ECAT Pre Computer Science MCQ Test With Answer for English Chapter 8 (Comprehension)

First introduced in 1927, The Hardy Boys Mystery Stories are a series of books about the adventures of brothers Frank and Joe Hardy, teenaged detectives who solve one baffling mystery after another. The Hardy Boys were so popular among young boys that in 1930 a similar series was created for girls featuring a sixteen-year-old detective named Nancy Drew. The cover of each volume of The Hardy Boys states that he author of the series is Franklin W. Dixon; the Nancy Drew Mystery Stories are supposedly written by Carolyn Keene. Over the years, though, many fans of both series have been surprised to find out that Franklin W. Dixon and Carolyn Keene are not real people. If Franklin W. Dixon and Carolyn Keene never existed, then who wrote The Hardy Boys and Nancy Drew mysteries?

The Hardy Boys and the Nancy Drew books were written through a process called ghostwriting. A ghostwriter writes a book according to a specific formula. While ghostwriters are paid for writing the books, their authorship is not acknowledged, and their names do not appear on the published books. Ghostwriters can write books for children or adults, the content of which is unspecific. Sometimes they work on book series with a lot of individual titles, such as The Hardy Boys and the Nancy Drew series.

The initial idea for both The Hardy Boys and the Nancy Drew series was developed by a man named Edward Stratemeyer, who owned a publishing company that specialized in children’s book.

Stratemeyer noticed the increasing popularity of mysteries among adult, and surmised that children would enjoy reading mysteries about younger detectives with whom they could identify. Stratemeyer first developed each book with an outline describing the plot and setting. Once he completed the outline, Stratemeyer then hired a ghostwriter to convert it into a book of slightly over 200 pages. After the ghostwriter had written a draft of a book, he or she would send it back to Stratemeyer, who would make a list of corrections and mail it back to the ghostwriter. The ghostwriter would revise the book according to Stratemeyer’s instructions and then return it to him. Once Stratemeyer approved the book, it was ready for publication.

Because each series ran for so many years, Nancy Drew and The Hardy Boys both had a number of different ghostwriters producing books; however, the first ghostwrites for each series proved to be the most influential. The initial ghostwriter for The Hardy Boys was a Canadian journalist named Leslie McFarlane. A few years later, Mildred A. Wirt, a young writer from lowa, began writing the Nancy Drew books. Although they were using prepared outlines as guides, both McFarlane and Wirt developed the characters themselves. The personalities of Frank and Joe Hardy and Nancy arose directly from McFarlane’s and wirt’s imaginations. For example, Mildred Wirt had been a star college athelete and gave Nancy similar athletic abilities. The ghostwriters were also responsible for numerous plot and setting details. Leslie McFarlane used elements of his small C fictional hometown.

Although The Hardy Boys and Nancy Drew books were very popular with children, not everyone approved of them. Critics thought their plots were unrealistic and even far-fetched, since most teenagers did not experience the adventures Frank and Joe Hardy or Nancy Drew did. The way the books were written also attracted criticism. Many teachers and librarians objected to the ghostwriting process, claiming it was designed to produce books quickly rather than create quality literature. Some libraries – including the New York Public Library – even refused to include the books in their children’s collections. Ironically, this decision actually helped sales of his books, because children simply purchased them when they were unavailable in local libraries.

Regardless of the debates about their literary merit, each series of books has exerted an undeniable influence on American and even global culture. Most Americans have never heard of Edward Stratemeyer, Leslie McFarlane, or Mildred wirt, but people throughout the world are familiar with Nancy Drew and Frank and Joe Hardy.

According to the passage, a ghostwriter is someone who

I writes about mysterious or strange events

II does not receive credit as the author

III bases his or her books on predetermined guidelines

On January 3, 1961, nine days after Christmas, Richard Legg, John Byrnes, and Richard McKinley were killed in a remote desert in eastern Idaho. Their deaths occurred when a nuclear reactor exploded at a top-secret base in the National Reactor Testing Station (NRTS). Official reports state that the explosion and subsequent reactor meltdown resulted from the improper retraction of the control rod. When questioned about the events that occurred there, officials were very reticent. The whole affair, in fact, was discussed much, and seemed to disappear with time.

In order to grasp the mysterious nature of the NRTS catastrophe, it help to know a bit about how nuclear reactors work. After all, the generation of nuclear energy may strike many as an esoteric process. However, given its relative simplicity, the way in which the NRTS reactor functions is widely comprehensible. In this particular kind of reactor, a cluster of nine-ton uranium fuel rods are positioned lengthwise around a central control rod. The reaction begins with the slow removal of the control ro, which starts a controlled nuclear reaction and begins to heat the water in the reactor. This heat generates steam, which builds pressure inside the tank. As pressure builds, the steam looks for a place to escape. The only place this steam is able to escape is through the turbine. As it passes through the turbine on its way out of the tank, it turns the giant fan blades and produces energy.

On the morning of January 3, after the machine had been shut down for the holidays, the three men arrived at the station to restart the reactor. The control rod needed to be pulled out only four inches to be reconnected to the automated driver. However, records indicate that Byrnes yanked it out 23 inches, over five times the distance necessary. In milliseconds the reactor exploded. Legg was impaled on the ceiling; he would be discovered last. It took one week and a lead-shielded crane to remove his body. Even in full protective gear, workers were only able to work a minute at a time. The three men are buried in lead-lined coffins under concrete in New York, Michigan, and Arlington Cemetery, Virginia.

The investigation took nearly two years to complete. Did Byrnes have a dark motive? Or was it simply an accident? Did he know how precarious the procedure was? Other operators were questioned as to whether they knew the consequences of pulling the control rod out so far. They responded “Of course! We often talked about what we would do if we were at a radar station and the Russians came.

“We’d yank it out.”

Official reports are oddly ambiguous, but what they do not explain, gossip does. Rumors had it that there was tension between the men because Byrnes suspected the other two of being involved with his young wife. There is little doubt than he, like the other operators, knew exactly what would happen when he yanked the control rod.

The tone of the author can best be described as

Philadelphia is a city known for many things. It is where the Declaration of independence was signed in 1776, and it was also the first capital of the United States. But one fact about Philadelphia is not so well-known: it is home to nearly 3,000 murals painted on the sides of homes and buildings around the city. In fact, it is said that Philadelphia has more murals than any other city in the world, with the exception of Rome. How did this come to be?

More than 20 years ago, a New Jersey artist named Jane Golden started a program pairing troubled youth with artists to paint murals on a few buildings around the city. Form this small project, something magical happened. The young people involved helped to create magnificent pieces of art, but there were other, perhaps more important benefits. The young people learned to collaborate and get along with many different kinds of people during the various steps required to paint and design a mural. They learned to be responsible, because they needed to follow a schedule to make sure the murals were completed. They also learned to take pride in their community. It is hard for any resident to see the spectacular designs and not feel proud to be a part of Philadelphia.

Take a walk around some of the poorest neighborhoods I Philadelphia, neighborhoods full of broken windows and littered front steps, and you will find beautiful works of art on the sides and fronts of buildings. Of course they murals are not just in poor neighborhoods, but more affluent ones as well. Special buses take tourists to different parts of the city to see the various murals, which range from huge portraits of historical heroes, to cityscapes, to scenes depicting the diverse ethnic groups that call Philadelphia home.

As a result of its success, the mural program created by Jane Golden has now become the nation’s largest public art program and a model for to troubled youth.

The main focus of the passage is

First introduced in 1927, The Hardy Boys Mystery Stories are a series of books about the adventures of brothers Frank and Joe Hardy, teenaged detectives who solve one baffling mystery after another. The Hardy Boys were so popular among young boys that in 1930 a similar series was created for girls featuring a sixteen-year-old detective named Nancy Drew. The cover of each volume of The Hardy Boys states that he author of the series is Franklin W. Dixon; the Nancy Drew Mystery Stories are supposedly written by Carolyn Keene. Over the years, though, many fans of both series have been surprised to find out that Franklin W. Dixon and Carolyn Keene are not real people. If Franklin W. Dixon and Carolyn Keene never existed, then who wrote The Hardy Boys and Nancy Drew mysteries?

The Hardy Boys and the Nancy Drew books were written through a process called ghostwriting. A ghostwriter writes a book according to a specific formula. While ghostwriters are paid for writing the books, their authorship is not acknowledged, and their names do not appear on the published books. Ghostwriters can write books for children or adults, the content of which is unspecific. Sometimes they work on book series with a lot of individual titles, such as The Hardy Boys and the Nancy Drew series.

The initial idea for both The Hardy Boys and the Nancy Drew series was developed by a man named Edward Stratemeyer, who owned a publishing company that specialized in children’s book.

Stratemeyer noticed the increasing popularity of mysteries among adult, and surmised that children would enjoy reading mysteries about younger detectives with whom they could identify. Stratemeyer first developed each book with an outline describing the plot and setting. Once he completed the outline, Stratemeyer then hired a ghostwriter to convert it into a book of slightly over 200 pages. After the ghostwriter had written a draft of a book, he or she would send it back to Stratemeyer, who would make a list of corrections and mail it back to the ghostwriter. The ghostwriter would revise the book according to Stratemeyer’s instructions and then return it to him. Once Stratemeyer approved the book, it was ready for publication.

Because each series ran for so many years, Nancy Drew and The Hardy Boys both had a number of different ghostwriters producing books; however, the first ghostwrites for each series proved to be the most influential. The initial ghostwriter for The Hardy Boys was a Canadian journalist named Leslie McFarlane. A few years later, Mildred A. Wirt, a young writer from lowa, began writing the Nancy Drew books. Although they were using prepared outlines as guides, both McFarlane and Wirt developed the characters themselves. The personalities of Frank and Joe Hardy and Nancy arose directly from McFarlane’s and wirt’s imaginations. For example, Mildred Wirt had been a star college athelete and gave Nancy similar athletic abilities. The ghostwriters were also responsible for numerous plot and setting details. Leslie McFarlane used elements of his small C fictional hometown.

Although The Hardy Boys and Nancy Drew books were very popular with children, not everyone approved of them. Critics thought their plots were unrealistic and even far-fetched, since most teenagers did not experience the adventures Frank and Joe Hardy or Nancy Drew did. The way the books were written also attracted criticism. Many teachers and librarians objected to the ghostwriting process, claiming it was designed to produce books quickly rather than create quality literature. Some libraries – including the New York Public Library – even refused to include the books in their children’s collections. Ironically, this decision actually helped sales of his books, because children simply purchased them when they were unavailable in local libraries.

Regardless of the debates about their literary merit, each series of books has exerted an undeniable influence on American and even global culture. Most Americans have never heard of Edward Stratemeyer, Leslie McFarlane, or Mildred wirt, but people throughout the world are familiar with Nancy Drew and Frank and Joe Hardy.

Which of the following would be the best title for this passage?

The history of the modern world is a record of highly varied activity, of incessant change, and of astonishing achievement. The lives of men have, during the last few centuries, increasingly diversified, their powers have greatly multiplied, their powers have greatly multiplied, their horizon been enormously enlarged. New interests have arisen in rich profusion to absorb attention and to provoke exertion. New aspirations and new emotions have come to move the soul of men. Amid all the bewildering phenomena, interest, in particular, has stood out in clear and growing pre-eminence, has expressed itself in a multitude of ways and with an emphasis more and more pronounced, namely, the determination of the race to gain a larger measure of freedom than it has ever known before, freedom in the life of the intellect and spirit, freedom in the realm of government and law, freedom in the sphere of economic and social relationship. A passion that has prevailed so widely, that has transformed the world so greatly, and is still transforming it, is one that surely merits study and abundantly rewards it, its operations constitute the very pith and marrow of modem history.

Not that this passion was unknown to the long ages that proceeded the modern periods. The ancient Hebrews, the ancient Greeks and Roman blazed the was leaving behind them a precious heritage of accomplishments and suggestions and the men who were responsible for the Renaissance of the fifteenth century and the Reformation of the sixteen century contributed their imperishable part to this slow and difficult emancipation of the human race. But it is in modern times the pace and vigour, the scope and sweep of this liberal movement have so increased unquestionably as to dominate the age, particularly the last three centuries that have registered great triumphs of spirit.

In what epochs of modern history have men especially contributed to the emancipation of human race?

When her grandmother’s health began to deteriorate in the fall of 1994, Mary would make the drive from Washington, DC to Winchester every few days.

She hated highway driving, finding it ugly and monotonous. She preferred to take meandering back roads to her grandmother’s hospital. When she drove through the rocky town of Harpers Ferry, the beauty of the rough waters churning at the intersection of the Shenandoah and Potomac rivers always captivated her.

Toward the end of her journey, Mary had to get on highway 81. It was here that she discovered a surprising bit of beauty during one of her trips. Along the median of the highway, there was a long stretch of wildflowers. They were thin and delicate and purple, and swayed in the wind as if whispering poems to each other.

The first time she saw the flowers, Mary was seized by an uncontrollable urge to pull over on the highway and yank a bunch from the soil. She carried them into her grandmother’s room when she arrived at the hospital and placed them in a water pitcher by her bed. For a moment her grandmother seemed more lucid than usual. She thanked Mary for the flowers, commented on their beauty and asked where she had gotten them. Mary was overjoyed by the ability of the flowers to wake something up inside her ailing grandmother.

Afterwards, Mary began carrying scissors in the car during her trips to visit her grandmother. She would quickly glide onto the shoulder, jump out of the car, and clip a bunch of flowers. Each time Mary placed the flowers in the pitcher, her grandmother’s eyes would light up and they would have a splendid conversation.

One morning in late October, Mary got a call that her grandmother had taken a turn for the worse. Mary was in such a hurry to get to her grandmother that she sped past her flower spot. She decided to turn around head several miles back, and cut a bunch. Mary arrived at the hospital to find her grandmother very weak and unresponsive. She placed flowers in the pitcher and sat down. She felt a squeeze on her fingers. It was the last conversation they had.

“She hated highway driving, finding it ugly and monotonous.”

Which of the following is the best way to rewrite the above sentence, while keeping its original meaning?

The purpose of education is to make the student an expert in his subject. This must be clearly understood, and mere mudding through lessons and lectures and books and passing examinations are relegated to secondary importance as means to the end-which is excellence in the field chosen.

But there are so many fields, and no man can become an expert in all the fields it is necessary to decide which fields are important ones that a man should know well.

It is clear that one’s own work is the most important. This has been realized and modern civilization has accordingly provided vocational education. It is now possible to acquire high professional skill in the various fields, medicine, engineering production, commerce and so on-but with good and bad mixed together, and no standard for guidance.

According to the passage, can a man become an expert in all fields?

Lilly loves her town. She loves the mall. She loves the parks. She also loves her school. Most of all, though, Lilly loves the seasons. In her old town, it was hot all of the time.

Sometimes it is cold in Lilly’s new town. The cold season is in winter. Once in a while it snows. Lilly has never seen snow before. So far her, the snow is exciting as well as very beautiful. Lilly has to wear gloves to keep her hands warm. She also wear a scarf around her neck.

In spring, flowers bloom and the trees turn green with new leaves. Pollen falls on the cars and windowsills and makes Lilly sneeze. People work in their yards and mow their grass.

In summer, Lilly wears her old shorts and sandals- the same ones she used to wear in her old town. It is hot outside, and dogs lie in the shade. Lilly and her friends go to a pool or play in the water sprinkler. Her father cooks hamburgers on the grill for dinner.

Lilly’s favorite season is autumn. In autumn, the leaves on the trees turn yellow, gold, red, and orange. Halloween comes in autumn, and this Lilly’s favorite holiday. Every Halloween, Lilly wears a costume. Last year she wore a mouse costume. This year she will wear a fish costume.

One evening in autumn, Lilly and her mom are on sitting together on the porch. Mom tells Lilly that autumn is also called “fall”. This is a good idea, Lilly thinks, because in the fall all of the leaves fall down from the trees.

Based on information in the passage, we can understand that, which season has two names?

At the time Jane Austen’s novels were published – between 1811 and 1818 – English literature was not part of any academic curriculum. In addition, fiction was under strenuous attack. Certain religious and political groups felt novels had the power to make so-called immoral characters so interesting that young readers would identify with them; these groups also considered novels to be of little practical use. Even Coleridge, certainly no literary reactionary, spoke for many when the asserted that “novel-reading occasions the destruction of the mind’s powers.”

These attitudes towards novels help explain why Austen received little attention from early nineteenth-century literary cities. (In any case a novelist published anonymously, as Austen was, would not be likely to receive much critical attention.) The literary response that was accorded to her, however, was often as incisive as twentieth-century criticism. In his attack in 1816 on novelistic portrayals “outside of ordinary experience,” for example. Scott made an insightful remark about the merits of Austen’s fiction.

Her novels, wrote Scott, “present to the reader an accurate and exact picture of ordinary everyday people and places, reminiscent of seventeenth-century Flemish painting.” Scott did not use the word ‘realism’, but he undoubtedly used a standard of realistic probability in judging novels. The critic Whately did not use the word ‘realism’, either, but he expressed agreement with Scott’s evaluation, and went on to suggest the possibilities for moral instruction in what we have called Austen’s ‘realistic method’ her characters, wrote Whately, are persuasive agents for moral truth since they are ordinary persons “so clearly evoked that we feel an interest in their fate as if it were our own.” Moral instruction, explained Whately, is more likely to be effective when conveyed through recongnizably human and interesting characters than when imparted by a sermonizing narrator. Whitely especially praised Austen’s ability to create character who “mingle goodness and villainy, weakness and virtue, as in life they are always mingled. “Whitely concluded his remarks by comparing Austen’s art of characterization to Dickens’, starting his preference for Austen’s.

Yet, the response of nineteenth-century literary critics to Austen was not always so laudatory, and often anticipated the reservations of twentieth-century literary critics. An example of such a response was Lewes complaint in 1859 that Austen’s range of subject and characters was too narrow. Praising her verisimilitude, Lewes added that, nonetheless her focus was too often only upon the unlofty and the commonplace. (Twentieth-century Marxists, on the other hand, were to complain about what they saw as her exclusive emphasis on a lofty upper middle class.) In any case having being rescued by literary critics from neglect and indeed gradually lionized by them, Austen steadily reached, by the mid-nineteenth century, the enviable pinnacle of being considered controversial.

The author mentions that English literature “was nor part of any academic curriculum” in the early nineteenth century in order to