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Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer? for GRE 2024 is part of GRE preparation. The Question and answers have been prepared according to the GRE exam syllabus. Information about Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer? covers all topics & solutions for GRE 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer?.

Solutions for Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer? in English & in Hindi are available as part of our courses for GRE. Download more important topics, notes, lectures and mock test series for GRE Exam by signing up for free.

Here you can find the meaning of Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer?, a detailed solution for Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer? has been provided alongside types of Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Directions: Answer the questions based on following reading passage.The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.Q. The author of the passage cites Rosenblum’s book most likely in order toa)suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attentionb)offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attentionc)provide an example of a way in which scholarship on the history of women in photography has been unsatisfactoryd)suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductivee)provide support for the notion that certain personalities in women’s photography have attained undue prominenceCorrect answer is option 'C'. Can you explain this answer? tests, examples and also practice GRE tests.