By the end of the movie, it was clear that Liliana had not enjoyed the acting, indeed, she complained about it all the way home.

Passage adapted from The Picture of Dorian Gray by Oscar Wilde (1890)

"Come on at a footpace! d'ye mind me? And if you've got holsters to that saddle o' yourn, don't let me see your hand go nigh 'em. For I'm a devil at a quick mistake, and when I make one it takes the form of Lead. So now let's look at you."

The figures of a horse and rider came slowly through the eddying mist, and came to the side of the mail, where the passenger stood. The rider stooped, and, casting up his eyes at the guard, handed the passenger a small folded paper. The rider's horse was blown, and both horse and rider were covered with mud, from the hoofs of the horse to the hat of the man.

"Guard!" said, the passenger in a tone of quiet business confidence.

The watchful guard, with his right hand at the stock of his raised blunderbuss, his left at the barrel, and his eye on the horseman, answered curtly, "Sir."

"There is nothing to apprehend. I belong to Tellson's Bank. You must know Tellson's Bank in London. I am going to Paris on business. A crown to drink. I may read this?"

"If so be as you're quick, sir."

He opened it in the light of the coach-lamp on that side, and read—first to himself and then aloud: "'Wait at Dover for Mam'selle.' It's not long, you see, guard. Jerry, say that my answer was, Recalled to life."

Jerry started in his saddle. "That's a Blazing strange answer, too," said he, at his hoarsest.

"Take that message back, and they will know that I received this, as well as if I wrote. Make the best of your way. Good night."

With those words the passenger opened the coach-door and got in; not at all assisted by his fellow-passengers, who had expeditiously secreted their watches and purses in their boots, and were now making a general pretence of being asleep. With no more definite purpose than to escape the hazard of originating any other kind of action.

Correct the bolded and underlined sentence.

Nina was wondering if, after the doctor’s appointment, she will have time to stop by the design studio?

Passage adapted from Little Women by Louisa May Alcott (1868)

Gardening, walks, rows on the river, and flower hunts employed the fine days, and for rainy ones, they had house diversions, some old, some new, all more, or less original. One of these was the `P.C', for as secret societies were the fashion, it was thought proper to have one; and as all of the girls admired Dickens, they called themselves the Pickwick Club. With a few interruptions, they had kept this up for a year, and met every Saturday evening in the big garret, on which occasions the ceremonies were as follows: Three chairs were arranged in a row before a table on which was a lamp, also four white badges, with a big `P.C.' in different colors on each, and the weekly newspaper called, The Pickwick Portfolio, to which all contributed something, while Jo, who reveled in pens and ink, was the editor. At seven o'clock, the four members ascended to the clubroom, tied their badges round their heads, and took their seats with great solemnity. Meg, as the eldest, was Samuel Pickwick, Jo, being of a literary turn, Augustus Snodgrass, Beth, because she was round and rosy, Tracy Tupman, and Amy, who was always trying to do what she couldn't, was Nathaniel Winkle. Pickwick, the president, read the paper, which was filled with original tales, poetry, local news, funny advertisements, and hints, in which they good-naturedly reminded each other of their faults and short comings. On one occasion, Mr. Pickwick put on a pair of spectacles without any glass, rapped upon the table, hemmed, and having stared hard at Mr. Snodgrass, who was tilting back in his chair, till he arranged himself properly, began to read:

Correct the bolded and underlined section of the passage.

Following the fall of the Soviet Union, the European education system underwent an overhaul that was, in part, solidified with the creation of the Bologna Process, an agreement among European countries to improve consistency and quality in higher education across the continent. The creation of the Bologna Process has not only improved the standard of education in EU nations, but set a very high bar for nations hoping to join the EU to hurdle. Belarus has already applied and been rejected due to concerns about its academic commitment. So we can see that quality education in Europe is not simply a lucky coincidence, or the natural result of a long history of scholars, but an intentional reform initiative upon which major political decisions, such as the inclusion of countries into the European Union, are made. Eastern European countries also had an especially difficult time transitioning to the new standards required of Bologna Process signatories since they were coming from the Soviet tradition of severely underfunded public schools and widespread bribery as a main criterion for university admission. The Soviet influence on the current state of tertiary education can clearly be seen by comparing eastern and western Germany. Before the implementation of the Bologna Process and formation of the European Higher Education Area, many European countries modeled their higher education system on Germany's, which separated students into academic or vocational training schools from the beginning of high school. This model fit with the Communist rationale of all jobs being of equal value, and the obligation of adolescents to train for the job for which they were best suited in society rather than allowing them to choose a major at the university level.

Which version of this sentence is most grammatically correct?

In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).

The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.

On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allied with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.

Select the answer that best corrects the underlined sentence.

In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).

The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.

On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.

Select the answer that best corrects the highlighted sentence.

In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).

The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.

On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.

Select the answer that best corrects the underlined sentence.

Passage adapted from Little Women by Louisa May Alcott (1868)

Gardening, walks, rows on the river, and flower hunts employed the fine days, and for rainy ones, they had house diversions, some old, some new, all more or less original. One of these was the `P.C', for as secret societies were the fashion, it was thought proper to have one, and as all of the girls admired Dickens, they called themselves the Pickwick Club. With a few interruptions, they had kept this up for a year, and met every Saturday evening in the big garret, on which occasions the ceremonies were as follows: Three chairs were arranged in a row before a table on which was a lamp, also four white badges, with a big `P.C.' in different colors on each, and the weekly newspaper called, The Pickwick Portfolio, to which all contributed something, while Jo, who reveled in pens and ink, was the editor. At seven o'clock, the four members ascended to the clubroom, tied their badges round their heads, and took their seats with great solemnity. Meg, as the eldest, was Samuel Pickwick, Jo, being of a literary turn, Augustus Snodgrass, Beth, because she was round and rosy, Tracy Tupman, and Amy, who was always trying to do what she couldn't, was Nathaniel Winkle. Pickwick, the president, read the paper, which was filled with original tales, poetry, local news, funny advertisements, and hints, in which they good-naturedly reminded each other of their faults and short comings. On one occasion, Mr. Pickwick put on a pair of spectacles without any glass, rapped upon the table, hemmed, and having stared hard at Mr. Snodgrass, who was tilting back in his chair, till he arranged himself properly, began to read:

Why is a comma needed after the word "interruptions" in the bolded and underlined section?

Being an excellent swimmer Alicia was often frustrated with her teammates’ sloppy strokes and haphazard diving technique.