Transcript multiple choice

MULTIPLE CHOICE
READING STRATEGIES
TYPES OF QUESTIONS
STRATEGIES FOR
SOLVING
READING STRATEGIES:
•Understand both surface & deeper-level meanings
•Determine how the following contribute to meaning:
• Structural patterns
•Grammatical & syntactical relationships
•Metaphorical language, etc.
•Describe how such features function rhetorically
•Multiple choice is textual analysis-Use same strategies
for writing
The Exam
• Passages are from17th C to Present
• Usually 4 sets of questions(4 passages)
• Balance of genre, time period,& individual
style
GENERAL STRATEGIES
• Bracket by reading the questions first and
bracketing the corresponding section for each
question
• Before reading the answer choices jot down your
initial response to the question then select the
answer choice that best matches your response.
• Questions are not in order of difficulty, so answer
easy ones first
• Questions USUALLY (but not always) follow
the order of the passage.
GENERAL STRATEGIES
Process of Elimination—This is the primary tool, except
for direct knowledge of the answer.
1.Read the five choices.
2.If no choice immediately strikes you as correct, you can — eliminate
any which are obviously wrong; — eliminate those choices which are too
narrow or too broad; — eliminate illogical choices; — eliminate answers
which are synonymous; — eliminate answers which cancel each other
out.
3.If two answers are close,
— find the one general enough to contain all aspects of the
question
OR
— find the one limited enough to be the detail the question
is seeking.
GENERAL STRATEGIES
Substitution/Fill in the Blank
1. Rephrase the question, leaving a blank where
the answer should go.
2. Use each of the choices to fill in the blank until you find the
one that is the best fi t.
Using Context
1. Use this technique when the question directs you to specific
lines, words, or phrases.
2. Locate the given word, phrase, or sentence and read the
sentence before and after the section of the text to which the
question refers. Often this provides the information or clues
you need to make your choice.
GENERAL STRATEGIES
Anticipation
•As you read the passage for the first time,
mark any details and ideas that you would ask a
question about. You may second-guess the test
makers this way.
Intuition/The Educated Guess
•You have a wealth of skills and knowledge in your
language and composition subconscious. A question or
a choice may trigger a “remembrance of things past.”
This can be the basis for your educated guess. Have
the confidence to use the educated guess as a valid
technique. Trust your own resources.
A Survival Plan
If time is running out and you haven't finished the last selection,
1. Scan the remaining questions and look for:
- the shortest questions; and/or
- the questions that point you to a line
These two types of questions are relatively easy to work with
and to verify.
2. Look for specific detail/definition questions.
3. Look for self-contained questions.
Ex: "The jail sentence was a bitter winter for his plan" is an example of -C. an analogy.
You did not have to go to the passage to answer this question
M/C Question Analyses/Protocols
The following slides illustrate the following:
• Strategies for determining the SKILL needed to
answer a M/C question
• Strategies for ELIMINATING WRONG
ANSWER choices
• Strategies for SELECTING THE
CORRECT RESPONSE
In essence, what follows are several examples of the type
and depth of thinking that SHOULD be evident in
Protocols. Read through them then follow the directions
on the last slide.
M/C Question Analysis
“Death of a Moth”
from
Holy the Firm
by
Annie Dillard
1.
All of the following are present in
the opening sentence
EXCEPT:
a. subordinate clauses
b. an objective tone
c. elements in a series
d. a typical narrative opening
e. more verbs than nouns or
adjectives
This is a FACTUAL
question.
The answers address:
-grammar
-tone
-syntax/organization
-mode/organization
-parts of speech
Factual questions are
either
RIGHT or WRONG!
Info is IN TEXT.
The correct answer is “A”
•
STRATEGY:
-Reread the opening sentence, as
question is about that sentence only
Choice a., subordinate clause,
can immediately be eliminated.
Since the question is for
EXCEPT, check the
remaining items quickly to
ensure they all fit.
Answer b., objective tone, fits.
The first sentence has no
emotional content or subjective
information. “I” begins in the
second sentence.
Answer c., elements in a series,
fits also. A series of verbs is
listed: “flew”, “caught”, “burnt”,
and “held”.
Answer d., a typical narrative
opening, also fits.
Narrative uses attention getting
techniques and tells a story.
The sentence definitely
arouses curiosity and tells a
story.
Finally, answer e., more verbs
than nouns or adjectives also
fits.The series is a list of verbs.
In fact, there are no adjectives
except “one”.
2. The “fried” in line 8 derives force from
which of the following?
I. Its commonplace associations
II. Its location in the sentence
III. Its alliterative associations with the verbs
that precede it
a. II; b. I & II ; c. I & III ; d. II & III ; e. I, II, & III
This question asks about
DICTION.
These type of I, II, or III
questions may be time
consuming.
STRATEGY: Decide if you can
answer the question based on the stem: if
not, make an educated guess.
This question is about diction,
which you can probably figure
out: Take the time to answer it.
STRATEGY:
Reread line 8.
Apply each choice to the
selection -
First: Its commonplace
associations:
Yes. Fried immediately conjures
a sound, and heat, and
something that if alive, is no
longer. It’s forceful.
I is likely part of the answer.
Next: Its location in the sentence.
“Fried” is the last verb. It creates
a strong image due to its finality.
II is in as well.
Now III: Its alliterative
associations with the verbs that
precede it.
Absolutely. Not only is it
rhythmic (a triad) but it has
cadence.
III is also in.
Go back to the question and
find the letter of all 3 choices:
“E” is the correct answer.
3. The objects of the verb “creating” (line 10)
combine to form an impression of
a. familiar reality imposed on an unfamiliar local
b. sudden color in a formerly monochromatic scene
c. miraculous isolation in a hostile environment
d. ominous fragility in a threatening episode
e. supernatural inspiration of creative thought
This is a grammatical question
and a rhetorical question: what is
the effect of the objects of the
verb?
STRATEGY:
-Reread line 10
-Identify the objects of the verb:
“blue sleeves”, “green leaves”,
“red trunk”
All the objects involve color.
“B” involves color.
Try to quickly eliminate the
remaining answers before
choosing “B”.
A. - Eliminate. It’s not an
unfamiliar locale.
C. While the sudden burst of
visuals in the previous darkness
may be interesting, it is not
described as ‘miraculous’, nor
are the pine and leaves
described as “hostile”.
Eliminate.
D. The death of the moth is
perhaps highlighting the moth’s
fragility, and the fragility of life,
but it is not “ominous” or
“threatening”.
Eliminate.
E. No hint of the
“supernatural” or of
“inspiration” in this section.
Eliminate and choose “B” as
the correct answer.
Remember: All that elimination
needs
to be done
in a few
seconds!!!
4. The phrase “gone the long way of her wings and
legs” (line 22) emphasizes the
a. unusual proportions of the moth
b. unexpected course of the moth’s death
c. irrevocable disappearance of the moth’s head
d. rapidity with which the fire consumed the moth
e. foulness of the lingering smoke and burned
head.
This question addresses
rhetoric (and comprehension).
STRATEGY:
Reread line 22.
Use the process of elimination
if you cannot determine the
correct answer right away.
A. & E. Can be eliminated
almost immediately, as
proportions are not
discussed, and no foulness
is indicated.
B. The death itself is not
unexpected; perhaps the head
going last is, but the passage
doesn’t emphasize the
unexpectedness.
Eliminate
C. The head is GONE: this
answer has potential. Quickly
check D before selecting.
Circle the answer in your test
booklet as you check the last
two answers.
D. The death may have been
rapid, but the description is
detailed and methodical,
indicating a kind of suspension
of time, not “rapidity”.
Eliminate.
C. Is the best choice.
5. All of the following are true of the sentence
“She kept burning” (lines 30-31) EXCEPT:
a. its brevity makes it emphatic
b. in context, its tone is one of awed fascination
c. in context, the word “burning” means “avenging”
d. the feminine pronoun links the image to the
specificity of the previous paragraph
e. the feminine pronoun humanizes the moth, in
preparation for references to martyrs
Type of question: rhetorical
function of a sentence.
Strategy:
-Reread lines 30-31
-Eliminate
-D & E require reading before
& after sentence to place in
context
Glance through the choices to
see if one appears less likely
than the others.
All choices seem logical, but
“C” has an odd connotation or
perhaps inappropriate meaning
for “burning” - check “C” first.
“Avenging” doesn’t make sense
in this context.
Choice “C” also focuses on
diction, and the question asks
about a sentence.
Choices “E” & “D” require
reading backwards and forwards
to determine their correctness and because this is an
EXCEPT question, if the
answer is correct, it’s not the
right answer. (!)
“D” & “E” are correct.
The meaning progresses from
objective detail in the preceding
paragraph to metaphorical
meaning after this sentence.
“A” is correct: a short sentence
creates emphasis.
“B” is also correct.
How do you know the author is
using a tone of “awed
fascination”?
This question requires not only
a careful reading of the
sentence the question asks
about, but also the immediate
context AND the larger
context of the passage.
C is the correct answer.
6. Which of the following best describes the
rhetorical development of the passage as a whole?
a. progress from exposition to argument
b. development from hypothesis to proof
c. transition from sympathetic narrative to
objective description
d. expansion from descriptive narration to poetic
meditation
e. movement from contemplative rumination to
active participation
This question asks about
RHETORICAL MODE.
What are rhetorical modes?
-narration
-description
-exposition
-comparison
-argument
etc.
STRATEGY:
First, eliminate the answers that
are not rhetorical modes.
“B” & “E” are not rhetorical
modes.
B is scientific nomenclature
E is philosophical
If you grasped this passage, you
shouldn’t have to look back to
answer this question.
“A” should immediately be ruled
out, as there is no argument in
the passage.
Recalling the question about
the first sentence should help to
rule out C. There is no
“sympathy” in the narrative.
D is correct. This question
reflects your ability to grasp the
meaning and the movement of
the passage as a whole.
Now you try:
• Select 2 questions between #s 7-12 that
you missed
• Complete a thorough, reflective, analytical
and in-depth protocol for each
• Use the models in you r AP Resource
Packet as guides as well as the model
thinking illustrated in this PowerPoint