limited only to what was necessary to train researchers for the next generation.The main focus was on improving understanding so that each generation couldinherit a more advanced civilization. Teaching was not an end or good initself.

The school of Alexandria was modeled after the Lyceumof Aristotle. What Aristotle received from Plato and what passed to the school at Alexandria was a sense of optimism and dedication in seeking the truth. We know that Plato marveled at the underlying principles of mathematics,such as the Pythagorean theorem, and that he tried to find underlying principles or "truths" in other fields of study. Aristotle's improvement was to take this idea of generalization apart and show that when deduction and induction were used alternately, we had a method of finding underlying principles.

The first librarian was Herodotus of Ephesus, who with these new methods of logic, dared to edit Homer's Iliad and Odyssey. The second librarian was Eratosthenes of Cyrene who, to mention one specific item, measured the size of the earth. First, he measured the angle of the sun (six degrees) at midday on midsummer's day at Alexandria because he knew from previous trips to Syrene (near today's Aswan Dam) that the sun shone to the bottom of its wells (zero degrees) on that very day and time eachyear. Then, he only had to measure the distance between these two placesto calculate the circumference of the earth (60/360 = distance/circumference).

The third librarian, Aristophanes of Byzantium, commissioned 70 scholars to translate the Bible into Greek; and this translation, used by Jesus Christ, became known as the Septuagint. (There is other evidence to suggest that the "flight into Egypt" took place in Alexandria.) The fourth librarian was Aristarchus of Samosthrace who developed the eight parts of speech and wrote commentaries on the works of Homer, Pindar, and Aristophanes of Athens.

Returning to the faculty, we should not fail to acknowledge what we owe to Euclid beyond geometry. Euclid, who was commissioned to start a school of mathematics around 300 B.C., established a mode of accumulating understanding by starting with a few axioms and theories, stacking conclusions into workable structures of knowledge. Examples today would be the Periodic Chart of Elements, the Myers-Briggs Personality Types, and the concept of management schools, to name a few structures or inferential models in different disciplines.

Apollonius and Archimedes were in the next generationof scholars. Whereas Apollonius gave us the conic sections, Archimedes gaveus number systems (myriads) capable of counting the sands of the earth. That same generation included Aristarchus of Samos who taught that the earth moved around the sun and whose name appeared in the margin of a book used by Copernicus while studying at Bologna in the seventeenth century.

During the following century, Hipparchus of Nicea calculated the length of the year to within minutes and the length of the month to a few seconds. Around 150 A.D. Claudius Ptolemy wrote 13 books on astronomy, called the Almagest. This set also explained that finding a descriptive model for understanding was more important than accounting for every fact or observation. In hisbooks on astrology, he summarized the beliefs of the Greeks, Egyptians, andPersians and gave us the horoscopes and Zodiac signs used today. Also around150 A.D. Galen came to Alexandria to study. He was the authority on medicinefor more than a thousand years; when physicians found parts of a body todiffer from his descriptions, they concluded that the person was abnormal.

During the early days of Alexandria, prisoners were dissected alive. However, evil was not limited to "pagans" but discrimination and killing occurred between Jews and Greeks, Christians and Egyptians, and so on. Around 400 A.D., a Christian mob under Cyril ripped the flesh off the mathematician Hypatia because her beliefs were not like theirs.

Whereas understanding could be accumulated in libraries and transmitted by books from generation to generation, wisdom (seeing the importance of doing good for others, i.e. human truths) has to be reinspired again and again by individuals in each generation.

Through the centuries, religion and classical humanism have contended to underwrite the meaning of wisdom. Sometimes, religion (morality) provided the rationale for justice, at other times, humanism (ethics). Whatever, the lesson from Alexandria's past is that whenever a true sense of the underlying principles of morality or ethics was not present, minorities and individuals suffered. Thus, during periods of ebbing or pluralistic religious beliefs (like today), ethics becomes necessary to form a behavioral consensus, to "hold these truths." Accordingly, the university's first mission is not to acquire new understandings nor to teach many students, but to reinspire wisdom at an effective level in each new generation.

17. Plato's sense of "truth" was

                                              B. Oman.                 D. Eratosthenes.

Passage IV (Questions 25-30)

Charles James Correll (February 2, 1890-September 26,1972), radio comedian and co-creator with Freeman Gosden of Amos 'n Andy was the son of Joseph Boland Correll and (though there are some inconsistencies about his mother's first name) Julia A. Fiss Correll. He was born in Peoria, Illinois, where he grew upin a stable, working class family. While still in school, he worked as anusher in a local vaudeville house and developed an interest in show business.After graduating from Peoria's public high school, he began to follow hisfather's trade as a bricklayer. In his spare time, however, he played pianoin Peoria's silent movie houses and sang, danced, and took small parts inlocal shows.

In 1918, after being noticed by the director of a local show, Correll was offered a job with the Joe Bren Company of Chicago. Bren specialized in producing minstrel shows as fund-raisers for charitable groups in small cities. For the next 6 years Correll traveled the country, directing productions for Bren. In 1919, doing a show in Durham, North Carolina, he first met Freeman Gosden, who had just been hired by Bren and was to be trained by Correll. The two became friends, often sharing an apartment during summers when both men were in Chicago, preparing for the next season. In 1924 both men were brought to Bren's Chicago home office, Gosden to manage Bren's new circus division, Correll to manage the shows division.

Sharing an apartment, Correll and Gosden began to write musical reviews together, and they worked up a "song and chatter" act. In March, 1925, they began an 8-month series of weekly appearances on Chicago's radio station WEGH. Soon they were doing occasional appearances in showsand on radio programs in St. Louis, in Columbus, Ohio, and other places inthe midwest. During the summer of 1925 they both resigned from the Bren Company and began concentrating on a career in vaudeville. However, the Chicago Tribune’s radio station offered them $200 a week, and in November, 1925, they began a series of nightly broadcastson WON.

At the suggestion of the station's management, Correll and Gosden used their experiences with minstrel shows to work up a "radio comic strip" about two African American boys, and on January 12, 1926, Sam 'n Henry began a series of nightly 10-minute broadcasts on WON. The show was an immediate hit. In 1928, however, a rival Chicago newspaper lured Correll and Gosden away from WON, though the T ribune retained all rights to Sam 'n Henry and continued broadcasting the show with two new men.

At the Chicago Daily News 's radio station WMAQ, on March 19, 1928, Correll and Gosden began broadcasting six nights a week with a 15-minute show about two African American men living in Harlem. Amos 'n Andy focused on the misadventures of Amos Jones, played by Freeman Gosden as energetic, enterprising, and honest, and Andrew H. Brown, played by Correll as indolent but good-hearted. Gradually, the team added characters, but until the 1940s all the writing and voices were done by Correll and Gosden.

The show was a huge success, and with the help of the Tribune's publicitystaff, in 1929 Correll and Gosden even put out a book (All About Amos 'n Andy and Their Creators Correll and Gosden) to satisfy Chicago listeners' curiosity. Within a short time NBC was offeringCorrell and Gosden $100,000 a year, and on August 19, 1929, Pepsodent toothpastebegan sponsoring Amos 'n Andy NBC's Red network.

Amos 'n Andy became network radio's first huge success. Within a few years, Correll and Gosden had moved to California where they appeared in movies, published books of Amos 'n Andy dialogue, and lived the life of Hollywood stars. Despite protests about the racial stereotyping of Amos 'n Andy, especially from the African American Press, Correll and Gosden's show remained popular throughout the Great Depressi6n and into the 1940s. Short, stocky, and dark haired (later gray), Correll became the relaxed, gregarious half of the partnership, balancing Freeman Gosden's more temperamental, difficult, and creative personality.

Correll enjoyed his success. He bought a large, lavish home in Beverly Hills; he indulged in expensively stylish clothes, and became an enthusiastic golfer. After a divorce from his first wife, Marie Janes(whom he had married in 1927), he married the dancer, Alyce Mercedes McLaughlin in 1937. They eventually had four children.

With World War II, listenership began to drop. In February, 1943, after changing networks and sponsors several times, Amos 'n Andy left the air. In October it returned as a half-hour weekly variety program featuring guest stars, an orchestra, outside writers, and a studio audience. This show continued with NBC until 1948 when Correll and Gosden, along with Jack Benny and other stars, left NBC. For $2.5 million Correll and Gosden sold CBS all the rights to Amos 'n Andy for the next 20 years, and they also received star salaries to play the chief parts.

Within a few years, television ended the success of their variety show, but from 1954 into the 1960s, Correll and Gosden stayed onCBS radio with a new show, The Amos and Andy MusicHall, mixing skits with popular records. On November 25, 1960 they left the air permanently.

In the mid-1950s, CBS developed a situation comedy based on Amos 'n Andy characters. Correll and Gosden were creative consultants, but the cast was entirely African American. The show had modest success with audiences, but it was embroiled in constant racial controversy. The NAACP protested the show vehemently,and the cast had frequent problems with the scripts. Neither Correll norGosden was prepared for the kind of bitterness that the TV show had engendered,and both men, especially Gosden, felt deeply wounded by some accusations.

After the TV series ended and their last radio show was over, Correll and Gosden remained friends, living near each other in quiet retirement in their Beverly Hills homes. Correll continued throughout his life to maintain warm and friendly connections with his midwestern roots, and returning to Chicago, he died there at the age of 82.

B. Correll was independently wealthy and took up vaudeville because he could find nothing else that interested him

A. Angry C. Wounded

B. Vindictive D. Indifferent

30. In retirement, both Correll and Gosden were financially secure. What was the state of their friendship in the later years of their lives?