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SAT Section One : Critical Reading 認定 SAT-Critical-Reading 試験問題:

1. Andre's gift for music seemed to be ______; both his mother and grandfather before him had been famed
concert pianists.

A) simulated
B) accidental
C) prodigious
D) inexplicable
E) innate

2. This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
The author of the passage is most likely a

A) film critic.
B) translator.
C) avant-garde artist.
D) literary critic.
E) novelist.

3. The spring is fairly with us now. Outside my laboratory window the great chestnut-tree is all covered with
the big, glutinous, gummy buds, some of which have already begun to break into little green shuttlecocks.
As you walk down the lanes you are conscious of the rich, silent forces of nature working all around you.
The wet earth smells fruitful and luscious. Green shoots are peeping out everywhere. The twigs are stiff
with their sap; and the moist, heavy English air is laden with a faintly resinous perfume. Buds in the
hedges, lambs beneath them--everywhere the work of reproduction going forward!
I can see it without, and I can feel it within. We also have our spring when the little arterioles dilate, the
lymph flows in a brisker stream, the glands work harder, winnowing and straining. Every year nature
readjusts the whole machine. I can feel the ferment in my blood at this very moment, and as the cool
sunshine pours through my window I could dance about in it like a gnat. So I should, only that Charles
Sadler would rush upstairs to know what the matter was. Besides, I must remember that I am Professor
Gilroy. An old professor may afford to be natural, but when fortune has given one of the first chairs in the
university to a man of four-and-thirty he must try and act the part consistently.
In context, the word "glutinous" most nearly means?

A) fertile.
B) bloated.
C) large.
D) sticky.
E) hungry.

4. This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
The author refers to "the orbit" of Abe's work (2nd paragraph) to emphasize that

A) Abe's work is so different from his contemporaries' that it is like another solar system.
B) conventional themes can limit an author's individuality.
C) Abe's travels were the primary themes in his work.
D) the emperor is often compared to a sun.
E) his work covers a wide range of themes.

5. Musical notes, like all sounds, are a result of the sound waves created by movement, like the rush of air
through a trumpet. Musical notes are very regular sound waves. The qualities of these waves --how much
they displace molecules, and how often they do so--give the note its particular sound. How much a sound
wave displaces molecules affects the volume of the note. How frequently a sound wave reaches your ear
determines whether the note is high or low pitched. When scientists describe how high or low a sound is,
they use a numerical measurement of its frequency, such as "440 vibrations per second," rather than the
letters musicians use.
In this passage, musical notes are used primarily to

A) provide an example of sound properties common to all sound.
B) illustrate the difference between human-produced and non human produced sound.
C) explain the connection between number and letter names for sounds
D) demonstrate the difference between musical sound and all other sound.
E) convey the difference between musical pitch and frequency pitch.

質問と回答：