A
It is a premise used as support for the overall conclusion of the anthropologist’s argument.
B
It is a clarification of one of the premises of the anthropologist’s argument.
C
It is an objection that the anthropologist raises against an opposing theory.
D
It is the overall conclusion of the anthropologist’s argument.
E
It describes a claim that the anthropologist attempts to refute.
Peterson: Ionic liquids cost many times as much as organic solvents, so they are currently not practical for the chemical industry.
A
The cost of organic solvents is only one of many expenses involved in industrial production of chemicals.
B
New methods for removing by-products of chemical reactions have recently been developed.
C
The chemical industry has historically been quick to adopt new techniques that increase the rate at which reactions occur.
D
Ionic liquids can be reused many times, whereas organic solvents can be used only once.
E
For the sake of public relations, companies will sometimes use a more environmentally friendly process even if it is slightly more expensive.
Actors generally learn their lines by focusing on the meanings of the words, the motivations of the characters uttering them, and the physical and emotional dimensions of their own performances. It seems likely that memory can be enhanced by factors such as emotion, action, and context, so this approach is probably more effective than mere rote memorization.
Summarize Argument: Phenomenon-Hypothesis
The author concludes that actors learn lines more effectively by focusing on the meanings, motivations, and physical and emotional aspects of performance, rather than simply using rote memorization. She supports this by hypothesizing that factors like emotion, action, and context can likely improve memory.
Notable Assumptions
The author assumes that, because factors like emotion, action, and context can likely improve memory generally, they also likely improve memory in the context of learning lines. She also assumes that the actors’ approach is more effective than rote memorization without considering any potential benefits of rote memorization.
A
Test subjects are best able to remember items on a shopping list when they are also told how those items will be used.
This strengthens the argument by providing data to support the hypothesis that context improves memory. This then strengthens the conclusion that contextualization is an effective approach to learning lines.
B
The actors who are able to deliver the greatest amount of dialogue most effortlessly are those who have spent the most time learning their lines.
This does not strengthen the argument because it doesn’t address the memorization method used. We don’t know if the actors in (B) used the author’s described approach, rote memorization, or another method.
C
Actors are more readily able to remember lines learned while making an appropriate motion—for example, walking across a stage—than lines learned without an accompanying action.
This strengthens the argument because it provides an example that supports the hypothesis that emotion, action, and context can improve memory. If actors memorize better by linking lines to actions, the author’s conclusion that this is an effective approach is much stronger.
D
People who try to memorize information by imagining that they are conveying it to somebody else who needs the information show higher retention than those who try to memorize the material by rote.
This strengthens the argument by providing an example in which memorization that involves emotion, motivation, and contextualization is more effective than rote memorization.
E
People with no acting experience are able to memorize and deliver lines from a play more accurately after they have read and understood the entire play.
This strengthens the argument by showing that line-learning is enhanced by understanding the context of a play. This supports the hypothesis that context improves memory and thus also supports the conclusion that this is an effective approach to learning lines.
Temporal art forms are not truly visual.
Truly visual art forms are not temporal.
Truly visual art forms do not require performance
Most art forms are not truly visual.
A
Truly visual art forms do not essentially involve performance.
