"Poetry and Philosophy" by Justin Bailey

As the logical positivism rose to ascendancy, poetic language was increasingly seen as merely emotive. Wittgenstein’s influential Tractatus argued that only language corresponding to observable states of affairs in the world was meaningful, thus ruling out the value of imaginative language in saying anything about the world. Poetry’s contribution was rather that it showed what could not be said, a layer of reality which Wittgenstein called the “mystical.” Despite Wittgenstein’s interest in the mystical value of poetry, his successors abandoned the mystical as a meaningful category, exiling poetry in a sort of no man’s land where its only power to move came through the empathy of shared feeling.

Yet some thinkers, like Martin Heidegger, reacted strongly to the pretensions of an instrumental theory of knowledge to make sense of the world. Heidegger, Hans-Georg Gadamer and Paul Ricoeur all gave central value to poetry in their philosophical method; signifying a growing sense among continental thinkers that poetic knowing was an important key to recovering some vital way of talking about and experiencing the world that had been lost.

The word "ascendancy" used in the first sentence most nearly means __________.

A Short History of the Electric Guitar, by Will Floyd

Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.

Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.

The word "ubiqiuitous" in the passage means __________.

Technology of the Future by Will Floyd

Technological revolutions rarely come in expected forms. Predictions of the future are usually found to be humorous in retrospect, as the theories put forward usually involve too much of the present. Typically, an author who imagines the future sees some small developments in the technology already in use, without countenancing a possible sudden change in how gadgets are made. Science fiction from before the personal computer’s rise tended to show computers as large machines only run by specialists. Before the development of tablets, small reading devices belonging to each person were hardly imagined. None of these now strange conjectures on the future should be ridiculed. Even those researchers and scientists who are trying to create new breakthroughs in technology often have no idea of what their work will produce. The personal computer was initially divided into office models and home models, which were supposed to have different graphics, power, and performance specifics. In reality, people desired the office model in their home. Such adoptions happen all the time in the world of technology, with such disparate examples as the personal computer and the Model-T automobile both changing future technology by becoming the most popular forms in the marketplace.

It can be inferred from the passage that "tablets" are __________.

Baseball, Then and Now, by Will Floyd

The twenty-first-century baseball fan would hardly recognize the nineteenth-century version of the national pastime. The massive stadiums, pristine uniforms, and even most articles of equipment integral to the modern game were all unfamiliar to players in the late-nineteenth-century.

The current number of balls and strikes that each batter is allowed was not settled until the 1890s. Fielding gloves were not utilized until the 1880s. Players could even call for a high or low pitch as recently as 1900. The biggest misconception about nineteenth-century baseball from a modern point-of-view is assuming all pitching was done the way it is now. In fact, until 1893 pitchers operated out of a box a mere 45 feet away. The short distance was no problem, as the original rules for pitching required an underhand motion. As athletes have done for centuries, pitchers of the nineteenth century figured out ways to throw harder and circumvent the rules. Eventually, pitchers were taking a running start from 45 feet away and throwing overhand. Baseball players and administrators quickly realized that such pitching was a safety hazard at 45 feet, and it creates a tedious game in which no one could score. Baseball pushed the pitcher back to sixty feet and six inches, introduced the pitcher’s mound, and the slab the pitcher must be rooted to, pushing baseball closer to its modern form. These changes in baseball’s early years made the game the treasured sport it is today.

The word "circumvent" in the passage means __________.

A Short History of the Electric Guitar, by Will Floyd

Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.

Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.

It can be inferred from the passage that the word "luthier" means __________.

Unseen Characters by Will Floyd

Many plays, films, and television shows use the storytelling device of the unseen character. As the name implies, this trope involves a character the audience never directly encounters, but instead only hears about through the words of other characters. A common assumption is that a character that never speaks or is visible to the viewers of a play or film would only be a minor element, left to be the butt of jokes or as a simple way to add depth to a major character. In fact, unseen characters are frequently quite important, and further the plot because of their absence. The most notable instance of such a character is Godot, in Samuel Beckett’s play Waiting for Godot (1953). The two main characters in the play, Vladimir and Estragon, sit patiently by a tree, expecting Godot to come by at any moment. Three other characters, Lucky, Pozzo, and a boy, all speak to Vladimir and Estragon, with Godot never alighting on the stage. Nonetheless, Godot’s machinations in making the men wait—along with his supposed intentions—drive the play’s narrative. Godot, never seen or heard from directly, becomes the largest force in the created world of the play. This use of an unseen character creates an added mystery and increases the tension between the two main characters. Beckett uses the unseen character not as a gimmick or cheap ploy, but instead as the central focus of his play.

The word "alighting" in the passage means __________.

Political Representation by Will Floyd

Pundits often decry the gridlock in Washington, DC. Partisanship frequently makes legislators oppose bills they had supported in the past. Political grandstanding regularly takes the place of reasoned compromise or deal making. Many political scientists are trying to find ways to resolve these issues with Constitutional boundaries. One of the more popular suggestions is a different voting system called proportional representation. Proportional representation operates under the theory that each vote will help place a candidate in the legislature, rather than the current winner take all method of elections in the United States. Under proportional representation, candidates do not run for a specific seat in a particular district, but instead are part of a ranked list of candidates for each political party; therefore, if a political party receives thirty percent of the votes, thirty percent of the seats will be held by this party. Critics of proportional representation claim the system gives too much power to fringe candidates and political parties, whose only goal would be to destroy the political system. This cynical view of proportional representation stems from the example of countries currently using proportional representation. As it is, political scientists that do argue for proportional representation are trying to find a way around the current problems that exist in the United States’ political system, and feel a third party might create new pressures on the two party system currently causing such problems. The advocates of proportional representation do not argue that proportional representation is a perfect system, but also argue that we are not in a perfect system and need something to change.

The word "cynical" in the passage means __________.

Baseball, Then and Now, by Will Floyd

The twenty-first-century baseball fan would hardly recognize the nineteenth-century version of the national pastime. The massive stadiums, pristine uniforms, and even most articles of equipment integral to the modern game were all unfamiliar to players in the late-nineteenth-century.

The current number of balls and strikes that each batter is allowed was not settled until the 1890s. Fielding gloves were not utilized until the 1880s. Players could even call for a high or low pitch as recently as 1900. The biggest misconception about nineteenth-century baseball from a modern point-of-view is assuming all pitching was done the way it is now. In fact, until 1893 pitchers operated out of a box a mere 45 feet away. The short distance was no problem, as the original rules for pitching required an underhand motion. As athletes have done for centuries, pitchers of the nineteenth century figured out ways to throw harder and circumvent the rules. Eventually, pitchers were taking a running start from 45 feet away and throwing overhand. Baseball players and administrators quickly realized that such pitching was a safety hazard at 45 feet, and it creates a tedious game in which no one could score. Baseball pushed the pitcher back to sixty feet and six inches, introduced the pitcher’s mound, and the slab the pitcher must be rooted to, pushing baseball closer to its modern form. These changes in baseball’s early years made the game the treasured sport it is today.

The word "pristine" in the passage means __________.

A Short History of the Electric Guitar, by Will Floyd

Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.

Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.

The word "antiquated" in the passage means __________.

Adapted from The Frontier in American History, by Frederick Jackson Turner

But the larger part of what has been distinctive and valuable in America's contribution to the history of the human spirit has been due to this nation's peculiar experience in extending its type of frontier into new regions—and in creating peaceful societies with new ideals in the successive vast and differing geographic provinces which together make up the United States. Directly or indirectly these experiences shaped the life of both the Eastern and Western States, and even reacted upon the Old World, influencing the direction of its thought and progress. This experience has been fundamental in the economic, political, and social characteristics of the American people and in their conceptions of their destiny.

Writing at the close of 1796, the French minister to the United States, M. Adet, reported to his government that Jefferson could not be relied on to be devoted to French interests, and he added that "Jefferson, I say, is American, and by that name, he cannot be sincerely our friend. An American is the born enemy of all European peoples." Obviously erroneous as are these words, there was an element of truth in them. If we would understand this element of truth, we must study the transforming influence of the American wilderness, remote from Europe, and by its resources and its free opportunities affording the conditions under which a new people, with new social and political types and ideals, could arise to play its own part in the world, and to influence Europe.

"Obviously erroneous" in the passage means __________.