Mini TO Bahasa Inggris 07

Passage 1
To use an epistemological distinction introduced by Jurgen Habermas in 1968 in his Erkenntnis und
Interesse, critical theory in literary studies is ultimately a form of hermeneutics, i.e. knowledge via
interpretation to understand the meaning of human text and symbolic expressions, while critical social
theory is, in contrast, a form of self-reflective knowledge involving both understanding and theoretical
explanation to reduce entrapment in systems of domination or dependence, obeying the emancipatory
interest in expanding the scope of autonomy and reducing the scope of domination. From this
perspective, much literary critical theory, since it is focused on interpretation and explanation rather
than on social transformation, would be regarded as positivistic or traditional rather than critical theory
in the Kantian or Marxian sense. Critical theory in literature and the humanities in general does, either
through criticizing society from some general theory of values, norms, or oughts, or trough criticizing it
in terms of its own espoused values.
21. Which of the following statements is best supported by this passage?

Passage 1
To use an epistemological distinction introduced by Jurgen Habermas in 1968 in his Erkenntnis und
Interesse, critical theory in literary studies is ultimately a form of hermeneutics, i.e. knowledge via
interpretation to understand the meaning of human text and symbolic expressions, while critical social
theory is, in contrast, a form of self-reflective knowledge involving both understanding and theoretical
explanation to reduce entrapment in systems of domination or dependence, obeying the emancipatory
interest in expanding the scope of autonomy and reducing the scope of domination. From this
perspective, much literary critical theory, since it is focused on interpretation and explanation rather
than on social transformation, would be regarded as positivistic or traditional rather than critical theory
in the Kantian or Marxian sense. Critical theory in literature and the humanities in general does, either
through criticizing society from some general theory of values, norms, or oughts, or trough criticizing it
in terms of its own espoused values.
22. The word “via” in line 3 could best be replaced by…

Passage 1
To use an epistemological distinction introduced by Jurgen Habermas in 1968 in his Erkenntnis und
Interesse, critical theory in literary studies is ultimately a form of hermeneutics, i.e. knowledge via
interpretation to understand the meaning of human text and symbolic expressions, while critical social
theory is, in contrast, a form of self-reflective knowledge involving both understanding and theoretical
explanation to reduce entrapment in systems of domination or dependence, obeying the emancipatory
interest in expanding the scope of autonomy and reducing the scope of domination. From this
perspective, much literary critical theory, since it is focused on interpretation and explanation rather
than on social transformation, would be regarded as positivistic or traditional rather than critical theory
in the Kantian or Marxian sense. Critical theory in literature and the humanities in general does, either
through criticizing society from some general theory of values, norms, or oughts, or trough criticizing it
in terms of its own espoused values.
23. According to the passage, what is the use of self-reflective knowledge?

Passage 1
To use an epistemological distinction introduced by Jurgen Habermas in 1968 in his Erkenntnis und
Interesse, critical theory in literary studies is ultimately a form of hermeneutics, i.e. knowledge via
interpretation to understand the meaning of human text and symbolic expressions, while critical social
theory is, in contrast, a form of self-reflective knowledge involving both understanding and theoretical
explanation to reduce entrapment in systems of domination or dependence, obeying the emancipatory
interest in expanding the scope of autonomy and reducing the scope of domination. From this
perspective, much literary critical theory, since it is focused on interpretation and explanation rather
than on social transformation, would be regarded as positivistic or traditional rather than critical theory
in the Kantian or Marxian sense. Critical theory in literature and the humanities in general does, either
through criticizing society from some general theory of values, norms, or oughts, or trough criticizing it
in terms of its own espoused values.
24. The word “espoused” in line 14 [11] is closest in meaning to which of the following?

Passage 1
To use an epistemological distinction introduced by Jurgen Habermas in 1968 in his Erkenntnis und
Interesse, critical theory in literary studies is ultimately a form of hermeneutics, i.e. knowledge via
interpretation to understand the meaning of human text and symbolic expressions, while critical social
theory is, in contrast, a form of self-reflective knowledge involving both understanding and theoretical
explanation to reduce entrapment in systems of domination or dependence, obeying the emancipatory
interest in expanding the scope of autonomy and reducing the scope of domination. From this
perspective, much literary critical theory, since it is focused on interpretation and explanation rather
than on social transformation, would be regarded as positivistic or traditional rather than critical theory
in the Kantian or Marxian sense. Critical theory in literature and the humanities in general does, either
through criticizing society from some general theory of values, norms, or oughts, or trough criticizing it
in terms of its own espoused values.
25. Which of the following words best describes the tone of this passage?

Passage 2
A solitary figure with an impatient personality and irascible temper, Michelangelo was often in conflict
with his patrons and associates. One of the earliest reports of this is that while still an apprentice to
Ghirlandaio he taunted his fellow student Pietro Torrigano and in return received a blow on the nose that
disfigured him for life. The time in which Michelangelo lived was one that produced strong men, capable
of competing with the artist. One of the fascinating stories in the history of art is that of his stormy
relationship with Pope Julius II and their disputes concerning the Sistine ceiling and other commissions.
The artist’s solitude may be explained by his extraordinary genius, but perhaps it also reflects his own
conflicts between his love for the human body, as revealed in his work, and his Christian mysticism,
which denied the body and its importance. Despite his difficulties, throughout his career patrons vied
with one another for time and efforts. He was handsomely paid, and managed his personal affairs with
care.
26. What might be the best title for the passage?

Passage 2
A solitary figure with an impatient personality and irascible temper, Michelangelo was often in conflict
with his patrons and associates. One of the earliest reports of this is that while still an apprentice to
Ghirlandaio he taunted his fellow student Pietro Torrigano and in return received a blow on the nose that
disfigured him for life. The time in which Michelangelo lived was one that produced strong men, capable
of competing with the artist. One of the fascinating stories in the history of art is that of his stormy
relationship with Pope Julius II and their disputes concerning the Sistine ceiling and other commissions.
The artist’s solitude may be explained by his extraordinary genius, but perhaps it also reflects his own
conflicts between his love for the human body, as revealed in his work, and his Christian mysticism,
which denied the body and its importance. Despite his difficulties, throughout his career patrons vied
with one another for time and efforts. He was handsomely paid, and managed his personal affairs with
care.
27. The following statements are true about Michelangelo, EXCEPT

Passage 2
A solitary figure with an impatient personality and irascible temper, Michelangelo was often in conflict
with his patrons and associates. One of the earliest reports of this is that while still an apprentice to
Ghirlandaio he taunted his fellow student Pietro Torrigano and in return received a blow on the nose that
disfigured him for life. The time in which Michelangelo lived was one that produced strong men, capable
of competing with the artist. One of the fascinating stories in the history of art is that of his stormy
relationship with Pope Julius II and their disputes concerning the Sistine ceiling and other commissions.
The artist’s solitude may be explained by his extraordinary genius, but perhaps it also reflects his own
conflicts between his love for the human body, as revealed in his work, and his Christian mysticism,
which denied the body and its importance. Despite his difficulties, throughout his career patrons vied
with one another for time and efforts. He was handsomely paid, and managed his personal affairs with
care.
28. Why does the author mention the phrase ‘his stormy relationship with Pope Julius II’ in line 7 [6]?

Passage 2
A solitary figure with an impatient personality and irascible temper, Michelangelo was often in conflict
with his patrons and associates. One of the earliest reports of this is that while still an apprentice to
Ghirlandaio he taunted his fellow student Pietro Torrigano and in return received a blow on the nose that
disfigured him for life. The time in which Michelangelo lived was one that produced strong men, capable
of competing with the artist. One of the fascinating stories in the history of art is that of his stormy
relationship with Pope Julius II and their disputes concerning the Sistine ceiling and other commissions.
The artist’s solitude may be explained by his extraordinary genius, but perhaps it also reflects his own
conflicts between his love for the human body, as revealed in his work, and his Christian mysticism,
which denied the body and its importance. Despite his difficulties, throughout his career patrons vied
with one another for time and efforts. He was handsomely paid, and managed his personal affairs with
care.
29. The word ‘this’ in line 3 [2] refers to

Passage 2
A solitary figure with an impatient personality and irascible temper, Michelangelo was often in conflict
with his patrons and associates. One of the earliest reports of this is that while still an apprentice to
Ghirlandaio he taunted his fellow student Pietro Torrigano and in return received a blow on the nose that
disfigured him for life. The time in which Michelangelo lived was one that produced strong men, capable
of competing with the artist. One of the fascinating stories in the history of art is that of his stormy
relationship with Pope Julius II and their disputes concerning the Sistine ceiling and other commissions.
The artist’s solitude may be explained by his extraordinary genius, but perhaps it also reflects his own
conflicts between his love for the human body, as revealed in his work, and his Christian mysticism,
which denied the body and its importance. Despite his difficulties, throughout his career patrons vied
with one another for time and efforts. He was handsomely paid, and managed his personal affairs with
care.
30. The phrase ‘a blow on the nose’ in line 4 [3] is closely related with

The House of Lords and the House of Commons assemble in the Palace of Westminster. The Lords
Chamber is lavishly …(31)…, in contrast with Commons chamber. Benches in the Lords Chamber are
colored red; thus the House of Lord is sometimes …(23)… as the “Red Chamber”. The Woolsack is at
the front of the Chamber, supporters of the Government sit on benches on the right of the Woolsack,
while members of the Opposition sit on the left. Neutral members, …(33).. as Cross-benchers, sit on the
benches immediately opposite the Woolsack. During the State Opening, the Sovereign, seated on the
Throne in the Lords Chamber and in the presence of both Houses of Parliament, delivers a speech
…(34)… the Government’s agenda for the upcoming …(35)… session.
31.

The House of Lords and the House of Commons assemble in the Palace of Westminster. The Lords
Chamber is lavishly …(31)…, in contrast with Commons chamber. Benches in the Lords Chamber are
colored red; thus the House of Lord is sometimes …(23)… as the “Red Chamber”. The Woolsack is at
the front of the Chamber, supporters of the Government sit on benches on the right of the Woolsack,
while members of the Opposition sit on the left. Neutral members, …(33).. as Cross-benchers, sit on the
benches immediately opposite the Woolsack. During the State Opening, the Sovereign, seated on the
Throne in the Lords Chamber and in the presence of both Houses of Parliament, delivers a speech
…(34)… the Government’s agenda for the upcoming …(35)… session.
32.

The House of Lords and the House of Commons assemble in the Palace of Westminster. The Lords
Chamber is lavishly …(31)…, in contrast with Commons chamber. Benches in the Lords Chamber are
colored red; thus the House of Lord is sometimes …(23)… as the “Red Chamber”. The Woolsack is at
the front of the Chamber, supporters of the Government sit on benches on the right of the Woolsack,
while members of the Opposition sit on the left. Neutral members, …(33).. as Cross-benchers, sit on the
benches immediately opposite the Woolsack. During the State Opening, the Sovereign, seated on the
Throne in the Lords Chamber and in the presence of both Houses of Parliament, delivers a speech
…(34)… the Government’s agenda for the upcoming …(35)… session.
33.

The House of Lords and the House of Commons assemble in the Palace of Westminster. The Lords
Chamber is lavishly …(31)…, in contrast with Commons chamber. Benches in the Lords Chamber are
colored red; thus the House of Lord is sometimes …(23)… as the “Red Chamber”. The Woolsack is at
the front of the Chamber, supporters of the Government sit on benches on the right of the Woolsack,
while members of the Opposition sit on the left. Neutral members, …(33).. as Cross-benchers, sit on the
benches immediately opposite the Woolsack. During the State Opening, the Sovereign, seated on the
Throne in the Lords Chamber and in the presence of both Houses of Parliament, delivers a speech
…(34)… the Government’s agenda for the upcoming …(35)… session.
34.

The House of Lords and the House of Commons assemble in the Palace of Westminster. The Lords
Chamber is lavishly …(31)…, in contrast with Commons chamber. Benches in the Lords Chamber are
colored red; thus the House of Lord is sometimes …(23)… as the “Red Chamber”. The Woolsack is at
the front of the Chamber, supporters of the Government sit on benches on the right of the Woolsack,
while members of the Opposition sit on the left. Neutral members, …(33).. as Cross-benchers, sit on the
benches immediately opposite the Woolsack. During the State Opening, the Sovereign, seated on the
Throne in the Lords Chamber and in the presence of both Houses of Parliament, delivers a speech
…(34)… the Government’s agenda for the upcoming …(35)… session.
35.