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Admission Tests GRE General Test GRE Prüfungsfragen mit Lösungen:

1. There are far too many (i)________in the report, such as incorrect data (albeit on (ii)________points).
inconsistency between the text and related tables, and discrepancies between the citations and the references.

A) minor
B) stylistic infelicities
C) unsupported generalizations
D) numerous
E) perplexing
F) little errors

2.
The graphs above show the distribution of men. women, and children who visited a certain zoo in 2008 and
2009. Which of the following statements must be true?
Indicate all such statements.

A) In 2008 the total number of women and children who visited the zoo was of the total number of people

who visited the zoo.
B) The number of children who visited the zoo in 2008 was greater than in 2009.
C) In 2009 the number of women who visited the zoo was 20 percent greater than the number of men who visited the 200.

3. When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles The introduced an entirely new way of representing dress in portraiture. In women's portraits. he left off fashionable accessories, depicted subjects in unbuttoned sleeves and collars, and added lavish drapery and jewels. For the first time an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.
Van Dyck's Portrait of Thomas Killigrew and Willian. Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men's dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew. a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting, and Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew's right hand depicts two Itinerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.
At historians have interpreted the clothing depicted in this portrait, particularly Crofts' doublet which is worn unbuttoned in back, as an allusion to the subjects' grief-stricken distraction. It is true that Killigrew's dress includes references to his loss-he wears a cross inscribed with his wife's initials. There is an intimate nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, diis reading of the costumes as signs of grief does not take account of seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire; Crofts" dress would be quite appropriate for a formal portrait. Though black clothing, such as that won by Crofil, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mounting no shiny surfaces, such as Crofts' satin doublet, would be permitted. The unbuttoned slit on Crofts" doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse. who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s a certain calculated looseness was conventional in men's formal dress. Ribeiro. for example, cites the writings of moralists objecting to this style.
Killigrew's attire, though even looser than Crofts", should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew's
"undress" lends this portrait a distinctive intimacy, it might also refer to Killigrew's literary career. Many of Van Dyck's other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew's loss but also of his solace: he had but to express his grief in writing.
The passage suggests which of the following about Van Dyck's portraits of men?

A) They were less innovative than were his portraits of women.
B) They frequently depicted subjects in states of melancholy or mounting.
C) They gave less attention to men's clothing than did most paintings of the time.
D) They did not usually include loose or disheveled clothing
E) They included fewer fashionable accessories than did his portraits of women.

4.

A) The relationship cannot be determined from the information given.
B) The two quantities are equal.
C) Quantity A is greater.
D) Quantity B is greater.

5. Recent research has questioned the long-standing view of pearly mussels as exclusively suspension feeders (animals that strain suspended particles from water) that subsist on phytoplankton (mostly algae). Early studies of mussel feeding were based on analyses of gut contents, a method that has three weaknesses. First, material in mucus-bound gut contents is difficult to identify and quantify. Second, material found in the gut may pass undigested out of the mussel, not contributing to its nutrition. Finally, examination of gut contents offers limited insight into the mechanisms and behaviors by which mussels acquire food. Modem studies suggest that pearly mussels feed on more than just algae and may use other means than suspension feeding. Pedal feeding (sweeping up edible material with a muscular structure called the foot) has been observed in juvenile pearly mussels.
Besides the phytoplankton pearly mussels capture from the water column, their guts also contain small animals, protozoans, and detritus (nonliving particulate organic material). Recent studies show that mussels can capture and assimilate bacteria as well, a potentially important source of food in many fresh waters.
Another potential source of food for mussels is dissolved organic matter. Early studies showing that pearly mussels could take up simple organic compounds were largely discounted because such labile (unstable) compounds are rarely abundant in nature. Nevertheless, recent work on other bivalves suggests that dissolved organic matter may be a significant source of nutrition.
Of this complex mix of materials that pearly mussels acquire, what is actually required and assimilated?
Stable-isotope analyses of mussels taken from nature and of captive-reared mussels are beginning to offer some insight into this question. Nichols and Garling showed that pearly mussels in a small river were omnivorous, subsisting mainly on particles less than 2S micrometers in diameter, including algae, detritus, and bacteria. Bacterially derived carbon was apparently the primary source of soft-tissue carbon. However, bacteria alone cannot support mussel growth, because they lack the necessary long-chain fatty acids and sterols and are deficient in some amino acids. Bacteria may supplement other food resources, provide growth factors, or be the primary food In habitats such as headwater streams, where phytoplankton is scarce. Juvenile mussels have been most successfully reared m the laboratory on diets containing algae high in polyunsaturated fatty acids. Thus, it appears that the pearly mussel diet in nature may consist of algae, bacteria, detritus, and small animals and that at least some algae and bacteria may be required as a source of essential biochemicals.
The passage mentions which of the following as a factor that limits the information researchers can glean from analyzing gut contents?

A) Mussels appear to feed on more than one kind of food.
B) The mechanisms mussels use to acquire food are not well understood.
C) Juvenile mussels are able to acquire edible material through pedal feeding.
D) Captive-reared mussels ingest substances that wild mussels do not eat.
E) Mussels may ingest material that is not essential to their nutrition.

Fragen und Antworten: