Girls. The answer must come from the part of the passage referenced. Choice
(C) is backwards—this argument is put forth by D’Emilio’s critics. Choice
(D) is a distortion; the reference is to show how historically normal this
situation was, not to contrast two supposedly parallel groups of unempowered
workers.
36.
(C).
The answer has to be something that
must
follow from the discussion
of Davis in the last paragraph, not something that Davis could or likely would
agree with. Choice (C) is correct because Davis argues that women “were the
losers in a double-sense … leaving many women largely bereft of significant
economic roles.” If being “bereft” of an economic role makes one a “loser,” it
is not going too far (in fact, it is less extreme) to say that “[p]eople without
economic roles are disadvantaged.” Choice (A) is wrong as it is an opinion of
D’Emilio’s mentioned in the first paragraph. Choice (B) is wrong as it is an
opinion of Enloe’s mentioned in the second paragraph. Choice (D) is incorrect
because, in the last sentence of the passage, Davis states that the “entire
economy” has left the household. Finally, choice (E) is out of scope as
nothing is said about pay for domestic work.
37.
(C).
A “best title” question asks for the main point. The point of this
passage is to highlight trenchant criticisms of D’Emilio’s work—the lack of
any rebuttal of these points indicates that the author sympathizes with them.
This supports choice (C). Choices (A), (D), and (E) are incorrect because they
ignore that the passage concerns scholarly opinions rather than the history
itself. Choice (B) is incorrect, as no reconciliation is attempted. Additionally,
(E) is closer to D’Emilio’s view than the author’s.
38.
(D).
“Unique,” choice (D), is a secondary meaning of “peculiar.” The
author uses it in the context of Matisse learning something that Picasso had
done. Of the wrong answers, (B) and (E) at best come from prohibited outside
knowledge, whereas (A) and (C) are the opposite of the intended meaning—
anything “strange” or “unknown” to Picasso would be something he doesn’t
do; “peculiar to Picasso” means something that he’s known for doing.
39.
(A).
The author describes both the work (
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