Mock RC Exam 1 Key - Cinematic Tragedy (PDF)

KEY TO MOCK READING COMPREHENSION EXAM 1 Read the following passage from the article by Sandra Shapsay and Steven Wagschal, “Contemporary cinematic tragedy and the Silver-Lining Genre” (British Journal of Aesthetics, Vol 54. 2, April 2014.): “As treated above (…) Alaska.” p.9...

KEY TO MOCK READING COMPREHENSION EXAM 1 Read the following passage from the article by Sandra Shapsay and Steven Wagschal, “Contemporary cinematic tragedy and the Silver-Lining Genre” (British Journal of Aesthetics, Vol 54. 2, April 2014.): “As treated above (…) Alaska.” p.9, l.23 – p.10, l.17. 1- Phonology: a- underline the terms from the text that do not contain the sound [F] as in the / DF, a /F, alarm/ F)la:m, information / (qnfF)meiHFn etc… Treated /)tri:tqd, moral address/ )mc:rFl F)dres , tragic structure / )trAdGqk )stryktHF, account / F)kaxnt, philosophers / fq)losFfez, drawn / drc:n, particular / pF)tqkjxlF, political / pF)lqtqkFl, however / hax)evF, tragedies / )trAdGFdqz, Notwithstanding / (notwqD)stAndqC, dramatic / drF)mAtqk, melodrama / (melF)drAmF, definition / defq)nqHFn, analysis / F)nAlFsqs, contemporary / kFn)tempFrFrq, spectators / spek)teitFz, significant / sqg)nqfqkFnt, problems / )problFms, genuine / )dGenjxqn, compassion / kFm)pAHFn, protagonist / prF)tAgFnqst, emotional / q)mFxHFnFl, prompting / )promptqC, audiences / )c:djFnsqz. b- underline the terms from the text that do not contain the diphtong [aq] as in my / maq, lie /laq, rice/ raqs, imply / qm)plai etc… distinctive / dqs)tqnktqv, why / hwaq , tragedy / )trAdGFdq, significance / sqg)nqfqkFns, reinvigorate / (rqqn)vqgFreqt, alive / F)laqv, might / maqt, right / raqt, analysis / F)nAlFsqs, analysing / (AnF)laqzqC, aim / eim, genuine/)dGenjxqn , cognitive / )kognqtqv, highlighting / haq)laitqC, recognize / )rekFgnaqz, find / faqnd. 2- find words meaning the same as those listed below in the following passages: a- “As treated above (…) deal with them.” (p.9, l.24-p.10, l.4) explain  account for (p.9, l.24-25) attract  draw (p.9, l.25) decline be on the wane (p.9, l.28) stir up  arouse (p.9, l.37) incite  prompt (sbdy to do sth) (p.10, l.3) grapple  deal with (p.10, l.4) b- “Sean Penn’s (…) Alaska.” (p.10, l.5-15) gather glean (l.6) aspects features (l.8) show display (l.7) re-examine take up (l.9) deal with grapple (l.10) pristine unspoiled (l.17) 3- True or false? Justify your answers by quoting and translating one sentence from the text. a- The authors explain that philosophers have taken an interest in tragedy because it deals with moral and political issues. True: cf. p.9, l.24-26 => “As treated above, the distinctive moral address of the tragic structure accounts, in part, for why philosophers have been drawn in particular to the genre of tragedy for its moral and political-philosophical significance.” Comme cela a été abordé plus haut, la visée morale spécifique de la structure tragique explique en partie pourquoi les philosophes ont été attirés en particulier par le genre tragique pour sa signification morale et politico- philosophique. => the “moral address” of the tragic structure refers to the moral issues which the tragic structure deals with or addresses (to address a question, a problem, sth = deal with a problem, focus on sth). => to account for sth = explain sth => philosophers have been drawn … to the genre = philosophers have been attracted to the genre b- The authors do not agree with Arthur Miller’s claim that tragedy is a declining genre. False: they do agree with Miller : “Notwithstanding Miller’s own work to reinvigorate the genre, tragedy still appears to be a dramatic genre on the wane.” = Malgré le travail réalisé par Miller pour raviver le genre tragique, ce dernier semble poursuivre son déclin. (to be on the wane = to wane = decliner, décroître // to wax = croître (the moon wanes and waxes)) c- Cinematic tragedy is much more popular than theatrical tragedy, according to the authors, who agree with Miller on this point. False: both cinematic and theatrical tragedies are seldom written or produced : “If Miller was alive today, and if he were to turn his gaze towards the mass dramatic art form by excellence, he might put the point as follows: “In this age, few cinematic tragedies are produced.”” (p.9, l.28-30) Si Miller était encore en vie, et s’il devait se pencher sur la forme d’art dramatique par excellence, il se pourrait qu’il formule cette idée ainsi : « A notre époque, peu de tragédies cinématographiques sont produites. » few cinematic tragedies = peu de tragédies cinématographiques. (compare « few » (= peu de) with « a few » (= quelques) // with a singular noun : a little whiskey = un peu de whiskey / little whiskey = peu de whiskey) d- The authors regard Into the Wild as a true tragedy because, unlike melodrama, it articulates clear-cut solutions to the moral and political issues it addresses. False: They consider Into the Wild a genuine tragedy because “… unlike melodrama it offers cognitive irresolution by highlighting some extremely difficult, terrible problems that confront our culture, and prompting audiences to recognize and to find some way themselves, creatively to deal with them.” (p.10, l.2-4) => … à la différence du mélodrame, [la tragédie cinématographique] amène à une irrésolution cognitive en soulignant quelques problèmes terribles et extrêmement complexes auxquels notre culture est confrontée, et en incitant les spectateurs à rechercher une solution par eux-mêmes, à y faire face de manière créative. 4- Translate into French: “Strongly influenced (…) Alaska.” (p.10, l.15-17) Fortement influencé par les œuvres sur la nature écrites par Henry David Thoreau un siècle plus tôt, McCandless croit qu’il trouvera cette liberté dans le monde sauvage le plus pur qu’il connaisse, l’Alaska.