6. It can be inferred from the passage as a whole that the author s purpose in the third paragraph is primarily to

(A) cast doubt on the usefulness of Temperley s study of the London Pianoforte 　　school
(B) introduce a discussion of the coherency of the London Pianoforte school
(C) summarize Ringer s argument about the London Pianoforte school
(D) emphasize the complex nature of the musicological elements shared by 　　members of the London Pianoforte school.
(E) identify the unique contributions made to music by the London Pianoforte 　　school

7. The author of the passage is primarily concerned with

(A) explaining the influence of the development of the pianoforte on the music of 　　Beethoven
(B) describing Tempetley s view of the contrast between the development of 　　piano music in England and the development of plano music elsewhere in 　　Europe
(C) presenting Temperley s evaluation¹ of the impact of changes in piano 　　construction on styles and forms of music composed in the era of the 　　London Pianoforte school
(D) considering an altermnative theory to that proposed by Ringer concerning 　　the London Pianoforte school
(E) discussing the contribution of Temperley s anthology to what is known of the 　　history of the London Pianoforte school

8. It can be inferred that Temperley s anthology treats the London Pianoforte school as

(A) a group of pianist-composers who shared certain stylistic principles and 　　arustic creeds
(B) a group of people who contributed to the development of piano music 　　between 1766 and 1873
(C) a group of composers who influenced the music of Beethoven in the 　　decades just before and just after 1800
(D) a series of compositions for the pianoforte published in the decades just 　　before and just after 1800
(E) a series of compositions that had a significant influence on the music of the 　　Continent in the eighteenth and nineteenth centuries

　　　What is "law"? By what processes do judges arrive at opinions. those 　documents that justify² their belief that the "law" dictates³ a conclusion one 　way or the other? These are among the oldest questions in

(5) jurisprudence, debate about which has traditionally been dominated by 　representatives of two schools of thought: proponents⁴ of natural law, who see 　law as intertwined with a moral order independent of society s rules and 　mores⁵, and legal positivists, who see law

(10) solely⁶ as embodying⁷ the commands of a society s ruling authority

　　　Since the early 1970s, these familiar questions have received some new 　and surprising answers in the legal academy. This novelty is in part a 　consequence of the

(15) increasing influence there of academic disciplines and intellectual traditions 　previously⁸ unconnected with the study of law. Perhaps the most influential⁹ 　have been the answers given by the Law and Economics school. According 　to these legal economists¹⁰, law consists and

(20) ought to consist of those rules that maximize a society s material wealth 　and that abet¹¹ the efficient operation of markets designed to generate wealth. 　More controversial have been the various answers provided by members of 　the Critical Legal Studies movement

(25) according to whom law is one among several cultural mechanisms¹² by 　which holders¹³ of power seek to legitimate¹⁴ their domination. Drawing on 　related arguments developed in anthropology¹⁵, sociology, and history, the 　critical legal scholars contend that law is an

(30) expression of power, but not, as held by the positivists, the power of the 　legitimate sovereign government. Rather, it is an expression of the power of 　elites¹⁶ who may have no legitimate authority, but who are intent on preserving 　the privileges of their race, class, or gender¹⁷.

(35) In the mid-1970s, James Boyd White began to articulate yet another 　interdiseiplinary response to the traditional questions, and in so doing 　spawned¹⁸ what is now known as the Law and Literature movement White has 　insisted that law, particularly as it is

(40) interpreted in judicial¹⁹ opinions, should be understood as an essentially²⁰ 　literary activity. Judicial opinions should be read and evaluated not primarily 　as political acts or as atte mpts to maximize society s wealth through 　efficient rules, but rather as artistic

(45) performances. And like all such performances, White argues, each judicial 　opinion attempts in its own way to promote a particular political or ethical²¹ 　value.

　　　In the recent Justice as Translation, White argues that opinion-writing 　should be regarded as an act of

(50) "translation," and judges as "translators." As such, judges find themselves 　mediating²² between the authoritative²³ legal text and the pressing legal problem 　that demands resolution. A judge must essentially "re-constitute" that text by 　fashioning a new one, which

(55) is faithful to the old text but also responsive to and informed by the 　conditions, constraints, and aspirations of the world in which the new legal 　problem has arisen

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