Answer the questions under each passage:

A. The Arts and Crafts Movement in the United States was responsible for sweeping
changes in attitudes toward the decorative arts, then considered the minor or household
arts. Its focus on decorative arts helped to induce United Slates museums and private
collectors to begin collecting
Line    furniture, glass, ceramics, metalwork, and textiles in the late nineteenth and early
twentieth
(5)      centuries. The fact that artisans, who were looked on as mechanics or skilled
workers in the eighteenth century, are frequently considered artists today is directly
attributable to the Arts and Crafts Movement of the nineteenth century. The importance
now placed on attractive and harmonious home decoration can also be traced to this
period, when Victorian interior arrangements were revised to admit greater light and more
freely flowing spaces.
(10)              The Arts and Crafts Movement reacted against mechanized processes that
threatened
handcrafts and resulted in cheapened, monotonous merchandise. Founded in the late
nineteenth
century by British social critics John Ruskin and William Morris, the
movement revered craft as a form
of art. In a rapidly industrializing society, most Victorians agreed that art was an essential
moral
ingredient in the home environment, and in many middle- and working-class homes craft
was the only
(15)    form of art, Ruskin and his followers criticized not only the degradation of artisans
reduced to machine
operators, but also the impending loss of daily contact with handcrafted objects, fashioned
with pride,
integrity, and attention to beauty.
In the United States as well as in Great Britain, reformers extolled the virtues
of handcrafted objects: simple, straightforward design; solid materials of good quality; and
sound, enduring
(20)    construction techniques. These criteria were interpreted in a variety of styles,
ranging from rational
and geometric to romantic or naturalistic. Whether abstract, stylized, or realistically treated,
the
consistent theme in virtually all Arts and Crafts design is nature.
 
          The Arts and Crafts Movement was much more than a particular style; it was a
philosophy of domestic life. Proponents believed that if simple design, high-quality
materials, and honest construction were realized in the home and its appointments, then
the occupants would enjoy moral and therapeutic effects. For both artisan and consumer,
(30)    the Arts and Crafts doctrine was seen as a magical force against the undesirable
effects of industrialization.
B.   Although only 1 person in 20 in the Colonial period lived in a city, the cities had a
disproportionate influence on the development of North America. They were at the
cutting edge of social change. It was in the cities that the elements that can be
Line   associated with modern capitalism first appeared - the use of money and
commercial
(5)      paper in place of barter, open competition in place of social deference and
hierarchy,
with an attendant rise in social disorder, and the appearance of factories using coat or
water power in place of independent craftspeople working with hand tools. "The cities
predicted the future," wrote historian Gary. B. Nash, "even though they were but
overgrown villages compared to the great urban centers of Europe, the Middle East
(10)    and China."
          Except for Boston, whose population stabilized at about 16,000 in 1760, cities grew
by exponential leaps through the eighteenth century. In the fifteen years prior to the
outbreak of the War for independence in 1775, more than 200,000 immigrants arrived
on North American shores. This meant that a population the size of Boston was
(15)    arriving every year, and most of it flowed into the port cities in the Northeast.
Philadelphia's population nearly doubted in those years, reaching about 30,000 in
1774, New York grew at almost the same rate, reaching about 25,000 by 1775.
          The quality of the hinterland dictated the pace of growth of the cities. The land
surrounding Boston had always been poor farm country, and by the mid-eighteenth
(20)    century it was virtually stripped of its timber. The available farmland was occupied,
there was little in the region beyond the city to attract immigrants. New York and
Philadelphia, by contrast, served a rich and fertile hinterland laced with navigable
watercourses. Scots, Irish, and Germans landed in these cities and followed the rivers
inland. The regions around the cities of New York and Philadelphia became the
(25)    breadbaskets of North America, sending grain not only to other colonies but also to
England and southern Europe, where crippling droughts in the late 1760's created a whole
new market
C.   Television has transformed politics in the United States by changing the way in
which information is disseminated, by altering political campaigns, and by changing
citizen's patterns of response to politics. By giving citizens independent access to the
Line   candidates, television diminished the role of the political party in the selection of the
(5)     major party candidates. By centering politics on the person of the candidate,
television
accelerated the citizen's focus on character rather than issues.
 
          Television has altered the forms of political communication as well. The messages
on which most of us rely are briefer than they once were. The stump speech, a political
speech given by traveling politicians and lasting 3/2 to 2 hours, which characterized
 
(10)    nineteenth-century political discourse, has given way to the 30-second
advertisement
and the 10 second "sound bite" in broadcast news. Increasingly the audience for
speeches is not that standing in front of the politician but rather the viewing audience
who will hear and see a snippet of the speech on the news.
          In these abbreviated forms, much of what constituted the traditional political
(15)    discourse of earlier ages has been lost. In 15 or 30 seconds, a speaker cannot
establish
the historical context that shaped the issue in question, cannot detail the probable
causes of the problem, and cannot examine alternative proposals to argue that one is
preferable to others. In snippets, politicians assert but do not argue.
          Because television is an intimate medium, speaking through it require a changed
(20)    political style that was more conversational, personal, and visual than that of the
oldstyle
stump speech. Reliance on television means that increasingly our political world
contains memorable pictures rather than memorable words. Schools teach us to analyze
words and print. However, in a word in which politics is increasingly visual, informed
citizenship requires a new set of skills.
 
(25)              Recognizing the power of television's pictures, politicians craft televisual,
staged
events, called pseudo-event, designed to attract media coverage. Much of the political
activity we see on television news has been crafted by politicians, their speechwriters,
and their public relations advisers for televised consumption. Sound bites in news and
answers to questions in debates increasingly sound like advertisements.