Read the following passage carefully and answer the question given below it.

Certain words are given in bold to help you locate them while answering some of the questions.

In the summer of 1856, Nathaniel Hawthorne visited a decaying English manor house known as Stanton Harcourt, not far from Oxford. He was struck by the vast kitchen, which occupied the bottom of a 70-foot tower. "Here, no doubt, they were accustomed to roast oxen whole, with as little fuss and ado as a modern cook would roast a fowl," he wrote in an 1863 travelogue, Our Old Home.

Hawthorne wrote that as he stood in that kitchen, he was seized by an uncanny feeling: "I was haunted and perplexed by an idea that somewhere or other I had seen just this strange spectacle before. The height, the blackness, the dismal void, before my eyes, seemed as familiar as the decorous neatness of my grandmother's kitchen." He was certain that he had never actually seen this room or anything like it. And yet for a moment he was caught in what he described as "that odd state of mind wherein we fitfully and teasingly remember some previous scene or incident, of which the one now passing appears to be but the echo and reduplication."

When Hawthorne wrote that passage there was no common term for such an experience. But by the end of the 19th century, after discarding "false recognition," "paramnesia," and "promnesia," scholars had settled on a French candidate: "déjà vu," or "already seen."

The fleeting melancholy and euphoria associated with déjà vu have attracted the interest of poets, novelists, and occultists of many stripes. St. Augustine, Sir Walter Scott, Dickens, and Tolstoy all wrote detailed accounts of such experiences. (We will politely leave aside a certain woozy song by Crosby, Stills, Nash & Young.)

Most academic psychologists, however, have ignored the topic since around 1890, when there was a brief flurry of interest. The phenomenon seems at once too rare and too ephemeral to capture in a laboratory. And even if it were as common as sneezing, déjà vu would still be difficult to study because it produces no measurable external behaviors. Researchers must trust their subjects' personal descriptions of what is going on inside their minds, and few people are as eloquent as Hawthorne. Psychology has generally filed déjà vu away in a drawer marked "Interesting but Insoluble."

During the past two decades, however, a few hardy souls have reopened the scientific study of déjà vu. They hope to nail down a persuasive explanation of the phenomenon, as well as shed light on some fundamental elements of memory and cognition. In the new book The Déjà Vu Experience: Essays in Cognitive Psychology (Psychology Press), Alan S. Brown, a professor of psychology at Southern Methodist University, surveys the fledgling subfield. "What we can try to do is zero in on it from a variety of different angles," he says. "It won't be something like, 'Boom! The explanation is there.' But we can get gradual clarity through some hard work."

Which of the following best describes the organization of the passage?

Question

Read the following passage carefully and answer the question given below it.

Certain words are given in bold to help you locate them while answering some of the questions.

In the summer of 1856, Nathaniel Hawthorne visited a decaying English manor house known as Stanton Harcourt, not far from Oxford. He was struck by the vast kitchen, which occupied the bottom of a 70-foot tower. "Here, no doubt, they were accustomed to roast oxen whole, with as little fuss and ado as a modern cook would roast a fowl," he wrote in an 1863 travelogue, Our Old Home.

Hawthorne wrote that as he stood in that kitchen, he was seized by an uncanny feeling: "I was haunted and perplexed by an idea that somewhere or other I had seen just this strange spectacle before. The height, the blackness, the dismal void, before my eyes, seemed as familiar as the decorous neatness of my grandmother's kitchen." He was certain that he had never actually seen this room or anything like it. And yet for a moment he was caught in what he described as "that odd state of mind wherein we fitfully and teasingly remember some previous scene or incident, of which the one now passing appears to be but the echo and reduplication."

When Hawthorne wrote that passage there was no common term for such an experience. But by the end of the 19th century, after discarding "false recognition," "paramnesia," and "promnesia," scholars had settled on a French candidate: "déjà vu," or "already seen."

The fleeting melancholy and euphoria associated with déjà vu have attracted the interest of poets, novelists, and occultists of many stripes. St. Augustine, Sir Walter Scott, Dickens, and Tolstoy all wrote detailed accounts of such experiences. (We will politely leave aside a certain woozy song by Crosby, Stills, Nash & Young.)

Most academic psychologists, however, have ignored the topic since around 1890, when there was a brief flurry of interest. The phenomenon seems at once too rare and too ephemeral to capture in a laboratory. And even if it were as common as sneezing, déjà vu would still be difficult to study because it produces no measurable external behaviors. Researchers must trust their subjects' personal descriptions of what is going on inside their minds, and few people are as eloquent as Hawthorne. Psychology has generally filed déjà vu away in a drawer marked "Interesting but Insoluble."

During the past two decades, however, a few hardy souls have reopened the scientific study of déjà vu. They hope to nail down a persuasive explanation of the phenomenon, as well as shed light on some fundamental elements of memory and cognition. In the new book The Déjà Vu Experience: Essays in Cognitive Psychology (Psychology Press), Alan S. Brown, a professor of psychology at Southern Methodist University, surveys the fledgling subfield. "What we can try to do is zero in on it from a variety of different angles," he says. "It won't be something like, 'Boom! The explanation is there.' But we can get gradual clarity through some hard work."

Which of the following best describes the organization of the passage?

Accepted Answer

**Solution:**

1. The passage begins with a detailed example of Nathaniel Hawthorne's experience in a manor kitchen, which illustrates the concept of déjà vu.

2. It does not start by defining déjà vu or stating a theory; instead, it uses Hawthorne's personal account as an example to introduce the concept.

3. Following the example, the passage explains the term déjà vu, its historical context, and how it has been perceived and studied over time.

4. Options (a), (b), (d), and (e) are incorrect because the passage neither defines a concept upfront, states a generalization, proposes a theory, nor discusses a paradox.

5. Therefore, the best description is option (c): the passage provides an example of a concept and then follows it with an explanation of that concept.

**Answer:** (c) An example of a concept is given and then followed by the explanation of the concept

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