beginning of content:
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CLEP

What is the remainder when the polynomial x to the power of 53 minus 12 x to the power of 40 minus 3 x to the power of 27 minus 5 x to the power of 21 plus x to the power of 10 minus 3 is divided by x plus 1?

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-21

Correct Answer: 
No

-7

Correct Answer: 
Yes

-3

Correct Answer: 
No

4

Correct Answer: 
No

21

Correct Answer: 
No

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CLEP

Directions: The following questions test your familiarity with basic research, reference, and composition skills. Some questions refer to passages, while other questions are self-contained.

[APA Style]

Cramton, D., & Hinds, P. J. (2005). Subgroup dynamics in internationally distributed teams: ethnocentrism or cross-national learning. Research in Organizational Behavior, 26, 231–263.

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The citation shown refers to

a chapter in a book

Correct Answer: 
No

a conference paper

Correct Answer: 
No

a newspaper editorial

Correct Answer: 
No

an essay in an anthology

Correct Answer: 
No

a journal article

Correct Answer: 
Yes

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CLEP

Directions: The following passage is an early draft of an essay.

Read the passage and then answer the questions that follow. Some questions refer to particular sentences or parts of sentences and ask you to improve sentence structure or diction (word choice). Other questions refer to the entire essay or parts of the essay and ask you to consider the essay’s organization, development, or effectiveness of language. In selecting your answers, follow the conventions of Standard Written English.

(1) In observing a live performance such as a play or a stand-up routine, each individual member of the audience is affected by the group’s emotional response to the show. (2) Some research shows that audience members are likely to laugh along with the laughter of others in the audience much more frequently than they would laugh at the same performance if viewing it alone.

(3) As performances moved to radio and television in the first half of the twentieth century, producers were well aware of the important role of this social laughter. (4) Early radio and television comedies were broadcast live with a real audience in the studio to provide the reactions that helped at-home audiences feel connected to the performance.  (5) As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, recorded laughter gained wider use. (6) It can be called “canned laughter” or a “laugh track.”

(7) The laugh track gives producers the ability to create an audience response that aligns with the finished, edited performance. (8) In live broadcasts, the show is performed from beginning to end without stopping, and live studio audiences have an authentic, if unpredictable, response to the performance, just like that of audiences listening or watching at home. (9) In a recorded performance, though, directors are free to stop the scene, ask performers to redo a particular segment or have the crew switch equipment, and start again. (10) This interrupted, disjointed style of performance makes it difficult for them to hold a live studio audience’s interest. (11) Therefore, editors often add recorded laughter into the final edited version of the program. (12) Highlighting each joke with just the right volume, duration, and quality of laughter to prompt audiences at home to laugh at the intended times.  (13) Although some contemporary television comedies do not use a laugh track, many programs for children and adults alike rely on recorded laughter to create a sense of audience participation.

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In context, which of the following is best to do with sentence 12 (reproduced below)?

Insert a comma after “laughter” and change “to prompt” to “prompting”.

Correct Answer: 
No

Add “with the performance” at the end of the sentence.

Correct Answer: 
No

Add it to the end of sentence 11, using a comma before the word “highlighting.”

Correct Answer: 
Yes

Delete it from the passage.

Correct Answer: 
No

Leave it as it is.

Correct Answer: 
No

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CLEP

Directions: The following passage is an early draft of an essay.

Read the passage and then answer the questions that follow. Some questions refer to particular sentences or parts of sentences and ask you to improve sentence structure or diction (word choice). Other questions refer to the entire essay or parts of the essay and ask you to consider the essay’s organization, development, or effectiveness of language. In selecting your answers, follow the conventions of Standard Written English.

(1) In observing a live performance such as a play or a stand-up routine, each individual member of the audience is affected by the group’s emotional response to the show. (2) Some research shows that audience members are likely to laugh along with the laughter of others in the audience much more frequently than they would laugh at the same performance if viewing it alone.

(3) As performances moved to radio and television in the first half of the twentieth century, producers were well aware of the important role of this social laughter. (4) Early radio and television comedies were broadcast live with a real audience in the studio to provide the reactions that helped at-home audiences feel connected to the performance.  (5) As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, recorded laughter gained wider use. (6) It can be called “canned laughter” or a “laugh track.”

(7) The laugh track gives producers the ability to create an audience response that aligns with the finished, edited performance. (8) In live broadcasts, the show is performed from beginning to end without stopping, and live studio audiences have an authentic, if unpredictable, response to the performance, just like that of audiences listening or watching at home. (9) In a recorded performance, though, directors are free to stop the scene, ask performers to redo a particular segment or have the crew switch equipment, and start again. (10) This interrupted, disjointed style of performance makes it difficult for them to hold a live studio audience’s interest. (11) Therefore, editors often add recorded laughter into the final edited version of the program. (12) Highlighting each joke with just the right volume, duration, and quality of laughter to prompt audiences at home to laugh at the intended times.  (13) Although some contemporary television comedies do not use a laugh track, many programs for children and adults alike rely on recorded laughter to create a sense of audience participation.

Select an Answer

Which of the following is the best way to combine sentences 5 and 6 (reproduced below)?

As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, recorded laughter gained wider use. It can be called “canned laughter” or a “laugh track.”

As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, recorded laughter gained wider use; it can be called “canned laughter” or a “laugh track.”

Correct Answer: 
No

As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, recorded laughter—called “canned laughter” or a “laugh track”—gained wider use.

Correct Answer: 
Yes

As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, recorded laughter, they call it “canned laughter” or a “laugh track,” which then gained wider use.

Correct Answer: 
No

As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, “canned laughter” or a “laugh track” gained wider use; this is recorded laughter.

Correct Answer: 
No

As advances in technology allowed performances to be prerecorded, edited, and enhanced for later broadcast, recorded laughter having gained wider use, called “canned laughter” or a “laugh track.”

Correct Answer: 
No