[nilesh]

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Can you provide me some good tricks to prepare for LSAT (Law School Admission Test) Reading Comprehension section?

[prince karak]

Some good tricks to prepare for LSAT (Law School Admission Test) Reading Comprehension section are as follows:

Prevent "spacing out" by reading long analytical articles.

The LSAT has no video section, so you'll have to increase your attention span by reading more.

Daily newspapers aren't sufficient for this purpose. Instead of burying key information throughout the article as LSAT passages do, daily newspapers put important info at the beginning.

Read about subjects that wouldn't normally interest you.

Learn to recognize patterns that the test-makers have consistently relied on over the years and try to cultivate your sense of where questions are likely to be drawn from.

The key to the Reading Comprehension section of the LSAT was learning to recognize these types of patterns and anticipate what questions were likely to be asked. Do not read the questions first. Always read the passage first. However, do learn to anticipate what questions to expect.

Try and read the passage in about 3 minutes or so on average. That will leave you with 5:45 on average to answer questions. If you spend too much more time reading the passage, the increased comprehension often will not make up for the smaller amount of time that you will have to answer the questions.

Reading Comprehension Questions

Directions:
Each set of questions in this section is based on a single passage or a pair of passages. The questions are to be answered on the basis of what is stated or implied in the passage or pair of passages. For some of the questions, more than one of the choices could conceivably answer the question. However, you are to choose the best answer; that is, the response that most accurately and completely answers the question, and blacken the corresponding space on your answer sheet.

Passage for Questions 1, 2, and 3
The painter Roy Lichtenstein helped to define pop art—the movement that incorporated commonplace objects and commercial-art techniques into paintings—by paraphrasing the style of comic books in his work. His merger of a popular genre with the forms and intentions of fine art generated a complex result: while poking fun at the pretensions of the art world, Lichtenstein’s work also managed to convey a seriousness of theme that enabled it to transcend mere parody.
That Lichtenstein’s images were fine art was at first difficult to see, because, with their word balloons and highly stylized figures, they looked like nothing more than the comic book panels from which they were copied. Standard art history holds that pop art emerged as an impersonal alternative to the histrionics of abstract expressionism, a movement in which painters conveyed their private attitudes and emotions using nonrepresentational techniques. The truth is that by the time pop art first appeared in the early 1960s, abstract expressionism had already lost much of its force. Pop art painters weren’t quarreling with the powerful early abstract expressionist work of the late 1940s but with a second generation of abstract expressionists whose work seemed airy, high-minded, and overly lyrical. Pop art paintings were full of simple black lines and large areas of primary color. Lichtenstein’s work was part of a general rebellion against the fading emotional power of abstract expressionism, rather than an aloof attempt to ignore it.
But if rebellion against previous art by means of the careful imitation of a popular genre were all that characterized Lichtenstein’s work, it would possess only the reflective power that parodies have in relation to their subjects. Beneath its cartoonish methods, his work displayed an impulse toward realism, an urge to say that what was missing from contemporary painting was the depiction of contemporary life. The stilted romances and war stories portrayed in the comic books on which he based his canvases, the stylized automobiles, hot dogs, and table lamps that appeared in his pictures, were reflections of the culture Lichtenstein inhabited. But, in contrast to some pop art, Lichtenstein’s work exuded not a jaded cynicism about consumer culture, but a kind of deliberate naivete, intended as a response to the excess of sophistication he observed not only in the later abstract expressionists but in some other pop artists. With the comics—typically the domain of youth and innocence—as his reference point, a nostalgia fills his paintings that gives them, for all their surface bravado, an inner sweetness. His persistent use of comic-art conventions demonstrates a faith in reconciliation, not only between cartoons and fine art, but between parody and true feeling.

Question 1
Which one of the following best captures the author’s attitude toward Lichtenstein’s work?
A. enthusiasm for its more rebellious aspects
B. respect for its successful parody of youth and innocence
C. pleasure in its blatant rejection of abstract expressionism
D. admiration for its subtle critique of contemporary culture
E. appreciation for its ability to incorporate both realism and naivete

Explanation for Question 1
This question requires the test taker to understand the attitude the author of the passage displays toward Lichtenstein’s work.
The correct response is (E). Response (E) most accurately and completely captures the author’s attitude. First, the author’s appreciation for Lichtenstein’s art is indicated by way of contrast with the way in which the author describes what Lichtenstein’s art is not. For example, the author asserts that Lichtenstein’s work “transcended mere parody,” and that unlike other pop art, it did not display a “jaded cynicism.” Similarly, the author holds that there is more to Lichtenstein’s work than “the reflective power that parodies possess in relation to their subjects.” Moreover, the author’s appreciation is reflected in several positive statements regarding Lichtenstein’s work. The author’s appreciation for Lichtenstein’s realism is indicated by the author’s statement that “Beneath its cartoonish methods, his work displayed an impulse toward realism, an urge to say that what was missing from contemporary painting was the depiction of contemporary life.” That the author also appreciates Lichtenstein’s naivete is demonstrated in this sentence: “Lichtenstein’s work exuded not a jaded cynicism about consumer culture, but a kind of deliberate naivete ... .” This idea is further expanded in the next sentence, which says that “for all their surface bravado,” Lichtenstein’s paintings possess “an inner sweetness.” It is important to note that these evaluations appear in the last paragraph and form part of the author’s conclusion about the importance of Lichtenstein’s art.
Response (A) is incorrect because, although in the last sentence of paragraph two the author notes Lichtenstein’s connection to a general rebellion against abstract expressionism, the author also states quite pointedly in the first sentence of the third paragraph: “But if rebellion ... were all that characterized Lichtenstein’s work, it would possess only the reflective power that parodies have ... .”
Response (B) is incorrect because, as noted in the first paragraph of the passage, the author believes Lichtenstein’s work transcended “mere parody.” Moreover, the author states in the last paragraph that comics, “typically the domain of youth and innocence,” were Lichtenstein’s “reference point” and filled his painting with “nostalgia” and an “inner sweetness.”
Response (C) is incorrect because, as mentioned above, the author believes Lichtenstein’s rebellion against abstract expressionism was not the most important aspect of his work. Indeed, if it had been, Lichtenstein’s work would have been reduced to having “only the reflective power that parodies have in relation to their subjects,” where here the “subject” refers to abstract expressionism.
Response (D) is incorrect because the author very clearly says that Lichtenstein embraced contemporary culture. In the last paragraph, the author writes, “But, in contrast to some pop art, Lichtenstein’s work exuded not a jaded cynicism about consumer culture, but a kind of deliberate naivete ... .”
Based on the number of test takers who answered this question correctly when it appeared on the LSAT, this was a middle difficulty question.
Question 2
The author most likely lists some of the themes and objects influencing and appearing in Lichtenstein’s paintings (middle of the last paragraph) primarily to
show that the paintings depict aspects of contemporary life
support the claim that Lichtenstein’s work was parodic in intent
contrast Lichtenstein’s approach to art with that of abstract expressionism
suggest the emotions that lie at the heart of Lichtenstein’s work




.