SAT Questions and Answers Model Paper-6 Important Questions Section F

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Section - F

Time - 25 minutes

24 Questions

1. Knowing the rewards of … , NASA astronaut Ellen Ochoa encourages students to study hard if they wish to pursue careers in science and engineering.

(A) Generosity

(B) Serendipity

(C) Diligence

(D) Individually

(E) Merriment

2. The editor did not wish to print an article based on mere … ; she therefore ordered the reporter to find convincing …

(A) Substantiation. . Data

(B) Speculation. . Guesswork

(C) Conjecture. . Proof

(D) Amicability. . Rationalization

(E) Explanation. . Interpretation

3. Linda is … in matter large and small: she is inflexible in her opinions and utterly resistant to persuasion.

(A) Facetious

(B) Avuncular

(C) Sanguine

(D) Obdurate

(E) Tractable

4. Jason was truly … , for he squandered a great deal of money with no thought for the future.

(A) Prescient

(B) Infallible

(C) Reticent

(D) Improvident

(E) Sedulous

5. The 1990՚s were … years for the organization: the staff was happy, customers were satisfied, and profits were excellent.

(A) Halcyon

(B) Notorious

(C) Somnolent

(D) Capricious

(E) Expedient

Questions 6 - 9 are based on the following passages.

Passage 1

Questions 6 - 9 Are Based on the Following Passages
Line noPassage
5It was time to visit some sweets factories. Would they be magical, unpredictable places, like those in the movies, with steaming and chugging machines? The reality was far better. I visited half a dozen factories, and every time I entered one I was delirious with joy, ecstatic that the
10machines were exactly as I hoped they would be … long conveyor belts crammed with little sweets being prodded and poked, coated and dried, and extraordinary cauldrons and pipes and pushers and printers and stampers and choppers and scrapers, all working away to produce
super-fresh examples of super sweets, which were left lying around in vast piles, trays and buckets … as if I had stumbled on a candy EI Dorado. ⚹

Passage 2

Questions 6 - 9 Are Based on the Following Passages 2
Line noPassage
5The candy factory places all the foul props of the modern age in the service of our most innocent desires. To watch huge, metal machines pink out delicate chocolate bunnies … what delicious irony! The bogeyman of technology tamed! Bunnies Not bombs! This is a lot of
10nonsense, of course. Candy companies are servants of global capitalism, just as surely as oil and plastics companies. They dehumanize workers, both here and abroad, pump out pollution, and provide an indulgence that is Unconscionable, given the great many people on
the planet who are starving.

⚹ a legendary city of great wealth

6. Both passages suggest that

(A) The candy manufacturing process has been patterned after processes used in other industries

(B) Real candy factories are even more intriguing than the ones featured in films

(C) Candy companies produce a variety of candy for a global market

(D) Candy production is highly mechanized

(E) Candy production is extremely costly

7. Compared with the tone of passage 1, the tone of passage 2 is more

(A) Ecstatic

(B) Sincere

(C) Pensive

(D) Evasive

(E) Indignant

8. In passage 2, the sentence “This is a lot of nonsense, of course” (lines 18 - 19) marks a shift from

(A) Flowery description to unambiguous fact

(B) Facetious exclamation to earnest assertion

(C) Random description to concise prediction

(D) A candid declaration to a somber apology

(E) A historical recounting to a revisionist account

9. The author of passage 2 would most likely regard the view expressed in passage 1 as

(A) Endearing

(B) Discerning

(C) Insincere

(D) Naïve

(E) Pragmatic

Questions 10 - 15 are based on the following passages.

The following passage is adapted from a nineteenth-century short story. A group of men are a small lifeboat after their ship has sunk during a storm.

Questions 10 - 15 Are Based on the Following Passages
Line noPassage
5The mind of the master of a vessel is rooted deep in the timbers of her, though he command for a day or a decade; and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a topmast with a white ball on it, that slashed to
10and fro at the waves, went low and lower, and down. Therefore there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.

“Keep ′ er a little more south, Billie,” said he.

15“A little more south sir,” said the oiler in the stern.

A seat in this boat was not unlike a seat upon a bucking bronco, and by the same token a bronco is not much smaller. The craft pranced and reared and plunged like an animal. As each wave came, and she rose for it, she seemed

20Like a horse making at a fence outrageously high. The manner of her scramble over these walls of water is a mystic thing, and, moreover, at the top of them were ordinarily these problems in white water, the foam racing down from the summit of each wave requiring a new leap,
25And a leap from the air. Then, after scornfully bumping a crest, she would slide and race and splash down a long incline, and arrive bobbing and nodding in front of the next menace.

A singular disadvantage of the sea lies in the fact that

30after successfully surmounting one wave you discover that there is another behind it just as important and just as nervously anxious to do something effective in the way of swamping boats. In a ten-foot dinghy one can get an idea of the resources of the sea in line of waves that is not
35Probable to the average experience, which is never at sea in a dinghy. As each slaty wall of water approached, it shut all else from the view of the men in the boat, and it was not difficult to imagine that this particular wave was the final outburst of the ocean, the last effort of the grim water.
40There was a terrible grace in the move of the waves, and they came in silence, save for the snarling of the crests.

In the wan light the faces of the men must have been grey. Their eyes must have glinted in strange ways as they gazed steadily astern. Viewed from a balcony, the whole

45Thing would doubtless have been weirdly picturesque. But the men in the boat had no time to see it, and if they had had leisure, there were other things to occupy their minds. The sun swung steadily up the sky, and they knew it was broad day because the colour of the sea changed from
Slate to emerald green streaked with amber lights, and the foam was like tumbling snow. The process of the breaking day was unknown to them. They were aware only of this effect upon the colour of the waves that rolled toward them.

10. Which of the following best describe the primary focus of the passage?

(A) The character of the captain

(B) The boating skills of the men

(C) The power of the sea

(D) The power of the sea

(E) The beauty of nature

11. The narrator՚s characterization of the caption՚s “voice” (line 7) suggests that the captain was

(A) Resolute and openly reckless

(B) Distressed, yet determined to persevere

(C) Domineering, yet considerate of others

(D) Concerned, but also optimistic

(E) Anxious and obviously impatient

12. The “singular disadvantage” mentioned in line 25 is that

(A) It is difficult to tell where you are at sea because the view is always the same

(B) Sailors often misjudge the extent of their sailing skills when facing danger

(C) Every dangerous wave is followed by one that is equally dangerous

(D) Perilous situations at sea occur when sailors are least prepared for them

(E) Small boats are often swamped by rough seas during stormy weather

13. In line 25, “lies” most nearly means

(A) Reclines

(B) Resides

(C) Traces

(D) Deceives

(E) Extends

14. The sentence in lines 40 - 41 ( “Viewed … picturesque” ) primarily indicates that

(A) A detached observer might find the scene aesthetically intriguing

(B) The men in the boat were not troubled by the sea՚s turbulence

(C) The great distances involved at sea can make maintaining perspective difficult

(D) Only those with a keen sense of natural beauty can truly appreciate the sea

(E) The best way to experience the sea՚s vastness is from an elevated position

15. In the last paragraph, the “men in the boat” (line 42) are described as

(A) Almost paralyzed by a sense of the inevitable doom facing them

(B) Keenly aware that the sea is both beautiful and dangerous

(C) Grateful to see daybreak because it signals a possibility of hope and rescue

(D) Oblivious to some aspects of the world around them

(E) So overcome by exhaustion that they have lost the ability to respond to danger

Question 16 – 24 are based on the following passage.

In this selection from a 1995 work, the author discusses the role of photography in her family and in African American culture as a whole.

Question 16 – 24 Are Based on the Following Passage
Line noPassage
5Growing up in the 1950 ′ s, I was somewhat awed and at times frightened by our extended family ′ s emphasis on picture taking. Every wall and corner of my grandparents ′ (and most everybody else ′ s) home was lined with photographs. When I was young, I never linked this
10Obsession with self-representation to our history as a subjugated people.

For a long time cameras remained mysterious and off limits to all of us but my father. As the only one in the family who had access to the equipment, who could learn

15How to make the process work, my father exerted control over our images. In charge of capturing our family history with the camera, he called and took the shots. We were constantly being lined up for picture taking, and it was years before our household could experience this as an
20Enjoyable activity, before any of the rest of us could be behind the camera. Until then, picture taking was serious business. I hated posing. I hated cameras. I hated the images that cameras produced. I wanted to leave no trace. I wanted there to be walls in my life that would,
25Like gigantic maps, chart my journey. I wanted to stand outside history.

That was twenty years ago. Now that I am passionately involved with thinking critically about Black people and representation, I can confess that those walls

30of Photographs empowered me, and that I feel their absence in my life. Right now I long for those curatorial spaces in the home that express our will to make and display images.

My mother՚s mother was a keeper of walls. Throughout

35my childhood, visits to her house were like trips to a gallery or museum – experiences we did not have because of racial segregation. We would stand before the walls of images and learn the importance of the arrangement, why a certain photograph was placed here and not there. The
40Walls were fundamentally different from photo albums. Rather than shutting images away, where they could be seen only upon request, the walls were a public announcement of the primary of the image, the joy of image making. To enter black homes in my childhood was
45To enter a world that valued the visual, the asserted our collective will to participate in a curatorial process.

Drawing from the past, from those walls of images I grew up with, I gather snapshots and lay them out to see what narratives the images tell, what they say without

50words. I search these images to see if there are imprints waiting to be seen, recognized, and read. Together, a Black male friend and I lay out the snapshots of his boyhood to see when he began to lose a certain openness, to discern at what age he began to shut down, to close Himself away.
55Through these images, my friend hopes to find a way back to the self he once was. We are awed by what our snapshots reveal, what they enable us to remember.

The word remember (re-member) evokes the coming together of severed parts, fragments becoming a whole.

60Photography has been, and its, central to that aspect of racial empowerment that calls us back to the past and offers us a way to reclaim and renew life-affirming bonds. Using images, we connect ourselves to a recuperative, redemptive memory that enables us to construct identities,
Images of ourselves.

16. The author uses “obsession” in line 6 in order to

(A) Reveal her own strong interest in family history

(B) Demonstrate the extent of her involvement with her parents

(C) Show her admiration for her family՚s devotion to a hobby

(D) Suggest that there was something extreme about

(E) Deplore the effects of excessive picture taking on the community

17. The author՚s attitude toward photography in lines 18 - 22 is best described as

(A) Mild impatience with a habitual activity

(B) Grudging approval of an unusual practice

(C) Intense resent5ment of an unwelcome intrusion

(D) Acute regret for a childhood misconception

(E) Growing ambivalence about a family tradition

18. In line 21, “chat” most nearly means

(A) Analyze statistically

(B) Present as a table

(C) Reward

(D) Predict

(E) Chronicle

19. In line 21, “journey” refers to the author՚s

(A) Progress through life

(B) Development as a writer

(C) Travel to visit distant relatives

(D) Understanding of family history

(E) Exploration of the local community

20. In line 26, “absence” refers metaphorically to a lack of a

(A) Constraining force

(B) Cluttered space

(C) Negative influence

(D) Sustaining tradition

(E) Joyful occasion

21. The author mentions “photo albums” in line 36 in order to

(A) Demonstrate the ease with which photographs can be assembled in an album

(B) Help point out the effect of having photographs continuously on display

(C) Illustrate her family՚s preoccupation with commemorating important occasions

(D) Emphasize the variety in her grandmother՚s collections of photographs

(E) Recall her childhood fascination with family photo albums

22. The friend՚s goal in examining snapshots (lines 47 - 52) is most analogous to which of the following?

(A) A young man visits his father՚s childhood home in a distant city

(B) A child interviews an older relative to record the family՚s history

(C) A women reads her childhood diary in an effort to rekindle past goals and values

(D) Parents take annual photographs of their children to document the children՚s growth

(E) A grandmother teaches her native language to her grandchildren

23. The author uses the words “recuperative” and “redemptive” in line 59 to suggest that a memory can

(A) Protect us from the damaging effects of history and time

(B) Play tricks on us by making the past seem better than it was

(C) Exaggerate the feelings was had in childhood

(D) Prevent people from repeating the mistakes of the past

(E) Heal people by helping them determine who they are

24. The author uses “construct” in line 60 to make which point about a person՚s sense of identity?

(A) People begin building their identities at a remarkably early age.

(B) Individuals create their identities partly from awareness of their heritage

(C) Family members work together to perpetuate a single sense of identity

(D) Young adults work hard to balance childhood and adult moral values

(E) Photographers help their subjects determine appropriate social roles