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1. Writing for the New York Times in 1971. Saul Braun claimed that - todays superhero is about as much like his predecessors as today's child is like his parents." In an unprecedented article on the state of American comics,
"Shazam! Here Comes Captain Relevant. Braun wove a story of an industry whose former glory producing jingoistic fantasies of superhuman power in the 1930s and 1940s had given way to a canny interest in revealing the power structures against which ordinary people and heroes alike struggled following World War II Quoting a description of a course on *Comparative Comics" at Brown University, he wrote, 'New heroes are different-they ponder moral questions, have emotional differences, and are just as neurotic as real people.
Captain America openly sympathizes with campus radicals.. Lois Lane apes John Howard Griffin and turns herself black to study racism, and everybody battles to save the environment."" Five years earlier. Esquire had presaged Braun s claims about comic books: generational appeal, dedicating a spread to the popularity of superhero comics among university students in their special 'College Issue." As one student explained. "My favorite is the Hulk. I identify with him, he's the outcast against the institution.'1 Only months after the NW York Times article saw print. Rolling Stone published a six-page expose on the inner workings of Marvel Comics, while Ms. Magazine emblazoned Wonder Woman on the cover of its premier issue-declaring s Wonder Woman for President'' no less-and devoted an article to the origins of the latter-day feminist superhero.
Where little more than a decade before comics had signaled the moral and aesthetic degradation of American culture, by 1971 they had come of age as America's "native art::: taught on Ivy League campuses, studied by European scholars and filmmakers, and translated and sold around the world, they were now taken up as a new generation's critique of American society. The concatenation of these sentiments among such diverse publications revealed that the growing popularity and public interest in comics (and comic-book superheroes) spanned a wide demographic spectrum, appealing to middle-class urbamtes, college-age men. members of the counterculture, and feminists alike. At the heart of this newfound admiration for comics lay a glaring yet largely unremarked contradiction: the cultural regeneration of the comic-book medium was made possible by the revamping of a key American fantasy figure, the superhero, even as that figure was being lauded for its realism"" and social relevance."" As the title of Braun's article suggests, in the early 1970s, "relevance" became a popular buzzword denoting a shift in comic-book content from oblique narrative metaphors for social problems toward direct representations of racism and sexism, urban blight, and political corruption.
The author of the passage talks about Wonder Woman primarily to

A) note a significant improvement in the way women were represented in comics
B) provide an example of a change in the public perception of comics" characters
C) suggest the extent to which the comics industry remained a male-dominated field
D) contest the claim that superheroes were generally portrayed as outcasts
E) identify the gender stereotypes in comics against which feminists struggled

2. Exhibit.

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

3. A total of S72.000 was invested for one month in a new money market account that paid simple annual interest at the rate of r percent- If the investment earned $360 in interest for the month, what is the value of r?

A) 6.0
B) 7.0
C) 7.5
D) 5.0
E) 6.5

4. When positive integer m is divided by 6. the remainder is 4. When positive integer p is divided by 6. the remainder is 5. What is the remainder when the product mp is divided by 6 ?

A) 2
B) 1
C) 4
D) 3

5. In 1755 British writer Samuel Johnson published an acerbic letter to Lord Chesterfield rebuking his patron for neglect and declining further support. Johnson's rejection of his patron's belated assistance has often been identified as a key moment in the history of publishing, marking the end of the culture of patronage. However, patronage had been in decline for 50 years, yet would survive, in attenuated form, for another 50. Indeed.
Johnson was in 1762 awarded a pension by the Crown-a subtle form of sponsorship, tantamount to state patronage. The importance of Johnson's letter is not so much historical as emotional: it would become a touchstone for all who repudiated patrons and for all who embraced the laws of the marketplace.
The author of the passage mentions Johnson's 1762 pension award in order to

A) provide a specific example of patronage's surviving into the second half of (he eighteenth century
B) emphasize that patronage still helped support Johnson's writing after his letter to Chesterfield
C) eighteenth century of private patronage's being replaced by state sponsorship
D) provide evidence for a general trend in the later half of the

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