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Admission Tests GRE General Test Sample Questions:

1. A large cube and a small cube are made of granite of uniform density- The large cube has edges of length 1.2 meters and weighs 4.752 kilograms. If the small cube has edges of length 10 centimeters, what is the weight, in grains, of the small cube?

A) 570
B) 396
C) 2.750
D) 3.960
E) 275

2. Despite the (i)_________nature of contemporary science, the (ii)_________of many individuals (iii)_________: the work of women and minority scientists has too often been exploited or deemed rudimentary and unworthy of inclusion into science history books.

A) remain overlooked
B) collaborative
C) contributions
D) controversial
E) motivations
F) point to a solution
G) manifest themselves
H) idiosyncrasies
I) sophisticated

3. Whereas Hellennan attribured her (i)_________as a pianist to her teacher's pedagogical (ii)_________. her teacher attributed them to Hellennan*s own desultory practice habits.
her teacher

A) adroitness
B) eccentricities
C) struggles
B . exploits
D) exertions
E) accomplishments

4. The importance of the Bill of Rights in twentieth-century United States law and politics has led some historians to search for the "original meaning" of its most controversial clauses. This approach. known as
"originalism." presumes that each right codified in the Bill of Rights had au independent history that can be studied in isolation from the histories of other rights, and its proponents ask how formulations of the Bill of Rights in 1791 reflected developments in specific areas of legal thinking at that time. Legal and constitutional historians, for example, have found originalism especially useful in the study of provisions of the Bill of Rights that were innovative by eighteenth-century standards, such as the Fourth Amendment's broadly termed protection against "unreasonable searches and seizures." Recent calls in the legal and political arena for a return to a "jurisprudence of original intention." however, have made it a matter of much more than purely scholarly interest when originalists insist that a clause's true meaning was fixed at the moment of its adoption, or maintain that only those rights explicitly mentioned in the United States Constitution deserve constitutional recognition and protection. These two claims seemingly lend support to the notion that an interpreter must apply fixed definitions of a fixed number of rights to contemporary issues, for the claims imply that the central problem of rights in the Revolutionary era was to precisely identity, enumerate, and define those rights that Americans felt were crucial to protecting their liberty.
Both claims, however, are questionable from the perspective of a strictly historical inquiry, however sensible they may seem from the vantage point of contemporary jurisprudence. Even though originalists are correct in claiming that the search for original meaning is inherently historical, historians would not normally seek.
It can be inferred that the author of the passage would be most likely to agree with which of the following statements about the Bill of Rights?

A) The diversity of views among the Bill of Rights" framers and ratifiers makes the search for any right's original meaning inherently problematic.
B) Establishing the original meaning of each clause will enable controversial issues to be settled according to the intentions of its framers.
C) The Bill of Rights' importance in twentieth-century United States law 3iid politics has been overemphasized by some scholars.
D) The omission of certain rights by the framers and ratifiers should limit the number of constitutionally recognized and protected rights today.
E) Originalists have exaggerated the contributions of certain framers and ratifiers of the Bill of Rights while downplaying the contributions of others.

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 author of the passage suggests that if the cited "art historians" had taken account of seventeenth-century fashion, they would have been more likely to

A) recognize that Crofts* manner of dress in the Pom-ait was appropriate for a formal portrait
B) recognize the extent to which Van Dyck"s approach to portraiture represented a departure from the practices of other artists
C) recognize that the clothing worn by the subjects in the Portrait contributes to an atmosphere of intimacy in the painting
D) be able to distinguish between the significance of the unbuttoned doublet depicted in the Portrait and that of the one depicted in a fashion print by Bosse
E) conclude that the doublet worn bv Crofts in the Portrait is not made of satin

Solutions: