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PRAXIS Pre-Professional Skills Test (PPST) II 認定 PRAXIS2 試験問題:

1. Those examples of poetic justice that occur in medieval and Elizabethan literature, and that seem so
satisfying, have encouraged a whole school of twentieth-century scholars to "find" further examples. In
fact, these scholars have merely forced victimized character into a moral framework by which the
injustices inflicted on them are, somehow or other, justified. Such scholars deny that the sufferers in a
tragedy are innocent; they blame the victims themselves for their tragic fates. Any misdoing is enough to
subject a character to critical whips. Thus, there are long essays about the misdemeanors of Webster's
Duchess of Malfi, who defined her brothers, and he behavior of Shakespeare's Desdemona, who
disobeyed her father.
Yet it should be remembered that the Renaissance writer Matteo Bandello strongly protests the injustice
of the severe penalties issued to women for acts of disobedience that men could, and did, commit with
virtual impunity. And Shakespeare, Chaucer, and Webster often enlist their readers on the side of their
tragic heroines by describing injustices so cruel that readers cannot but join in protest. By portraying
Griselda, in the Clerk's Tale, as a meek, gentle victim who does not criticize, much less rebel against the
prosecutor, her husband Waltter, Chaucer incites readers to espouse Griselda's cause against Walter's
oppression. Thus, efforts to supply historical and theological rationalization for Walter's persecutions tend
to turn Chaucer's fable upside down, to deny its most obvious effect on reader's sympathies. Similarly, to
assert that Webster's Duchess deserved torture and death because she chose to marry the man she
loved and to bear their children is, in effect to join forces with her tyrannical brothers, and so to confound
the operation of poetic justice, of which readers should approve, with precisely those examples of social
injustice that Webster does everything in his power to make readers condemn. Indeed. Webster has his
heroin so heroically lead the resistance to tyranny that she may well in spire members of the audience to
imaginatively joins forces with her against the cruelty and hypocritical morality of her brothers.
Thus Chaucer and Webster, in their different ways, attack injustice, argue on behalf of the victims, and
prosecute the persecutors. Their readers serve them as a court of appeal that remains free to rule, as the
evidence requires, and as common humanity requires, in favour of the innocent and injured parties. For,
to paraphrase the noted eighteenth-century scholar, Samuel Johnson, despite all the refinements of
subtlety and the dogmatism of learning, it is by the common sense and compassion of readers who are
uncorrupted by the characters and situations in mereval and Dlizabetahn literature, as in any other
literature, can best be judged.
The primary purpose of the passage is to

A) describe the role of the tragic heroine in medieval and Elizabethan literature
B) argues that some twentieth-century scholars have misapplied the concept of "poetic justice" in
analyzing certain medieval and Elizabethan literary works.
C) resolve a controversy over the meaning of "poetic justice" as it is discussed in certain medieval and
Elizabethan literary treatises
D) assert that it is impossible for twentieth-century readers to fully comprehend the characters and
situations in medieval and Elizabethan literary works
E) present evidence to support the view that characters in medieval and Elizabethan tragedies are to
blame for their fates

2. Those examples of poetic justice that occur in medieval and Elizabethan literature, and that seem so
satisfying, have encouraged a whole school of twentieth-century scholars to "find" further examples. In
fact, these scholars have merely forced victimized character into a moral framework by which the
injustices inflicted on them are, somehow or other, justified. Such scholars deny that the sufferers in a
tragedy are innocent; they blame the victims themselves for their tragic fates. Any misdoing is enough to
subject a character to critical whips. Thus, there are long essays about the misdemeanors of Webster's
Duchess of Malfi, who defined her brothers, and he behavior of Shakespeare's Desdemona, who
disobeyed her father.
Yet it should be remembered that the Renaissance writer Matteo Bandello strongly protests the injustice
of the severe penalties issued to women for acts of disobedience that men could, and did, commit with
virtual impunity. And Shakespeare, Chaucer, and Webster often enlist their readers on the side of their
tragic heroines by describing injustices so cruel that readers cannot but join in protest. By portraying
Griselda, in the Clerk's Tale, as a meek, gentle victim who does not criticize, much less rebel against the
prosecutor, her husband Waltter, Chaucer incites readers to espouse Griselda's cause against Walter's
oppression. Thus, efforts to supply historical and theological rationalization for Walter's persecutions tend
to turn Chaucer's fable upside down, to deny its most obvious effect on reader's sympathies. Similarly, to
assert that Webster's Duchess deserved torture and death because she chose to marry the man she
loved and to bear their children is, in effect to join forces with her tyrannical brothers, and so to confound
the operation of poetic justice, of which readers should approve, with precisely those examples of social
injustice that Webster does everything in his power to make readers condemn. Indeed. Webster has his
heroin so heroically lead the resistance to tyranny that she may well in spire members of the audience to
imaginatively join forces with her against the cruelty and hypocritical morality of her brothers.
Thus Chaucer and Webster, in their different ways, attack injustice, argue on behalf of the victims, and
prosecute the persecutors. Their readers serve them as a court of appeal that remains free to rule, as the
evidence requires, and as common humanity requires, in favor of the innocent and injured parties. For, to
paraphrase the noted eighteenth-century scholar, Samuel Johnson, despite all the refinements of subtlety
and the dogmatism of learning, it is by the common sense and compassion of readers who are
uncorrupted by the characters and situations in mereval and Dlizabetahn literature, as in any other
literature, can best be judged.
It can be interred from the passage that the author most probably thinks that giving the disenfranchised" '
a piece of action'" is

A) a compassionate, if misdirected, legislative measure
B) a surprisingly "Old World" remedy for social ills
C) a monument to the efforts of industrial reformers
D) an innovative program for genuine social reform
E) an example of American's resistance to profound social change

3. 6 students of nursery class are playing a game. They are standing in a circle and have to pass a ball
among themselves. How many such passes are possible?

A) 32760
B) 30
C) 46656
D) 15625
E) 36

4. Brazil issued a stamp this year to celebrate Africa Day. The stamp emphasizes African art, remarkable
features of which are apparent in the Brazilian culture. The background is composed by the colors that
appear in the flags of most African nations. The stamp also shows, in a stylized manner, the strongest
features of the African culture-musical instruments, masks, handicrafts and adornments. What can a
person best interpret about Africa on seeing the stamp?

A) African art and culture is very famous
B) Africa has a rich and varied culture
C) The African nations are in harmony with each other
D) Africa is keen on displaying its cultural heritage.
E) Music and creativity are an integral part of African culture

5. It can be inferred from the passage that the author believes that most people respond to intended
instances of poetic justice in medieval and Elizabethan literature with

A) amusement
B) disapproval
C) annoyance
D) indifference
E) gratification

質問と回答：