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These readings are indebted to the deconstructive methods of reading that flourishing in Romantic studies in the 1970s and 1980s. The status of deconstruction as mode of literary criticism have ebbed in recent years; deconstructive criticism has, on one side, been denounced for its supposed deviation from a properly Derridean orthodoxy, and, from another, marginalized by thesimplistic story of an institution history, in which deconstruction reigned for a brief period in literary studies but has now been superseded by the New Historicism. In the field of Romanticism,the latter narrative has been given an unfortunate impetus by Jerome McCann’s critique deconstruction as the culmination of a “text-only” criticism that should be superseded by a properly historical criticism. McGann’s anti-deconstructive polemics have obscured the degree which deconstruction helped to inaugurate the present age of interdisciplinarity in literature departments in North America. Once Derrida began to argue that the prestige of philosophy as a master discipline depending upon a sleight of hand, through which philosophical texts concealed their essentially tropic natures, literary critics quickly realized that the same mode of deconstructive reading could be being applied to any discipline—such as history or autobiography — that claimed to offer a transparent referentiality.Literary criticism is itself one of the disciplines in which legitimacy resting heavily on its claims to a referential relation between its own words and the primary texts upon which it comments; thus the ways which various critical paradigms have inscribed the cultural significance of these highly canonized poems tell a good deal about our recent critical history. I have taken the dominantcritical paradigms of the present to be the New Criticism, whose continued viability in the American academy has no stronger proof than Helen Vendler’ s book on Keats’s odes. The point of the discussion of the critical histories of these poems and the theoretical contexts of those histories is not to score points against individual critics, but to illustrate, as clearly and as fundamentally as possible, why these poems have played such a significant role in our modern cultural history, and how they continue to be more than we thought we had bargained for.1. ______2. ______3. ______4. ______5. ______6. ______7. ______8. ______9. ______10. ______

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First, let’s consider what a nuclear reactor is: a (1), glowing red-hot coal. That’s a (2) way of describing it, anyway. Nuclear reactors, just like fossil fuel-burning power plants, make electricity by (3) water so it turns into steam and (4) a turbine, which powers a generator.To use another (5), the nuclear fission which (6) this heat is a bit like the chaos you’d get if you toppled a giant pyramid of (7) tomatoes. First, one can would fall, and then it would bounce off several more cans, (8) those over, and then they’d all bounce downhill, creating an ever-expanding chain reaction. And each time a can hit another can, it would produce a spark of heat.In Japan, this chain reaction stopped at the time of the earthquake, when the reactors shut down as a safety (9). But nuclear fission produces such (10) amounts of heat that it takes a long time for the reactor core to cool. Plus, the fissile (11) keeps giving off what’s called “decay heat” as it continues to (12) radiation. Right after shutdown, a nuclear reactor is still producing large amounts of heat, so you’ve got a pretty big job keeping the whole thing cool.Normally that’s done by circulating water around the core. But in Japan, the earthquake knocked out all means of moving this (13). Once that happens, the water can turn to steam, laced with hydrogen and other explosive elements. This (14) pressure in the containment building. That’s what caused the building explosions we’ve seen so far.Japanese nuclear officials are (15) pumping sea water into the reactor buildings to try and (16) things off. But the pressure from the steam and (17) heat makes that much more difficult to do than it sounds. It appears that nuclear fuel rods, which contain the fissile stuff, have been (18) to air for some unknown period of time in several of the reactors. At that point, without cooling water surrounding them, the rods (which are zirconium, in case you were wondering) start to blister and buckle.As they (19), the rods release radioactive fuel byproducts that normally they’d be able to contain. The open spaces between them—through which water normally would be able to flow—get blocked up, making it even harder for them to (20) heat, they melt, Hence the term—“meltdown.”

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When Bartley Hubbard went to interview Silas Lapham for the “Solid Men of Boston” series, which he undertook to finish up in The Events, after he replaced the originator of the project on that newspaper, Lapham received him in his private office by previous appointment.“Walk right in!” he called out to the journalist, whom he caught sight of through the door of the counting room.He did not rise from the desk at which he was writing, but he gave Bartley his left hand for welcome, and he rolled his large head in the direction of a vacant chair. “Sit down! I’ll be with you in just half a minute.”“Take your time,” said Bartley, with the ease he instantly felt. “I’m in no hurry.” He took a note-book from his pocket, laid it on his knee, and began to sharpen a pencil.“There!” Lapham pounded with his great hairy fist on the envelope he had been addressing. “William!” he called out, and he handed the letter to a boy who came to get it. I want that to go right away. Well, sir,” he continued, wheeling round in his leather-cushioned swivel chair, and facing Bartley, seated so near that their knees almost touched, “so you want my life, death, and Christian sufferings, do you, young man?”“That’s what I’m after,” said Bartley. “Your money or your life.”“I guess you wouldn’t want my life without the money,” said Lapham, as if he were willing to prolong these moments of preparation.“Take them both,” Bartley suggested, “Don’t want your money without your life, if you come to that. But you’re just one million times more interesting to the public than if you hadn’t a dollar; and you know that as well as I do; Mr. Lapham. There’s no use beating around the bush.”“No,” said Lapham, somewhat absently. He put out his huge foot and pushed the ground-glass door shut between his little den and the book-keepers, in their larger den outside.“In personal appearance wrote Bartley in the sketch for which he now studied his subject, while he waited patiently for him to continue, “Silas Lapham is a fine type of the successful American. He has a square, bold chin, only partially concealed by the short reddish-grey beard, growing to the edges of his firmly closing lips. His nose is short and straight; his forehead good, but broad rather than high; his eyes blue, and with a light in them that is kindly or sharp according to his mood. He is of medium height, and fills an average arm-chair with a solid bulk, which on the day of our interview was unpretentiously clad in a business suit of blue serge. His head droops somewhat from a short neck, which does not trouble itself to rise far from a pair of massive shoulders.”“I don’t know as I know just where you want me to begin,” said Lapham.“Might begin with your birth; that’s where most of us begin,” replied Bartley.A gleam of humorous appreciation shot into Lapham’s blue eyes.“I didn’t know whether you wanted me to go quite so far back as that,” he said. “But there’s no disgrace in having been born, and I. was born in the State of Vermont, pretty well up under the Canada line—so well up, in fact I came very near being an adoptive citizen; for I was bound to be an American of some sort, from the word Go! That was about—well, let me see!—pretty near sixty years ago; this is 75, and that was 20. Well, say I’m fifty-five years old; and I have lived’ em, too; not an hour of waste time about me, anywhere! I was born on a farm, and—”“Worked in the fields summers and went to school winters: regulation thing?” Bartley cut in.“Regulation thing,” said Lapham, accepting this irreverent version of his history somewhat dryly.“Parents poor, of course,” suggested the journalist. “Any barefoot business? Early deprivation of any kind, that would encourage the youthful reader to go and do likewise? Orphan myself, you know,” said Bartley, with a smile of cynical good-comradery.Lapham looked at him silently, and then said with quiet self-respect, “I guess if you see these things as a joke, my life won’t interest you.”“Oh yes, it will,” returned Bartley, unabashed. “You’ll see; it’ll come out all right.” And in fact it did so, in the interview which Bartley printed.“Mr. Lapham” he wrote, “passed rapidly over the story of his early life, its poverty and its hardships, sweetened, however, by the recollections of a devoted mother, and a father who, if somewhat her inferior in education, was no less ambitious for the advancement of his children. They were quiet, unpretentious people, religious, after the fashion of that time, and of sterling morality, and they taught their children the simple virtues of the Old Testament and Poor Richard’s Almanac.”Bartley could not deny himself this gibe; but he trusted to Lapham’s unliterary habit of mind for his security in making it, and most other people would consider it sincere reporter’s rhetoric.1 The narrator includes the fact that Lapham met Bartley “in his private office by previous appointment” to suggest that Lapham ______.2. Lapham’s reaction to Bartley’s arrival in his office can best be described as ______.3. Bartley informs Lapham that he is an orphan himself for all the following reasons EXCEPT: ______.4. According to Bartley’s sketch of Lapham, Silas credits his parents with ______.5. Throughout the passage, Bartley’s attitude toward Lapham can best be described as one of ______.

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Minerva was the goddess of wisdom, but on one occasion she did a very foolish thing; she entered into competition with Juno and Venus for the prize of beauty. It happened thus: At the nuptials of Peleus and Thetis all the gods were invited with the exception of Eris, or Discord. Enraged at her exclusion, the goddess threw a golden apple among the guests, with the inscription, ‘‘For the fairest” Thereupon Juno, Venus, and Minerva each claimed the apple. Jupiter, not willing to decide in so delicate a matter, sent the goddesses to Mount Ida, where the beautiful shepherd Paris was tending his flocks, and to him was committed the decision. The goddesses accordingly appeared before him. Juno promised him power and riches’ Minerva glory and renown in war, and Venus the fairest of women for his wife, each attempting to bias his decision in her own favor. Paris decided in favor of Venus and gave her the golden apple, thus making the two other goddesses his enemies. Under the protection of Venus, Paris sailed to Greece, and was hospitably received by Menelaus, king of Sparta. Now Helen, the wife of Menelaus, was the very woman whom Venus had destined for Paris, the fairest of her sex. She had been sought as a bride by numerous suitors, and before her decision was made known, they all, at the suggestion of Ulysses, one of their number, took an oath that they would defend her from all injury and avenge her cause if necessary. She chose Menelaus, and was living with him happily when Paris became their guest. Paris, aided by Venus, persuaded her to elope with him, and carried her to Troy, whence arose the famous Trojan War, the theme of the greatest poems of antiquity, those of Homer and Virgil.Menelaus called upon his brother chieftains of Greece to fulfill their pledge, and join him in his efforts to recover his wife. They generally came forward, but Ulysses, who had married Penelope, and was very happy in his wife and child, had no disposition to embark in such a troublesome affair. He therefore hung back and Palamedes was sent to urge him. When Palamedes arrived at Ithaca, Ulysses pretended to be mad. He yoked an ass and an ox together to the plough and began to sow salt. Palamedes, to try him, placed the infant Telemachus before the plough, whereupon the father turned the plough aside, showing plainly that he was no madman, and after that could no longer refuse to fulfill his promise. Being now himself gained from the undertaking, he lent his aid to bring in other reluctant chief, especially Achilles. This hero was the son of that Thetis at whose marriage the apple of Discord had been thrown among the goddesses. Thetis was herself one of the immortals, a sea-nymph, and knowing that her son was fated to perish before Troy if he went on the expedition, she endeavored to prevent his going. She sent him away to the court of King Lycomedes, and induced him to conceal himself in the disguise of a maiden among the daughters of the king. Ulysses, hearing he was there, went disguised as a merchant to the palace and offered for sale female ornaments, among which he had placed some arms. While the king’s daughters were engrossed with the other contents of the merchant’s pack, Achilles handled the weapons and thereby betrayed himself to the keen eye of Ulysses, who found no great difficulty in persuading him to disregard his mother’s prudent counsels and join his countrymen in the war.1. Bulfinch describes Jupiter as unwilling to “decide in so delicate a matter” implying that ______.2. The underlined word “disposition” in the second paragraph is used to mean ______.3. The sowing of salt is used by Bulfinch to show ______.4. Why does Ulysses display arms among the ornaments?5. A reasonable title for this narrative might be ______.

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During the mid-1840s, from 1845-1848, the potato crop in Ireland failed, creating a famine that ravaged the population. This event, the Great Famine, was one of the most significant events in the 8000-year history of this island nation, and the effects of it continue to haunt the Irish, both those who still live in Ireland and those who live in the United States. The most immediate effect of the famine was the dramatic decline in the Irish population—either through death from starvation and disease or through emigration to other countries.In Ireland, the potato had historically been the mainstay of the diet of a large proportion of the rural population. Highly nutritional, the potato was easy to plant and easy to harvest. If a family of six had one acre of land, it could grow a potato crop that would feed them for almost a year. However, dependence on one crop had its downside as well. Potatoes could not be stored for long, and farmers who had grown so accustomed to dealing with this one crop neglected to plant other crops as a hedge against possible failures.Rapid population increases in the years preceding the Great Famine had created a country whose expanding population was often poverty-stricken. Expanding population, coupled with landowners’ lack of responsibility toward tenant-farmers, led to a system where tenant-farmers frequently subdivided their land so that they could gain a bit of rent themselves. Consequently, the rural areas were dotted with small plots of land, most of which were used for potato farming. Prior to the famine, urban areas in Ireland were also experiencing economic distress because of a decline in Irish industry that resulted in unemployment and poverty in cities such as Dublin.In 1845, the year the famine began, a good potato crop was expected, so it came as a great surprise when nearly half of the crop of the country failed because of a blight that had come from North America. This particular blight was unusual inasmuch as when the potato was dug from the ground, it appeared to be healthy; it was only after a day or two that the potato began to rot.Despite the fact that only half the crop failed in 1845, starvation and disease plagued the entire country because many starving people, some of whom were infected with contagious diseases, roamed the countryside looking for food and spreading disease. Then, in 1846, the crop failed completely. In 1847, there was another partial failure, but because people had eaten their seed potatoes in 1846, the crop was much smaller in 1847. Then again in 1848, the crop failed completely.As if the crop failures were not enough, other factors affected the seriousness of the situation. Various contagious diseases such as typhus, dysentery, and several different types of fever spread rapidly. Landlords evicted tenant-farmers, and the government did very little to provide relief. Nor did it help that the winter of 1846-1847 was one of the coldest on record.When the famine was over in 1849, a cholera epidemic struck Ireland, so that by 1850 the country found its population reduced from 8.5 million to 6.5 million. One million people had died from disease and starvation, and one million had left Ireland for Britain, Europe, or North America.The results of the Great Famine were profound. Farming in Ireland changed from a one-crop economy to an agricultural economy that included livestock and other crops, such as grains. The seeds of animosity toward Great Britain, which had not helped the Irish in their time of need, were sown. And a pattern of emigration was established that lasts until today.1. According to the passage, the potato became a staple of the Irish diet for all of the following reasons EXCEPT ______.2. The passage implies that ______.3. According to the passage, rural life in the years before the Great Famine can best be described as ______.4 Disease plagued the Irish during the famine because ______.5. All of the following were results of the famine EXCEPT that the Irish ______.

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