When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles The introduced an entirely new way of representing dress in portraiture. In women ' s portraits. he left off fashionable accessories, depicted subjects in unbuttoned sleeves and collars, and added lavish drapery and jewels. For the first time an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.

Van Dyck ' s Portrait of Thomas Killigrew and Willian. Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men ' s dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew. a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting, and Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew ' s right hand depicts two Itinerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.

At historians have interpreted the clothing depicted in this portrait, particularly Crofts ' doublet which is worn unbuttoned in back, as an allusion to the subjects ' grief-stricken distraction. It is true that Killigrew ' s dress includes references to his loss—he wears a cross inscribed with his wife ' s initials. There is an intimate nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, diis reading of the costumes as signs of grief does not take account of seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire;

Crofts " dress would be quite appropriate for a formal portrait. Though black clothing, such as that won by Crofil, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mounting no shiny surfaces, such as Crofts ' satin doublet, would be permitted. The unbuttoned slit on Crofts " doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse. who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s a certain calculated looseness was conventional in men ' s formal dress. Ribeiro. for example, cites the writings of moralists objecting to this style.

Killigrew ' s attire, though even looser than Crofts " , should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew ' s " undress " lends this portrait a distinctive intimacy, it might also refer to Killigrew ' s literary career. Many of Van Dyck ' s other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew ' s loss but also of his solace: he had but to express his grief in writing.

The author ' s reference to the " cross " worn by Killigrew serves primarily as

Economists use two competing models to describe the effects of commercial advertising—advertising as market competition and advertising as market power. The market competition model holds that the fundamental function of advertising is lo provide information about products and brands. It is argued that information in ads permits greater marketplace efficiencies, such as lower prices and reduced monopoly power. In a similar vein, much discussion regarding political advertising has rested on its informational value. Does political advertising provide political information and help voters make informed decisions ' 1 Nelson argues that promoting bars of soap in commercial ads is no different than promoting political ideas ideology from political candidates in political ads. on the grounds that information is being distributed m both cases. Others, such as Ferguson and Jamieson, disagree with Nelson ' s proposition. Ferguson, for example, pointed out that choosing a political candidate is more like buying an experience good (where the quality is hard to evaluate prior to purchase) rather than a search good (where the quality is easily evaluated before the purchase). According to Ferguson, claims in political ads do not have true informational value, because it is difficult for voters to draw inferences about the future deeds of a candidate from what the ads say Furthermore. Jamieson argues that political ads reshape the public image of political candidates and change voters feelings about the candidates with subtle emotional cues but without substantive information upon which to base a reasoned judgment.

In the context of the passage as a whole, the highlighted sentence serves primarily to

Like paleontologists who interpret timescales from fossil evidence, we infer the history of star formation in the Milky Way galaxy from the heavy-element composition of its stars. According to the big bang theory of the origin of the universe, the first gas clouds—and the first generation of stars formed from them—were composed of pure hydrogen and helium; most heavier elements— iron and calcium, for example—came later, created by explosions of supernovas, massive stars in their death throes. Loaded with heavy elements, material ejected from supernovas enriched the interstellar gas clouds from which the next generation of stars formed, the level of heavy elements increasing with succeeding generations. Because most stars live for many billions of years and because the Milky Way is thus composed of multiple stellar generations, comparing the number of stars of low heavy-element abundance with those of high heavy-element abundance enables astronomers to untangle the history of star formation in the Milky Way.

The passage contains information about each of the following subjects EXCEPT the

Recent research has questioned the long-standing view of pearly mussels as exclusively suspension feeders (animals that strain suspended particles from water) that subsist on phytoplankton (mostly algae). Early studies of mussel feeding were based on analyses of gut contents, a method that has three weaknesses. First, material in mucus-bound gut contents is difficult to identify and quantify. Second, material found in the gut may pass undigested out of the mussel, not contributing to its nutrition. Finally, examination of gut contents offers limited insight into the mechanisms and behaviors by which mussels acquire food. Modem studies suggest that pearly mussels feed on more than just algae and may use other means than suspension feeding. Pedal feeding (sweeping up edible material with a muscular structure called the foot) has been observed in juvenile pearly mussels.

Besides the phytoplankton pearly mussels capture from the water column, their guts also contain small animals, protozoans, and detritus (nonliving particulate organic material). Recent studies show that mussels can capture and assimilate bacteria as well, a potentially important source of food in many fresh waters. Another potential source of food for mussels is dissolved organic matter. Early studies showing that pearly mussels could take up simple organic compounds were largely discounted because such labile (unstable) compounds are rarely abundant in nature. Nevertheless, recent work on other bivalves suggests that dissolved organic matter may be a significant source of nutrition.

Of this complex mix of materials that pearly mussels acquire, what is actually required and assimilated? Stable-isotope analyses of mussels taken from nature and of captive-reared mussels are beginning to offer some insight into this question. Nichols and Garling showed that pearly mussels in a small river were omnivorous, subsisting mainly on particles less than 2S micrometers in diameter, including algae, detritus, and bacteria. Bacterially derived carbon was apparently the primary source of soft-tissue carbon. However, bacteria alone cannot support mussel growth, because they lack the necessary long-chain fatty acids and sterols and are deficient in some amino acids. Bacteria may supplement other food resources, provide growth factors, or be the primary food In habitats such as headwater streams, where phytoplankton is scarce. Juvenile mussels have been most successfully reared m the laboratory on diets containing algae high in polyunsaturated fatty acids. Thus, it appears that the pearly mussel diet in nature may consist of algae, bacteria, detritus, and small animals and that at least some algae and bacteria may be required as a source of essential biochemicals.

The primary purpose of the passage is to

Even the most complex models used in fishery management are cartoons of reality. They reduce hundreds of links in food webs to a handful and inadequately represent processes operating over space. Many of their assumptions are as flawed today as those of the simplest models of the past. Fish stocks, for one. are still assumed to be populations of a species that are isolated from one another. Yet many populations mix at their edges and some even migrate through areas occupied by other populations. Furthermore, the more complex models suffer from a " crisis of complexity " —more is really less. Adding layers of detail, each carrying its own set of assumptions, produces instability. The model ' s behavior becomes erratic, and conclusions drawn from it can be downright misleading.

In the context of the passage, the highlighted portion serves to

A divide between aesthetic and technical considerations has played a crucial role in mapmakiug and cartographic scholarship. Some nineteenth-century cartographers, for instance, understood themselves as technicians who did not care about visual effects, while others saw themselves as landscape painters. That dichotomy structured the discipline of the history of cartography. Until the 1980s, in what Blakemore and Harley called " the ' Old is Beautiful ' paradigm. " scholars largely focused on maps made before 1800. marveling at their beauty and sometimes regretting the decline of the pre-technical age. Early mapmaking was considered art while modem cartography was located within the realm of engineering utility. Alpers. however, has argued that this boundary would have puzzled mapmakers in the seventeenth century, because they considered themselves to be visual engineers.

It can be inferred from the passage that, beginning in the 1980s. historians of cartography

Harriet Monroe, who founded Poetry: A Magazine of Verse in 1912. argued that the more heterogeneous and sprawling the modem world became, the more poetry needed " an entrenched place, a voice of power. " Hut this goal could only be realized if poets were valued in ways that encouraged them to participate in the world and made writing verse economically viable. Monroe argued that poets needed sites of institutional opportunity like those that had been developed for visual artists, architects, and musicians. She believed that the hand-wringing anticapitalism dominating genteel literary culture—particularly the idea that poetry ought to be removed from " sordid " pecuniary considerations—brought no economic and only illusory aesthetic benefits, instead severing poets from meaningful participation in the modern world.

The passage suggests that Monroe believed that finding " an entrenched place, a voice of power " for poetry would rely on which of the following?

Recently, we have seen the emergence of the food movement, or perhaps we should say " movements. " since it is

(i)_________as yet by little more than the recognition that industrial food production is in need of reform because its

social or environmental or public health or animal welfare or gastronomic costs are too high. As that list suggests, the

activists are coming at the issue (ii)_________. Where many social movements, over time, break into various factions

representing differing concerns or tactics, the food movement has been (iii)_________from its beginning.

Because they require abstraction and generalization, many theories end up_________practical relevance as they tail to capture the richness and complexity of phenomena encountered in real settings.

When Ms. Alvarez campaigns, she lends to_________small towns: most of her campaign appearances occur in large population centers and media markets.