a. The sublime ![]() |
||
b. The supernatural ![]() |
||
c. Love ![]() |
||
d. The manners and traditions of the upper classes ![]() |
a. A member of the royalty ![]() |
||
b. A lowborn, wandering adventurer ![]() |
||
c. A member of the middle class engaging in self-exploration ![]() |
||
d. A child as he or she develops into an adult ![]() |
a. begins at the apparent end of the story. ![]() |
||
b. introduces the characters of the play one by one. ![]() |
||
c. opens by plunging the viewer into a crucial series of events. ![]() |
||
d. begins with a preview of the play's conclusion. ![]() |
a. A minimalist stage and strict adherence to the script ![]() |
||
b. Video clips and the use of popular music ![]() |
||
c. Nonlinear storytelling and the embracement of popular culture ![]() |
||
d. A pastiche of different literary and historical sources ![]() |
a. Marxist theory ![]() |
||
b. psychoanalytic theory ![]() |
||
c. postcolonial theory ![]() |
||
d. deconstruction ![]() |
a. psychoanalytic criticism. ![]() |
||
b. Marxist criticism. ![]() |
||
c. New Criticism. ![]() |
||
d. structuralism. ![]() |
a. Marxist criticism ![]() |
||
b. Reader-response criticism ![]() |
||
c. Psychoanalytic criticism ![]() |
||
d. New Criticism ![]() |
a. Using informal language ![]() |
||
b. Demonstrating a mastery of the topic ![]() |
||
c. Appealing to the reader's emotions ![]() |
||
d. Using logic and reason ![]() |
a. Shakespeare presents political rulers as flawless, perfect human beings. ![]() |
||
b. Shakespeare presents political rulers as often meeting ruinous and violent endings. ![]() |
||
c. Shakespeare only presents fictional political rulers and does not explore any political realities. ![]() |
||
d. Shakespeare considers all political rulers to be corrupt. ![]() |
a. A historical narrative and a historical novel are the same thing. ![]() |
||
b. A historical narrative tells only part of the story surrounding a historical event; a historical novel tells the whole story. ![]() |
||
c. A historical novel focuses on providing the reader with only the central truth of a historical event, while a historical narrative attempts to tell the entire truth of a historical event. ![]() |
||
d. Faruqi actually argues that historical novels do not exist. ![]() |
a. A narrative based entirely on verifiable facts ![]() |
||
b. A narrative that does not analyze characters on a situation-by-situation basis ![]() |
||
c. A narrative without characters ![]() |
||
d. A narrative that takes place in the past. ![]() |
a. The language in which they are written ![]() |
||
b. The way they view reality ![]() |
||
c. The way they are structured ![]() |
||
d. The type of people who write them ![]() |
a. wanted to subvert middle class values. ![]() |
||
b. accepted middle class values. ![]() |
||
c. wrote in a hyperrealistic fashion. ![]() |
||
d. had a negative view of human nature. ![]() |
a. the author or speaker was of good mind and character. ![]() |
||
b. the author or speaker was emotionally involved in the topic at hand. ![]() |
||
c. the author or speaker has provided proper logic and evidence in support of his topic. ![]() |
||
d. the author or speaker maintained the appropriate critical distance from the topic. ![]() |
a. An awareness of the historical circumstances surrounding a text's production ![]() |
||
b. A set of objective criteria for critical analysis ![]() |
||
c. An awareness of the economic circumstances surrounding a literary text ![]() |
||
d. Strict criteria for evaluating the quality of a literary text ![]() |
a. An understanding of the various conceptions and understandings of gender that have carried throughout various cultures ![]() |
||
b. An understanding of gender as a human construct ![]() |
||
c. An understanding of how standard histories of western societies are presented in terms of heterosexual identity ![]() |
||
d. All of these. ![]() |
a. Hamlet's father's ghost is not really a ghost. ![]() |
||
b. Hamlet feels a sense of desire for both his mother and his father. ![]() |
||
c. Hamlet is truly insane in the play. ![]() |
||
d. Hamlet is an impossible play to truly understand. ![]() |
a. Emotional arguments ![]() |
||
b. Political arguments ![]() |
||
c. Deductive arguments ![]() |
||
d. Inductive arguments ![]() |
a. How women are portrayed in literary texts ![]() |
||
b. The psychologies of female writers ![]() |
||
c. How women have been socially oppressed in literary texts ![]() |
||
d. All of these ![]() |
a. passive readers and critics of literary texts. ![]() |
||
b. involved in critical conversations about literary texts. ![]() |
||
c. capable of realizing that the viewpoints of some critics are more important than others. ![]() |
||
d. aware that Hamlet is a remarkable work of literature. ![]() |
a. As a crazed fool ![]() |
||
b. As a profound philosophical genius ![]() |
||
c. As boyish and immature ![]() |
||
d. As a brilliant warrior ![]() |
a. Hamlet cannot be staged properly because of the complexity of the play's use of language. ![]() |
||
b. Hamlet is not relevant to the Romantic age. ![]() |
||
c. The role of Hamlet cannot be properly played by any actor. ![]() |
||
d. Hamlet is a work that was written to be read, not performed. ![]() |
a. Stark and sterile ![]() |
||
b. Flowery and ornate ![]() |
||
c. Futuristic and technologically advanced ![]() |
||
d. Ancient and sophisticated ![]() |
a. Hamlet is placed in a position that can be conceptualized as feminine. ![]() |
||
b. Hamlet despises his mother and suspects she has killed his father. ![]() |
||
c. Hamlet is entirely masculinized throughout the play, and thus, is ultimately unlike his mother in terms of his position in the play. ![]() |
||
d. Hamlet has a personality disorder. ![]() |
a. Historically, writers have been considered liars or at the very least irrelevant. ![]() |
||
b. Fictionalizing reality is a basic human need. ![]() |
||
c. Every text includes traces from the outside world, including social, historical, and literary remnants. ![]() |
||
d. All of these. ![]() |
a. A hypothesis about how literary texts can be understood ![]() |
||
b. A methodology for applying ideas to literary texts ![]() |
||
c. The practice of interpreting literary texts ![]() |
||
d. A trend in university English departments ![]() |
a. Typically poetic and fanciful language ![]() |
||
b. Ancient languages ![]() |
||
c. Complicated and difficult language ![]() |
||
d. Common, everyday language ![]() |
a. a line. ![]() |
||
b. a foot. ![]() |
||
c. a measure. ![]() |
||
d. a meter. ![]() |
a. For revenge ![]() |
||
b. To change the weather ![]() |
||
c. To bring forth life-in-death ![]() |
||
d. It is never directly stated why he does so. ![]() |
a. There is such a thing as an afterlife. ![]() |
||
b. Dreams always tell the truth. ![]() |
||
c. There are some aspects of existence that cannot be explained through reason. ![]() |
||
d. Heaven exists on earth. ![]() |
a. Compares his love to a winter storm ![]() |
||
b. Compares his love to a summer's day ![]() |
||
c. Compares his love to a turbulent sea ![]() |
||
d. Compares his love to his fear of death ![]() |
a. The conflict between marriages based on love and those based on money ![]() |
||
b. The ways in which appearances don't always match realities ![]() |
||
c. The danger in not recognizing the difference between reality and fiction ![]() |
||
d. All of these ![]() |
a. A romantic awaiting true love ![]() |
||
b. A cynic awaiting the world's destruction ![]() |
||
c. A delusional girl with no grasp on reality ![]() |
||
d. A young girl with a particularly dark mindset ![]() |
a. The political and social meanings of literary texts ![]() |
||
b. Characters who are sympathetic to issues facing the working classes ![]() |
||
c. The relationship between economics and the production of literary texts ![]() |
||
d. All of these ![]() |
a. the psychologies of individual authors. ![]() |
||
b. the typographical structures of literary texts. ![]() |
||
c. translation issues. ![]() |
||
d. how children relate to their parents in terms of literary texts. ![]() |
a. readers choose their favorite works of literature. ![]() |
||
b. readers experience a literary work. ![]() |
||
c. readers decide which works of literature to read. ![]() |
||
d. readers develop their own unique and personal critical discourses. ![]() |
a. A comedic play ![]() |
||
b. A tragic play ![]() |
||
c. A modern play ![]() |
||
d. A tragi-comedy ![]() |
a. Fate and free will ![]() |
||
b. The corruptive force of technology ![]() |
||
c. The power of religious faith ![]() |
||
d. Disobedient children ![]() |
a. a feeling of being disconnected from the world. ![]() |
||
b. a sense of something being familiar and foreign at once. ![]() |
||
c. terror at the thought of death. ![]() |
||
d. a realization of one's empowered position in the world. ![]() |
a. Simplicity in language, brevity in form, and humorousness in attitude ![]() |
||
b. Complexity in language, lengthiness in form, and seriousness in attitude ![]() |
||
c. Simplicity in language, lengthiness in form, and humorousness in attitude ![]() |
||
d. Complexity in language, brevity in form, and humorousness in attitude ![]() |
a. What is literature? ![]() |
||
b. Why do people write literature? ![]() |
||
c. What are the effects of literature? ![]() |
||
d. All of these. ![]() |
a. Introduce the main characters ![]() |
||
b. Preview the play's conclusion ![]() |
||
c. Provide insight into the play's mythological background ![]() |
||
d. Remind the viewers of what kind of play they are viewing ![]() |
a. He is suggesting that artists serve to develop culture. ![]() |
||
b. He is suggesting that all artists are from high social classes. ![]() |
||
c. He is suggesting that artists are repressed throughout society. ![]() |
||
d. He is suggesting that the making of laws is itself an art. ![]() |
a. An ode ![]() |
||
b. An elegy ![]() |
||
c. An epitaph ![]() |
||
d. A ballad ![]() |
a. A system for categorizing books ![]() |
||
b. The psychological study of authors ![]() |
||
c. The study of textual interpretation ![]() |
||
d. A reader-response test ![]() |
a. They involve the solving of a crime. ![]() |
||
b. They explore mysterious religious topics. ![]() |
||
c. They were written by medieval mystics. ![]() |
||
d. They were produced by medieval craft guilds, which were knows as "mysteries". ![]() |
a. All novelists are painters at heart. ![]() |
||
b. George du Maurier felt that black-and-white illustrators could be as important as novelists and painters. ![]() |
||
c. George du Maurier attacked the social position of the novelist in his illustrations. ![]() |
||
d. George du Maurier was a tremendous influence on Victorian novelists. ![]() |
a. Traditional literary criticism is mainly focused on exploring gender issues. ![]() |
||
b. Traditional literary criticism only examines pre-20th-century literary texts. ![]() |
||
c. Traditional literary criticism focused on tracking influences and textual allusions and considering the historical contexts of literary texts. ![]() |
||
d. Traditional literary criticism attempted to consider the psychological aspects of literary texts. ![]() |
a. New Historicism was a reaction against New Criticism, which was seen as too narrowly focused on text rather than context. ![]() |
||
b. Both fields of literary study are American in origin. ![]() |
||
c. New Historicism is simply an early form of Cultural Materialism. ![]() |
||
d. Both fields of study are strictly focused on how readers interpret and invent meanings for literary texts. ![]() |
a. Character ![]() |
||
b. Setting ![]() |
||
c. Plot ![]() |
||
d. All of these ![]() |
a. Investigating the relationship between words and objective reality ![]() |
||
b. Comparing the Bible to folk tales from other cultures ![]() |
||
c. Researching an author's biography for clues about how to understand his or her writing ![]() |
||
d. Researching what previous critics have said about a literary work ![]() |
a. Lines of text with words that rhyme at the end ![]() |
||
b. A continuous block of text ![]() |
||
c. Unrhymed lines ![]() |
||
d. All of these ![]() |
a. Poetry should be written in the common language of ordinary people. ![]() |
||
b. Poetry should focus on the lives and thoughts of elite people. ![]() |
||
c. Poetry should never concern itself with the natural world. ![]() |
||
d. Poetry should rhyme. ![]() |
a. Epic theater is plot-driven theater. ![]() |
||
b. Epic theater turns the passive spectator into an active observer. ![]() |
||
c. Epic theater privileges feeling over reason. ![]() |
||
d. Epic theater maintains the illusion of realism. ![]() |
a. Plot ![]() |
||
b. Poetic diction ![]() |
||
c. Song composition ![]() |
||
d. Stage design ![]() |
a. Hamlet is depressed yet highly intelligent. ![]() |
||
b. Hamlet is naive and simple minded. ![]() |
||
c. Hamlet is spoiled and manipulative. ![]() |
||
d. Hamlet is intellectually passive and deeply frightened of his father's ghost. ![]() |
a. It offers a critique of Romantic poetry and ideology. ![]() |
||
b. It serves to parody gothic novels. ![]() |
||
c. It is a horror novel. ![]() |
||
d. It is a memoir based on Jane Austen's childhood. ![]() |
a. An atmosphere of dread, fear, and darkness ![]() |
||
b. An isolated protagonist ![]() |
||
c. A hero or protagonist who is tempted by a villain ![]() |
||
d. All of these ![]() |
a. "To be or not to be, that is the question." ![]() |
||
b. "And the world didn't even think of stopping for me." ![]() |
||
c. "I played about the front gate, pulling flowers." ![]() |
||
d. "I wandered lonely as a cloud." ![]() |
a. "She is a woman of beauty and wonder." ![]() |
||
b. "Death, that which feels nothing." ![]() |
||
c. "Milton, thou shouldst be living at this hour: / England hath need of thee." ![]() |
||
d. "I wandered lonely as a cloud." ![]() |
a. Another character ![]() |
||
b. The protagonist ![]() |
||
c. Society ![]() |
||
d. All of these ![]() |
a. A narrative poem is vague and difficult in style. ![]() |
||
b. A narrative poem is a poem that does not have a plot or tell a story. ![]() |
||
c. A narrative poem has a plot and tells a story. ![]() |
||
d. A narrative poem is a poem written in the style of a conversation. ![]() |
a. A recurring element in a story that is symbolically significant ![]() |
||
b. A character's fatal flaw ![]() |
||
c. A rhyme scheme ![]() |
||
d. A character's moment of self-realization in a narrative ![]() |
a. A narrative that introduces readers to the main characters of a story ![]() |
||
b. A narrative that summarizes the plot of the novel ![]() |
||
c. A story within a story ![]() |
||
d. A story that reminds the reader that the story is fictional ![]() |
a. A story in which the author provides an explicit moral ![]() |
||
b. A story that takes place in the distant past ![]() |
||
c. A light-hearted, humorous story in which viewers are shown proper ways to behave ![]() |
||
d. A story told to little children ![]() |
a. A play in which characters make humorous remarks ![]() |
||
b. A play in which characters experience reversals of fortune, usually for the better ![]() |
||
c. A play in which no characters die or suffer ![]() |
||
d. A play in which elite members of society are mocked ![]() |
a. Members of the audience who comment on the play's actions ![]() |
||
b. Characters who remind the audience that the play is fictional ![]() |
||
c. A group of characters who comment on the actions of the play while participating in them ![]() |
||
d. A group of characters who comment on the actions of the play while not participating in them ![]() |
a. A play that depicts the downfall of a noble person ![]() |
||
b. A play in which someone gets revenge ![]() |
||
c. A play in which a hero faces likely defeat and overcomes it ![]() |
||
d. A play in which no form of humor appears ![]() |
a. Persuasion is the art of making readers or listeners believe what the writer or speaker is stating. ![]() |
||
b. Persuasion is the art of lying to good effect. ![]() |
||
c. Persuasion is the opposite of rhetoric. ![]() |
||
d. Persuasion is the use of syllogisms to influence the opinions of readers and listeners. ![]() |
a. Logos refers to a writer's presentation of character and image. ![]() |
||
b. Logos refers to a writer's ability to present evidence. ![]() |
||
c. Logos refers to a writer's ability to inspire action in readers. ![]() |
||
d. Logos refers to a writer's ability to inspire emotional responses in readers. ![]() |
a. Pathos refers to a writer's presentation of character and image. ![]() |
||
b. Pathos refers to a writer's ability to present evidence. ![]() |
||
c. Pathos refers to a writer's ability to inspire action in readers. ![]() |
||
d. Pathos refers to a writer's ability to inspire emotional responses in readers. ![]() |
a. Ethos refers to a writer's presentation of character and image. ![]() |
||
b. Ethos refers to a writer's ability to present evidence. ![]() |
||
c. Ethos refers to a writer's ability to inspire action in readers. ![]() |
||
d. Ethos refers to a writer's ability to inspire emotional responses in readers. ![]() |
a. Literary theory involves coming to a precise understanding of a writer's psychology. ![]() |
||
b. Literary theory involves measuring the quality of a literary work. ![]() |
||
c. Literary theory involves considering the publication history of literary texts. ![]() |
||
d. Literary theory involves describing the underlying principles of a literary work. ![]() |
a. Pound's "In a Station of the Metro" ![]() |
||
b. Bishop's "One Art" ![]() |
||
c. Auden's "Paysage Moralisé" ![]() |
||
d. William Shakespeare's "Sonnet 18" ![]() |
a. "Into my head there will come / a beach of cotton, a dock where from." ![]() |
||
b. "To kiss the sky / to be the sun / is to live forever." ![]() |
||
c. "I heard a car crash / just as I died." ![]() |
||
d. "Death comes for all of us / even you." ![]() |
a. Lamentation, in which the speaker demonstrates grief ![]() |
||
b. Praise and admiration for the dead ![]() |
||
c. Consolation and solace ![]() |
||
d. All of these ![]() |
a. Formalism focuses on examining how a text exemplifies its writer's psychology. ![]() |
||
b. Formalism focuses on examining the structural dynamics of poems. ![]() |
||
c. Formalism focuses on examining the use of literary devices within a literary text. ![]() |
||
d. Formalism focuses on examining the historical contexts and backgrounds of literary texts. ![]() |
a. Hamlet is deeply disturbed by his father's death. ![]() |
||
b. It is never proven within the play that Claudius murdered King Hamlet. ![]() |
||
c. Hamlet doubts the proper course of action to take. ![]() |
||
d. Ophelia dies by drowning. ![]() |
a. A poem that has no rhyme scheme ![]() |
||
b. A poem that eulogizes the dead ![]() |
||
c. A poem that carries a pattern on two rhymes and offers an alternating refrain ![]() |
||
d. A poem that celebrates the life of a cruel person ![]() |
a. She is mature and realistic. ![]() |
||
b. She is insane and delusional. ![]() |
||
c. She is immature and has difficulty recognizing the difference between fact and fiction. ![]() |
||
d. She is a matchmaker trying to set up romances between her friends, all the while unable to find true love herself. ![]() |
a. The world is a bright and interesting place. ![]() |
||
b. Universal truth doesn't exist, and audience members must discover truth for themselves. ![]() |
||
c. The world is so complex that it does not require literature or theater. ![]() |
||
d. Mainstream audiences are so shallow that it is not worth writing plays for them. ![]() |
a. Satan was ultimately heroic. ![]() |
||
b. The fall of Adam and Eve was a tragic event. ![]() |
||
c. Adam and Eve were driven to evil by their children. ![]() |
||
d. God abandoned the realm of Eden without reason. ![]() |
a. The world can be fully understood if people listen closely to what others are saying. ![]() |
||
b. Good things, including salvation, come to those who are patient. ![]() |
||
c. Redemption comes from surrendering to a higher power. ![]() |
||
d. People are fundamentally unable to realize any sort of inherent meaning in existence. ![]() |
a. Hamlet desires his mother, not Ophelia. ![]() |
||
b. Hamlet desires revenge, not Ophelia. ![]() |
||
c. Hamlet desires Ophelia, but only when she is unattainable. ![]() |
||
d. Hamlet desires attaining the throne of Denmark, of which Ophelia is a symbol. ![]() |
a. Hamlet is a tragedy focusing on the plight of the early-modern self. ![]() |
||
b. Hamlet is a tragedy that reflects Shakespeare's own political circumstances. ![]() |
||
c. Hamlet is a tragedy that focuses on the Elizabethan era's loss of faith in humanity's ability to govern itself without violence. ![]() |
||
d. Hamlet is a tragedy that reflects upon enlightened and progressive political systems that developed during Shakespeare's time. ![]() |
a. According to research, 22 percent of the American population owns an unsecured handgun. ![]() |
||
b. I own a handgun and keep it in a secure place in my house. ![]() |
||
c. Every month in the United States, at least 100 children are wounded or killed as a result of unsecured handguns. ![]() |
||
d. Handguns don't kill people, people do. ![]() |
a. I began driving at the age of 16 and have never been involved in a serious car accident. ![]() |
||
b. No one under the age of 18 should be allowed to drive. ![]() |
||
c. Research has demonstrated that some people under the age of 18 do not have the proper judgment skills to handle operating a car. ![]() |
||
d. Every year countless people are killed by drivers under the age of 18. ![]() |
a. All dogs have four legs, all creatures do not have four legs, hence all creatures with four legs are dogs. ![]() |
||
b. All men breathe air, all dogs breathe air, hence all men are dogs. ![]() |
||
c. All mammals are warm-blooded, all dogs are mammals, hence all dogs are warm-blooded. ![]() |
||
d. All dogs have hair, all people have hair, hence anything with hair is a dog or a person. ![]() |
a. A story of one person's fall from grace and into destruction ![]() |
||
b. A story of one person's growth and development within a particular social order ![]() |
||
c. A story of one person's success within a capitalistic economic system ![]() |
||
d. A story of one person's self-realization and attempt to return to innocence ![]() |
a. A novel set in the past ![]() |
||
b. A novel that consists entirely of dialogue ![]() |
||
c. A novel that is set in the countryside of Europe ![]() |
||
d. A novel that consists of a series of documents, such as diary entries, letters, and newspaper articles ![]() |
a. A novel that attacks the lower classes ![]() |
||
b. A novel set in Europe in the 18th century ![]() |
||
c. A novel that explores the behavior and values of a particular class of people ![]() |
||
d. A novel that explores class conflict ![]() |
a. In a Greek tragedy, evil people are vanquished by the forces of good. ![]() |
||
b. In a Greek tragedy, characters undergo reversals of fortune, usually for the worse. ![]() |
||
c. In a Greek tragedy, the hero suffers but always survives at the end of the play. ![]() |
||
d. In a Greek tragedy, the tragic hero dies at the end of the play. ![]() |
a. A noble person who becomes completely corrupted ![]() |
||
b. A cowardly person who doubts himself or herself despite possessing great wealth and political power ![]() |
||
c. A cowardly person who shows some personal strength when faced with a crisis ![]() |
||
d. A noble person who makes a costly mistake ![]() |
a. Questions for which the answers are obvious ![]() |
||
b. Persuasive writing and speaking ![]() |
||
c. Writing that is complicated and scholarly ![]() |
||
d. Logical writing and speaking ![]() |
a. Art serves a particular worldly purpose. ![]() |
||
b. Art's supreme function is to entertain the public. ![]() |
||
c. Artists are dangerous to social order. ![]() |
||
d. Artists serve to construct the foundations of culture. ![]() |
a. Deconstruction ![]() |
||
b. Marxist theory ![]() |
||
c. Reader-response theory ![]() |
||
d. Queer theory ![]() |
a. A narrative that emphasizes character development ![]() |
||
b. A narrative with a unified, plausible plot structure ![]() |
||
c. A narrative that conveys the illusion of reality ![]() |
||
d. All of these ![]() |
a. logical in terms of plot and structure. ![]() |
||
b. complex in terms of plot and structure. ![]() |
||
c. without any sort of moral insight. ![]() |
||
d. sad. ![]() |
a. a disturbed and insane man. ![]() |
||
b. a man of tremendous humor, simplicity, and innate goodness and kindness. ![]() |
||
c. a depressed but ultimately good and nonviolent man. ![]() |
||
d. a wicked and manipulative man. ![]() |
a. They were not popular with ancient Greek audiences. ![]() |
||
b. They were usually set in the past. ![]() |
||
c. They were almost never set in the past. ![]() |
||
d. They were often done in honor of the Greek god Zeus. ![]() |