22. Which of the following best describes the organization of the argument that the author of the passage presents in the last two paragraphs?
Two approaches to testing a hypothesis are described, and the greater merits of one approach are indicated.
The assumptions underlying two hypotheses are outlined, and evidence for and against each hypothesis is discussed.
A phenomenon is described, and hypotheses concerning its occurrence are considered and rejected.
The reasoning behind a hypothesis is summarized, evidence supporting the hypothesis is presented, and research that counters the supporting evidence is described.
A hypothesis is discussed, evidence undermining the hypothesis is revealed, and a further hypothesis based on the undermining evidence is explained.
23. The authors attitude toward early researchers reasoning concerning the implications of similarities in the structures of serotonin and LSD molecules can best be described as one of
complete agreement
reluctant support
subtle condescension
irreverent dismissal
strong opposition
When literary periods are defined on the basis of mens writing, womens writing must be forcibly assimilated into an irrelevant grid: a Renaissance that is not a renaissance for women, a Romantic period in which women played very little part, a modernism with which women conflict. Simultaneously, the history of womens writing has been suppressed, leaving large, mysterious gaps in accounts of the development of various genres. Feminist criticism is beginning to correct this situation. Margaret Anne Doody, for example, suggests that during the period between the death of Richardson and the appearance of the novels of Scott and Austen, which has been regarded as a dead period, late-eighteenth-century women writers actually developed the paradigm for womens fiction of the nineteenth centurysomething hardly less than the paradigm of the nineteenth-century novel itself. Feminist critics have also pointed out that the twentieth-century writer Virginia Woolf belonged to a tradition other than modernism and that this tradition surfaces in her work precisely where criticism has hitherto found obscurities, evasions, implausibilities, and imperfections.
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