Sub Tes : Literasi dalam Bahasa Inggris

Questions 1 – 5 are based on the following passage.

This passage, written by John Fiske in the late 1800s, offers the author’s perspective on what he says
are two kinds of genius.

There are two contrasted kinds of genius, the poetical and the philosophical; or, to speak yet
more generally, the artistic and the critical. The former is distinguished by a concrete, the
latter by an abstract, imagination. The former sees things synthetically, in all their natural
complexity; the latter pulls things to pieces analytically and scrutinizes their relations. The
5 former sees a tree in all its glory, where the latter sees an exogen with a pair of cotyledons.
The former sees wholes, where the latter sees aggregates.
Corresponding with these two kinds of genius, there are two classes of artistic
productions. When the critical genius writes a poem or a novel, he constructs his plot and his
characters in conformity to some prearranged theory, or with a view to illustrate some
10 favourite doctrine. When he paints a picture, he first thinks how certain persons would look
under certain given circumstances, and paints them accordingly. When he writes a piece of
music, he first decides that this phrase expresses joy, and that phrase disappointment, and the
other phrase disgust, and he composes accordingly. We therefore say ordinarily that he does
not create, but only constructs and combines. It is far different with the artistic genius, who,
15 without stopping to think, sees the picture and hears the symphony with the eyes and ears of
imagination, and paints and plays merely what he has seen and heard. When Dante, in
imagination, arrived at the lowest circle of hell, where traitors like Judas and Brutus are
punished, he came upon a terrible frozen lake, which, he says, “Ever makes me shudder at the
sight of frozen pools.” I have always considered this line a marvellous instance of the intensity
20 of Dante’s imagination. It shows, too, how Dante composed his poem. He did not take counsel
of himself and say: “Go to, let us describe the traitors frozen up to their necks in a dismal lake,
for that will be most terrible.” But the picture of the lake, in all its iciness, with the haggard
faces staring out from its glassy crust, came unbidden before his mind with such intense
reality that, for the rest of his life, he could not look at a frozen pool without a shudder of
25 horror. He described it exactly as he saw it; and his description makes us shudder who read it
after all the centuries that have intervened.
So, Michelangelo, a kindred genius, did not keep cutting and chipping away, thinking
how Moses ought to look, and what sort of a nose he ought to have, and in what position his
head might best rest upon
30 his shoulders. But he looked at the rectangular block of Carrera marble, and beholding Moses
grand and lifelike within it, knocked away the environing stone, that others also might see the
mighty figure. And so, Beethoven, an artist of the same colossal order, wrote out for us those
mysterious harmonies which his ear had for the first time heard; and which, in his mournful
old age, it heard none the less plainly because of its complete physical deafness. And in this
35 way, Shakespeare wrote his Othello; spinning out no abstract thoughts about jealousy and its
fearful effects upon a proud and ardent nature, but revealing to us the living concrete man, as
his imperial imagination had spontaneously fashioned him.

1. In line 2 of this passage, the word concrete is contrasted with the word …..
(A) imagination
(B) wholes
(C) complexity
(D) abstract
(E) aggregates
2. The author’s use of the phrase prearranged theory in line 9 suggests that …..
(A) it is wise to plan ahead
(B) a non-genius uses someone else’s theories
(C) a critical genius is not truly creative
(D) a true genius first learns from others
(E) a writer should follow an outline

3. In line 31, the use of the word colossal to describe Beethoven implies …..
(A) no one really understands Beethoven’s music
(B) Beethoven’s symphonies are often performed in coliseums
(C) Beethoven was a large man
(D) Beethoven wrote music to his patrons’ orders
(E) Beethoven was a musical genius

4. In lines 31-33, the author uses the example of Beethoven’s deafness to illustrate …..
(A) Beethoven’s sadness
(B) Beethoven’s inherent creativity
(C) Beethoven’s continuing musical relevance
(D) Beethoven’s genius at overcoming obstacles
(E) Beethoven’s analytical genius

5. In this passage, the author suggests that …..

(A) a good imagination is crucial to artistic genius
(B) a genius sees things that aren’t there
(C) no one understands a genius’s thought process
(D) many artists are unusual people
(E) a genius doesn’t need to think

Questions 6 – 10 are based on the following passage.

Line If you have ever studied philosophers, you have surely been exposed to the teachings of
Aristotle. A great thinker, Aristotle examines ideas such as eudaimonia (happiness), virtue,
friendship, pleasure, and other character traits of human beings in his works. In his writings,
Aristotle suggests that the goal of all human beings is to achieve happiness. Everything that
5 we do, then, is for this purpose, even when our actions do not explicitly demonstrate this. For
instance, Aristotle reasons that even when we seek out friendships, we are indirectly aspiring
to be happy, for it is through our friendships, we believe, that we will find happiness. Aristotle
asserts that there are three reasons why we choose to be friends with someone: because he is
virtuous, because he has something to offer to us, or because he is pleasant. When two
10 people are equally virtuous, Aristotle classifies their friendship as perfect. When, however,
there is a disparity between the two friends’ moral fiber; or when one friend is using the other
for personal gain and or pleasure alone, Aristotle claims that the friendship is imperfect. In a
perfect friendship—in this example, let’s call one person friend A and the other friend B—
friend A wishes friend B success for his own sake. Friend A and friend B spend time together
15 and learn from each other, and make similar decisions. Aristotle claims, though, that a
relationship of this type is merely a reflection of our relationship with ourselves. In other
words, we want success for ourselves, we spend time alone with ourselves, and we make the
same kinds of decisions over and over again. So, a question that Aristotle raises, then, is: Is
friendship really another form of self-love?
6. The primary purpose of the passage is to …..
(A) introduce the reader to philosophy
(B) suggest that Aristotle was a great thinker
(C) show that human beings are egoistic hedonists
(D) introduce one aspect of Aristotle’s philosophy
(E) pose a question for the reader to ponder

7. According to Aristotle, helping a friend get the job she always wanted by writing a
recommendation letter would be an example of …..
(A) a virtuous person
(B) an unselfish act
(C) someone in a perfect friendship
(D) someone who has self-love
(E) a person who wants success for all

8. The word disparity in line 11 means …..

(A) similarity
(B) anomaly
(C) fluctuation
(D) incongruity
(E) shift

9. According to the passage, if A befriends B only because A enjoys B’s sense of humor, this would
imply that …..
(A) B is not a virtuous person
(B) A is a virtuous person
(C) both A and B are virtuous people
(D) A and B are involved in a perfect friendship
(E) A and B are involved in an imperfect friendship

10. In the last sentence (lines 16–17), the author’s purpose is to …..
(A) demonstrate that human beings are selfish
(B) extrapolate one of Aristotle’s points on friendships
(C) leave the reader in a quandary
(D) justify human beings’ behavior
(E) illustrate for the reader that Aristotle’s teachings are complex

Questions 11 – 17 are based on the following passage.

This passage is excerpted from the novel Ramona, by Helen Hunt Jackson. Señora is a Spanish term of
respect for an older and/or married woman. Señorita indicates an unmarried woman.

Juan Canito and Señor Felipe were not the only members of the Señora’s family who were
impatient for the sheep-shearing. There was also Ramona. Ramona was, to the world at large,
a far more important person than the Señora herself. The Señora was of the past; Ramona
was of the present. For one eye that could see the significant, at times solemn, beauty of the
5 Señora’s pale and shadowed countenance, there were a hundred that flashed with eager
pleasure at the barest glimpse of Ramona’s face; the shepherds, the herdsmen, the maids, the
babies, the dogs, the poultry, all loved the sight of Ramona; all loved her, except the Señora.
The Señora loved her not; never had loved her, never could love her; and yet she had stood in
the place of mother to the girl ever since her childhood, and never once during the whole
10 sixteen years of her life had shown her any unkindness in act. She had promised to be a
mother to her; and with all the inalienable staunchness of her nature she fulfilled the letter of
her promise.
The story of Ramona the Señora never told. To most of the Señora’s acquaintances
now, Ramona was a mystery. They did not know—and no one ever asked a prying question of
15 the Señora Moreno—who Ramona’s parents were, whether they were living or dead, or why
Ramona, her name not being Moreno, lived always in the Señora’s house as a daughter,
tended and attended equally with the adored Felipe. A few gray-haired men and women here
and there in the country could have told the strange story of Ramona; but its beginning was
more than a half-century back, and much had happened since then. They seldom thought of
20 the child. They knew she was in the Señora Moreno’s keeping, and that was enough. The
affairs of the generation just going out were not the business of the young people coming in.
They would have tragedies enough of their own presently; what was the use of passing down
the old ones? Yet the story was not one to be forgotten; and now and then it was told in the
twilight of a summer evening, or in the shadows of vines on a lingering afternoon, and all
25 young men and maidens thrilled who heard it.
It was an elder sister of the Señora’s, —a sister old enough to be wooed and won
while the Señora was yet at play, —who had been promised in marriage to a young Scotchman
named Angus Phail. She was a beautiful woman; and Angus Phail, from the day that he first
saw her standing in the Presidio gate, became so madly her lover, that he was like a man
30 bereft of his senses. This was the only excuse ever to be made for Ramona Gonzaga’s deed. It
could never be denied, by her bitterest accusers, that, at the first, and indeed for many
months, she told Angus she did not love him, and could not marry him; and that it was only
after his stormy and ceaseless entreaties, that she did finally promise to become his wife.
Then, almost immediately, she went away to Monterey, and Angus set sail for San Blas. He
35 was the owner of the richest line of ships which traded along the coast at that time; the
richest stuffs, carvings, woods, pearls, and jewels, which came into the country, came in his
ships. The arrival of one of them was always an event; and Angus himself, having been well-
born in Scotland, and being wonderfully well-mannered for a seafaring man, was made
welcome in all the best houses, wherever his ships went into harbor, from Monterey to San
40 Diego.
The Señorita Ramona Gonzaga sailed for Monterey the same day and hour her lover
sailed for San Blas. They stood on the decks waving signals to each other as one sailed away to
the south, the other to the north. It was remembered afterward by those who were in the
ship with the Señorita, that she ceased to wave her signals, and had turned her face away,
45 long before her lover’s ship was out of sight. But themen of the San Jose said that Angus Phail
stood immovable, gazing northward, till nightfall shut from his sight even the horizon line at
which the Monterey ship had long before disappeared from view.

11. In line 5, the phrase shadowed countenance refers to a …..

(A) shaded veranda
(B) somber face
(C) cool bedroom
(D) dark companion
(E) lonely landscape

12. Why did Ramona live in Señora Moreno’s house?

(A) She was the Señora’s daughter.
(B) She loved the Señora.
(C) The Señora had promised to raise her.
(D) She was loved by the Señora.
 (E) The Señora was her aunt.

13. In lines 10–11, what is meant by the phrase inalienable staunchness of her nature?
(A) her natural mothering instinct
(B) her steadfastness
(C) her inability to love
(D) her facility as a correspondent
(E) her potential to be a good person

14. In lines 20–21, when the author says they would have tragedies enough of their own presently,
she means …..
(A) they should mind their own business
(B) young people are not especially curious about old stories
(C) it would be bad luck for them to hear the story
(D) the story was not very important to anyone
(E) why sadden young people with the story

15. In line 28, to what does the phrase bereft of his senses refer?
(A) heightened sensitivity
(B) insanity
(C) without potential
(D) persistence
(E) being in love

16. In lines 29–32, what excuse is offered for Ramona Gonzaga’s action?
(A) She did not love Angus.
(B) She had to leave town.
(C) Angus had to leave town.
(D) She had promised to marry Angus without knowing him.
(E) She had tried in vain to escape Angus’s attentions.

17. It can be inferred from the final paragraph (lines 39–45) that …..
(A) Ramona was more devoted than Angus was
(B) Ramona had a short attention span
(C) Ramona and Angus never married
(D) Angus’ devotion surpassed Ramona’s
(E) it was a very long way to San Blas

Questions 18 – 20 are based on the following passage.

Although all art is inherently public—created in order to convey an idea or emotion to

others—“public art,” as opposed to art that is sequestered in museums and galleries, is art
specifically designed for a public arena where the art will be encountered by people in their
normal day-to-day activities. Public art can be purely ornamental or highly functional; it can be
5 as subtle as a decorative door knob or as conspicuous as the Chicago Picasso. The more
obvious forms of public art include monuments, sculptures, fountains, murals, and gardens.
But public art also takes the form of ornamental benches or street lights, decorative manhole
covers, and mosaics on trash bins. Many city dwellers would be surprised to discover just how
much public art is really around them and how much impact public art has on their day-to-day
lives.
18. According to the passage, public art is differentiated from private art mainly by …..
(A) the kind of ideas or emotions it aims to convey to its audience
(B) its accessibility
(C) its perceived value
(D) its importance to the city
(E) the recognition that artists receive for their work

19. The use of the word sequestered in line 2 suggests that the author feels …..
(A) private art is better than public art
(B) private art is too isolated from the public
(C) the admission fees for public art arenas prevent many people from experiencing the art
(D) private art is more difficult to understand than public art
(E) private art is often controversial in nature

20. The main purpose of this passage is to …..

(A) define public art
(B) make readers more aware of the public art around them
(C) argue that public art is more interesting than private art
(D) describe the functions of public art
(E) provide examples of public art