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The scientific method is the systematic pursuit of knowledge involving the identification of a problem, the collection of relevant data through observation and experimentation, and the formulation and testing of hypotheses that aim to solve the problem. Ever since the scientific method became a way of learning about nature, including ourselves, some people have hailed science as the only way to comprehend natural phenomena, while others have questioned whether it is an appropriate road to knowledge. As science and technology have grown, the questioning has deepened and expanded.This is not to say that so-called scientific evidence is not a good way to vouchsafe truth. Scientists’ testimonies are used to endorse everything from toothpaste to nuclear power; however, they are also used to challenge the very same things. And this is where it gets tricky: “Scientific” support can now be elicited on all sides of every question, so that the public is constantly forced to decide which scientists to believe.Where then is the vaunted objectivity of science? People are realizing that they must either develop criteria on which to make these decisions (and to do so for each important issue) or decide to disbelieve all scientific explanations and look for other ways of knowing. Incidentally, these other ways are sometimes no less empirical than the scientific ones. The decision to disbelieve all scientific explanations is not to be sneered at. The volume, contradictoriness, and limited comprehensibility of much scientific information leave most people bewildered.I am reminded of the comment Virginia Woolf attributes to the time-traveling character in her novel Orlando, who mused as she enters an elevator at Marshall and Snelgrove’s department store in London in 1928: “The very fabric of life now... is magic. In the eighteenth century, we knew how everything was done; but here I rise through the air; I listen to voices in America; I see men flying - but how it’s done, I can’t ever begin to wonder. So my belief in magic returns.”Not only the general public is ill at ease. Uneasy questions are being asked by scientists themselves. As one noted scientists has argued: The scientific community had lead a particularly unexamined life for a surprisingly long time, and may have accepted its unusual and, until recently, unquestioned status a little too easily. Indeed, in the last 25 years, in an effort to raise financial support at a rate nearly triple that of the rest of society, the scientific community may have promised too much too soon. Certainly it underestimated the demand for accountability.” And his scientist goes on: "In all humility, it must... be admitted that it is impossible to categorically deny that we may have reached a point where we must abandon the faith that [in all cases] knowledge is better than ignorance. We simply lack the ability to make accurate predictions.1.In lines 4-6 (“some people, knowledge”), the author does which of the following?2.The examples in lines 9-10 ('"toothpaste...power9) are given to (  ).3.Lines 16-18 (“The decision... bewildered”) serve primarily to (  ).  4.In the last sentence, the word “simply” most nearly means (  ).  5.The primary purpose of this passage as a whole is to(  ).

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I have found that the effect of comic books to be first of all anti-educational. They interfere with education in the larger sense. For children, education is not merely a question of learning, but is a part of mental health. They do not “learn” only in school; they learn also during play, from entertainment, and in social life with adults and with other children. To take large chunks of time out of a child’s life——time during which he or she is not positively, that is, educationally, occupied——means to interfere with healthful mental growth. To make a sharp distinction between entertainment and learning is poor pedagogy, and even worse psychology. A great deal of learning comes in the form of entertainment, and a great deal of entertainment painlessly teaches important things. By no stretch of critical standards can the text in comics qualify as literature, or the drawings as art. Children spend an enormous amount of time on comic books, but their gain is nil. They do not learn how to read a serious book or magazine. They do not gain a true picture of the West from the “Westerns.” They do not learn about any normal aspects of sex, love, or life. I have known many adults who have treasured throughout their lives some of the books they read as children. I have never come across any adult or adolescent who had outgrown comic book reading who would dream of keeping any of these books for any sentimental or other reason. In other words, children spend a large amount of time and money on these publications and have nothing positive to show for it. And since almost all good children’s reading has some educational value, comics by their nature are not only non-educational; they are anti-educational. They fail to teach anything that might be useful to a child; they do suggest many things that are harmful.1.The author would most likely agree that comic books (  ).2.In line 2, the underlined word “question” most nearly means (  ).  3.The author criticizes those who would “make a sharp distinction” (line 7) because the author believes that (  ).  4.In lines 11-13, the three sentences beginning with ‘"they” primarily serve to (  ).  5.The tone of this passage can best be described as(  ).

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As long as Hurston remains susceptible to what are essentially political judgments, her literary fortunes will continue to fluctuate with the temper of the times. Criticism that restricts itself to ideology misses the basic reason the writer is worth reading in the first place. Hurston belongs among the American classics not because of her politics but because of her language. She was at pains to distinguish herself from other writers with clearly defined social and political agendas. Some writers, Hurston charged, think there is bravery in writing for those “who want to hear the same thing over and over again even though they already know it by heart.... It is the same thing as waving the flag in a poorly constructed play.”Hurston’s saving distinction was her exquisitely sensitive ear. She was sometimes out of tune, as when she tried to devise metaphors that were self-consciously literary (there is a basin in the mind where words float around3’). But when she deployed colloquial speech and celebrated its ability to move beyond mere denotation, she was a spectacular writer, and the farthest thing from a flag waver. When, for instance, she describes a speeding train, she uses a word that perfectly conveys the sound of the wheels clicking over the track joints: it “schickalacked” over the rails.Hurston was a brilliant transcriber of colloquial language and teller of folktales, but these were only part of her achievement. When writing in her own voice, she renders the world in phrases that are palpable and wonderfully immediate. This is a writer who understood that spontaneous image-making is the mark of a living language, that a shared language is the only conduit we have into the interior lives of other people.Hurston’s real subject, and this is the reason her work will abide, was the universal disjunction between the limitless human imagination and the constrictions within which all human beings live. She happened to know best how to exemplify this theme by writing about the lives of Black women in the American South, which in itself is cause for neither praise nor blame. Hurston rejected all the conventional categories -race, class, gender-by which some of her latest critics organize experience. “My interest lies in what makes a man or woman do such-and-so, regardless of …color.”1.The passage primarily conveys the author’s (  ).2.In line 2, “temper” most nearly means (  ).  3.Hurston criticize “some writers” (lines 6-8) for (  ).  4.The sentence beginning “she was sometimes...” (lines 9-11) serves primarily to (  ).  5.In the underlined lines 22-23 (“she...blame”),the author most directly implies that(  ).

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