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RC 1
The Failure of Conservatism in Modern British Poetry appears to be organised chronologically. For example, Chapter Four is called ‘Blowing Your Mind: Immediacy in the Sixties’ and Chapter Eight is called ‘An era of rising property values: Conservatism 1979-97’. However, throughout Duncan’s book something curious is happening with dates in the discussion. The first two chapters of the book sketch a post-war background and contain 34 dates of which 67% are in the 1960s and 1970s. The last chapter of the book, ‘Poetry in the 1990s’, contains 27 dates: 52% of them are in the 1960s and 1970s and only 30% of them are in the 1990s.
In some ways, this is perfectly understandable because what Eric Mottram called ‘The British Poetry Revival 1960-1975’ continues to function as the return of the repressed. For example, Neil Corcoran’s apparently inclusive survey, English Poetry since 1940, devotes only one page to it. The dominance of books like Corcoran’s means that any genuinely alert and representative account of post-war British poetry is obliged to go on rewriting and re-righting literary history. Critical accounts of avant-garde poetry are therefore condemned to mirror black, feminist or gay narratives, perpetually reinscribing the struggle to overcome being silenced, to come to consciousness, to come out or to gain rights and recognition.Reinscription remains the paradigm in what might be termed ‘identity narratives’ not only because they are ‘happy ever after’ stories but more importantly because the priorities of the system in which such individual stories are constructed remain unchanged. And, of course, because no-one can imagine what
happens after recognition has been achieved.
In other ways, Duncan’s focus on the 1960s and 1970s is less desirable because it is has a curious effect. It shuts British poetry — modernist-derived or otherwise — into a kind of pastness. Consequently, it risks imprisoning latter-day practitioners in an aftermath where, like nineteenth-century prisoners, they are obliged to walk the treadmills and pick the oakum of old dissatisfactions and disputes. Revisiting the past also risks allowing the priorities of the system in which those dissatisfactions and disputes occurred to continue to dominate. Duncan raises the issue in his introduction —“If poetry is sold and publicised on the basis of what was happening thirty years ago, what is there for new poets? What do they plug into?” — but he seems to think that only what he terms the ‘pop-conservative mainstream’ is guilty of it.
1
The primary purpose of the passage is to
a. explain the chronological layout of the work.
b. explain the rise in conservatism.
c. examine a post-war scenario.
d. examine the allusion to the 1960s and the 1970s eras.
2
Which one of the following best describes the organization of the passage?
a. Two schools of thought are compared and contrasted, and one is deemed to be better than
the other.
b. One school of thought is presented as worse than another. Then evidence is offered to support that claim.
c. Two systems of poetry are analyzed, and one specific example is examined in detail.
d. A set of examples is furnished. Then a conclusion is drawn from them.
3
Based on the information in the passage, it can be inferred that which one of the following would
most logically begin a paragraph immediately following the passage?
a. that there should be the demand for recognizing a need for revival in poetry.
b. that poetry remains a matter of what ‘ought to be’ because of its past.
c. that poetry should emerge from the shadows of the 1960s and the 1970s.
d. that we should alienate ourselves from World War based poetry.
4
The author’s attitude towards the old school can best be described as:
a. encouraged that it is moving forward in time.
b. concerned that it does not allow new poetry to come up.
c. pleased that the pre-modern era saw some fine poetry.
d. hopeful that it will be replaced by the postmodern poetry.
CLICK HERE FOR SOLUTIONS
CAT 2020 PREP online
FRESH BATCHES STARTING IN AUGUST!
CONTACT NOW!
Whatsapp 09674548313!
FRESH BATCHES STARTING IN AUGUST!
CONTACT NOW!
Whatsapp 09674548313!
RC 1
The Failure of Conservatism in Modern British Poetry appears to be organised chronologically. For example, Chapter Four is called ‘Blowing Your Mind: Immediacy in the Sixties’ and Chapter Eight is called ‘An era of rising property values: Conservatism 1979-97’. However, throughout Duncan’s book something curious is happening with dates in the discussion. The first two chapters of the book sketch a post-war background and contain 34 dates of which 67% are in the 1960s and 1970s. The last chapter of the book, ‘Poetry in the 1990s’, contains 27 dates: 52% of them are in the 1960s and 1970s and only 30% of them are in the 1990s.
In some ways, this is perfectly understandable because what Eric Mottram called ‘The British Poetry Revival 1960-1975’ continues to function as the return of the repressed. For example, Neil Corcoran’s apparently inclusive survey, English Poetry since 1940, devotes only one page to it. The dominance of books like Corcoran’s means that any genuinely alert and representative account of post-war British poetry is obliged to go on rewriting and re-righting literary history. Critical accounts of avant-garde poetry are therefore condemned to mirror black, feminist or gay narratives, perpetually reinscribing the struggle to overcome being silenced, to come to consciousness, to come out or to gain rights and recognition.Reinscription remains the paradigm in what might be termed ‘identity narratives’ not only because they are ‘happy ever after’ stories but more importantly because the priorities of the system in which such individual stories are constructed remain unchanged. And, of course, because no-one can imagine what
happens after recognition has been achieved.
In other ways, Duncan’s focus on the 1960s and 1970s is less desirable because it is has a curious effect. It shuts British poetry — modernist-derived or otherwise — into a kind of pastness. Consequently, it risks imprisoning latter-day practitioners in an aftermath where, like nineteenth-century prisoners, they are obliged to walk the treadmills and pick the oakum of old dissatisfactions and disputes. Revisiting the past also risks allowing the priorities of the system in which those dissatisfactions and disputes occurred to continue to dominate. Duncan raises the issue in his introduction —“If poetry is sold and publicised on the basis of what was happening thirty years ago, what is there for new poets? What do they plug into?” — but he seems to think that only what he terms the ‘pop-conservative mainstream’ is guilty of it.
1
The primary purpose of the passage is to
a. explain the chronological layout of the work.
b. explain the rise in conservatism.
c. examine a post-war scenario.
d. examine the allusion to the 1960s and the 1970s eras.
2
Which one of the following best describes the organization of the passage?
a. Two schools of thought are compared and contrasted, and one is deemed to be better than
the other.
b. One school of thought is presented as worse than another. Then evidence is offered to support that claim.
c. Two systems of poetry are analyzed, and one specific example is examined in detail.
d. A set of examples is furnished. Then a conclusion is drawn from them.
3
Based on the information in the passage, it can be inferred that which one of the following would
most logically begin a paragraph immediately following the passage?
a. that there should be the demand for recognizing a need for revival in poetry.
b. that poetry remains a matter of what ‘ought to be’ because of its past.
c. that poetry should emerge from the shadows of the 1960s and the 1970s.
d. that we should alienate ourselves from World War based poetry.
4
The author’s attitude towards the old school can best be described as:
a. encouraged that it is moving forward in time.
b. concerned that it does not allow new poetry to come up.
c. pleased that the pre-modern era saw some fine poetry.
d. hopeful that it will be replaced by the postmodern poetry.
CLICK HERE FOR SOLUTIONS
CAT 2020 PREP online
FRESH BATCHES STARTING IN AUGUST!
CONTACT NOW!
Whatsapp 09674548313!
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