Expositive Comprehension passage - Jamb English Language Past Questions and Answers

Question 41:

• JAMB 1984

Every artist’s work unless he be a hermit, creating solely for his own satisfaction and with on need of sales, is to some extent ‘socially conditioned’, He depends upon the approval of his patrons. Social conditioning is of course part of the field of study of the social anthropologist, yet I am not aware that the social conditioning of artists has ever been seriously studied. That such study is needed for the proper appraisal of traditional African art is evident enough when we note the ingenuous assumption, current in many writing on the subject, that the carver’s hand is so closely controlled by the custom of centuries that the credit for any creative imagination which is apparent in his work is due not to him but to the long succession of his predecessors. Of course, there is an element of truth in this view of the tribal as copyist; but it is hardly more valid for the Africa than for the European artist. In both cases the work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist, and in both the relative strength of these two forces may vary almost infinitely. To assess the personal ingredient in an African carving is no easy matter, especially if one is confronted with a rare or unique piece in an unfamiliar style; but the considerations involved are much the same as those employed in European art criticism.


A social anthropologist is someone who

A. Studies only social conditioning
B. Is interested in art and artist
C. Studies social conditions and other things
D. Is interested in the community
E. Studies the origins of man

Question 42:

• JAMB 1984

Every artist’s work unless he be a hermit, creating solely for his own satisfaction and with on need of sales, is to some extent ‘socially conditioned’, He depends upon the approval of his patrons. Social conditioning is of course part of the field of study of the social anthropologist, yet I am not aware that the social conditioning of artists has ever been seriously studied. That such study is needed for the proper appraisal of traditional African art is evident enough when we note the ingenuous assumption, current in many writing on the subject, that the carver’s hand is so closely controlled by the custom of centuries that the credit for any creative imagination which is apparent in his work is due not to him but to the long succession of his predecessors. Of course, there is an element of truth in this view of the tribal as copyist; but it is hardly more valid for the Africa than for the European artist. In both cases the work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist, and in both the relative strength of these two forces may vary almost infinitely. To assess the personal ingredient in an African carving is no easy matter, especially if one is confronted with a rare or unique piece in an unfamiliar style; but the considerations involved are much the same as those employed in European art criticism.


The work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist' means that

A. The artist is influenced both by the society and by own creative imagination
B. There is an irreconcilable conflict that society makes on him
C. The artist subordinates his individual talent to the demands of the society
D. Few works of art are entirely original
E. The individual artist needs to be informed about the traditions of the society

Question 43:

• JAMB 1984

Every artist’s work unless he be a hermit, creating solely for his own satisfaction and with on need of sales, is to some extent ‘socially conditioned’, He depends upon the approval of his patrons. Social conditioning is of course part of the field of study of the social anthropologist, yet I am not aware that the social conditioning of artists has ever been seriously studied. That such study is needed for the proper appraisal of traditional African art is evident enough when we note the ingenuous assumption, current in many writing on the subject, that the carver’s hand is so closely controlled by the custom of centuries that the credit for any creative imagination which is apparent in his work is due not to him but to the long succession of his predecessors. Of course, there is an element of truth in this view of the tribal as copyist; but it is hardly more valid for the Africa than for the European artist. In both cases the work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist, and in both the relative strength of these two forces may vary almost infinitely. To assess the personal ingredient in an African carving is no easy matter, especially if one is confronted with a rare or unique piece in an unfamiliar style; but the considerations involved are much the same as those employed in European art criticism.


which of the following represents the writer''s view about African art in relation to European art?

A. The African artist is influenced by his society, but the European artist is not
B. In both African and European art there is a blend of tradition and indivitual creativity
C. Although traditional influences can be seen in European art they much less strong than they are in African art
D. African art is tribal, but European art is not
E. African artists are more imitative than European artists

Question 44:

• JAMB 1984

In 1973 a Japanese sericulturist arrives in Malawi with a batch of 40,000 silkworm eggs. They were taken to the Bvumbwe Agricultural Research Station in Thyolo District. In this station, work is being done to determine favourable silkworm rearing conditions and areas where mulberry trees, leaves the worms feed on, could grow well. According to researchers, the silkworms- which eventually develop into cocoons from which raw silk is produced — do well with warm climatic conditions.
Silk is one of the strongest of fibers. Infect, for thousands of years, silk fabrics have been regarded as the most beautiful and durable materials woven by man. Many people call silk the cloth of kings and queens’.
The weaving of silk originated in china. An old Chinese book believed to be written by Confucius, tells us that the wife of Emperor Huang ti was the first person fabrics of silk. Around 2640 B.C Emperor Huang ti asked his wife His Ling-shih to study the worms that were destroying the mulberry trees in his garden. The Empress took some of the cocoons into the palace to see what they were made of. She dropped one of the cocoons into a bowl of boiling water and was amazed to see a cobweb-like tangle separate itself from the cocoon. She picked up the gauzy mass and found that one of the threads could be unwound almost without end from the cocoon. His Ling-shih had discovered silk. She was delighted with the discovery and even wove a ceremonial robe for the Emperor out of the cocoon threads. After that, the officials in the Emperor’s court wore brightly dyed silk robes on important occasions.
People in other countries regarded the new fibers as something rare and beautiful. A few traders went to China to learn about making cloth from silk, but the Chines kept their silkworm a closely guarded secret.


Sericulture is

A. Carried out only in China
B. The breeding of silkworms for the production of silk
C. The research done on silkworms
D. The making of cloth from the cocoons of silk worms
E. The breeding of silkworms in Malawi

Question 45:

• JAMB 1984

In 1973 a Japanese sericulturist arrives in Malawi with a batch of 40,000 silkworm eggs. They were taken to the Bvumbwe Agricultural Research Station in Thyolo District. In this station, work is being done to determine favourable silkworm rearing conditions and areas where mulberry trees, leaves the worms feed on, could grow well. According to researchers, the silkworms- which eventually develop into cocoons from which raw silk is produced — do well with warm climatic conditions.
Silk is one of the strongest of fibers. Infect, for thousands of years, silk fabrics have been regarded as the most beautiful and durable materials woven by man. Many people call silk the cloth of kings and queens’.
The weaving of silk originated in china. An old Chinese book believed to be written by Confucius, tells us that the wife of Emperor Huang ti was the first person fabrics of silk. Around 2640 B.C Emperor Huang ti asked his wife His Ling-shih to study the worms that were destroying the mulberry trees in his garden. The Empress took some of the cocoons into the palace to see what they were made of. She dropped one of the cocoons into a bowl of boiling water and was amazed to see a cobweb-like tangle separate itself from the cocoon. She picked up the gauzy mass and found that one of the threads could be unwound almost without end from the cocoon. His Ling-shih had discovered silk. She was delighted with the discovery and even wove a ceremonial robe for the Emperor out of the cocoon threads. After that, the officials in the Emperor’s court wore brightly dyed silk robes on important occasions.
People in other countries regarded the new fibers as something rare and beautiful. A few traders went to China to learn about making cloth from silk, but the Chines kept their silkworm a closely guarded secret.


It is implied in the passage that silk was discovered

A. After years of hardwork and research by the Empress
B. By accident
C. In the search for a more durable fibre for making cloth
D. After some experiments carried out by the Japanese sericulturist
E. By design