|
a. Niccolo Machiavelli |
||
|
b. Johan Gutenberg |
||
|
c. Peter Schoeffer |
||
|
d. Johannes Fust |
||
|
e. Socrates |
|
a. Roman Catholic |
||
|
b. Anglican |
||
|
c. Buddhist |
||
|
d. Protestant |
||
|
e. Muslim |
|
a. “Paradise Lost” |
||
|
b. “95 Theses” |
||
|
c. “The Bible” |
||
|
d. “Piers Plowman” |
||
|
e. “Paradise Lost” |
|
a. Catholicism |
||
|
b. Medieval Europe |
||
|
c. Classical antiquity |
||
|
d. Protestantism |
||
|
e. Mythology |
|
a. Petrarch |
||
|
b. Dante |
||
|
c. Langland |
||
|
d. Machiavelli |
||
|
e. Plato |
|
a. Hanover |
||
|
b. Protestant |
||
|
c. Tudor |
||
|
d. Catholic |
||
|
e. Reformation |
|
a. Socialism |
||
|
b. Capitalism |
||
|
c. Humanitarianism |
||
|
d. Humanism |
||
|
e. None of the above |
|
a. Reincarnation |
||
|
b. Rebirth |
||
|
c. Reproduction |
||
|
d. Recapitulation |
||
|
e. Reimagination |
|
a. Catholic Restoration |
||
|
b. Catholic Reformation |
||
|
c. Protestant Reformation |
||
|
d. Protestant Restoration |
||
|
e. None of the above |
|
a. Petrarch |
||
|
b. Machiavelli |
||
|
c. Michelangelo |
||
|
d. A and B |
||
|
e. Dante |
|
a. Niccolo Machiavelli |
||
|
b. Martin Luther |
||
|
c. John Milton |
||
|
d. John Wycliffe |
||
|
e. Johan Gutenberg |
|
a. John Donne |
||
|
b. John Dryden |
||
|
c. John Wycliffe |
||
|
d. Johan Gutenberg |
||
|
e. None of the above |
|
a. Charles I |
||
|
b. Charles II |
||
|
c. Henry V |
||
|
d. Henry VIII |
||
|
e. Henry IX |
|
a. 12th and 13th |
||
|
b. 14th and 15th |
||
|
c. 15th and 16th |
||
|
d. 16th and 17th |
||
|
e. 17th and 18th |
|
a. Print halted the corruption of texts by copyists, giving everyone identical texts. |
||
|
b. Scientific research became a more collaborative effort. |
||
|
c. Learning to read was made easier as print was standardized and made clearer. |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. Catholicism |
||
|
b. Protestantism |
||
|
c. Buddhism |
||
|
d. Roman Catholicism |
||
|
e. None of the above |
|
a. “Paradise Lost” |
||
|
b. “Canterbury Tales” |
||
|
c. “The Bible” |
||
|
d. “Piers Plowman” |
||
|
e. None of the above |
|
a. “Toxophilus” |
||
|
b. “Utopia” |
||
|
c. “The Inferno” |
||
|
d. “Paradise Lost” |
||
|
e. None of the above |
|
a. 1400 |
||
|
b. 1500 |
||
|
c. 1600 |
||
|
d. 1650 |
||
|
e. 1700 |
|
a. Niccolo Machiavelli |
||
|
b. Francesco Petrarcha |
||
|
c. Aristotle |
||
|
d. Plato |
||
|
e. None of the above |
|
a. It regarded human beings as social creatures who could create meaningful lives only in association with other social beings. |
||
|
b. Its major premise was that every existing thing in the universe had its “place” in a divinely planned hierarchical order which was pictured as a chain, vertically extended. |
||
|
c. It could only be achieved through faith in God's grace. |
||
|
d. Both A and B |
||
|
e. Both B and C |
|
a. Court Jester |
||
|
b. Master of Revels |
||
|
c. Master of Rebels |
||
|
d. Master of Ceremonies |
||
|
e. None of the above |
|
a. Catherine of Aragon |
||
|
b. Anne Boleyn |
||
|
c. Mary, Queen of Scots |
||
|
d. Anne of Cleves |
||
|
e. None of the above |
|
a. Elizabeth I |
||
|
b. Elizabeth II |
||
|
c. Mary, Queen of Scots |
||
|
d. Catherine of Aragon |
||
|
e. None of the above |
|
a. Sir Thomas More |
||
|
b. Sir Walter Raleigh |
||
|
c. John Foxe |
||
|
d. John Lyly |
||
|
e. King Henry VIII |
|
a. “Acts and Monuments” |
||
|
b. “Utopia” |
||
|
c. “Euphues” |
||
|
d. “Paradise Regained” |
||
|
e. “Piers Plowman” |
|
a. Mass |
||
|
b. Transubstantiation |
||
|
c. Resurrection |
||
|
d. Bible |
||
|
e. Communion |
|
a. Buddhist |
||
|
b. Anglican |
||
|
c. Quaker |
||
|
d. Catholic |
||
|
e. Hindu |
|
a. Untypical |
||
|
b. Not untypical |
||
|
c. Exploded |
||
|
d. Rejected |
||
|
e. None of the above |
|
a. Anachronistic |
||
|
b. Euphuistic |
||
|
c. Marxist |
||
|
d. Solipsistic |
||
|
e. None of the above |
|
a. “Euphues” |
||
|
b. “Paradise Lost” |
||
|
c. “Utopia” |
||
|
d. “Zelauto” |
||
|
e. None of the above |
|
a. The Catholic Church |
||
|
b. The English Church |
||
|
c. The Church of God |
||
|
d. Both A and B |
||
|
e. None of the above |
|
a. Henry VIII |
||
|
b. John Lyly |
||
|
c. Sir Thomas More |
||
|
d. John Foxe |
||
|
e. None of the above |
|
a. Protestantism |
||
|
b. Catholicism |
||
|
c. Roman Catholicism |
||
|
d. Buddhism |
||
|
e. None of the above |
|
a. “95 Theses” |
||
|
b. “Utopia” |
||
|
c. “Euphues, or the Anatomy of Wit” |
||
|
d. “Paradise Lost” |
||
|
e. None of the above |
|
a. William Blake |
||
|
b. William Wordsworth |
||
|
c. Samuel Taylor Coleridge |
||
|
d. William Shakespeare |
||
|
e. None of the above |
|
a. Utopian trades |
||
|
b. Riches, jewels, and gold |
||
|
c. Suicide |
||
|
d. Marriage and divorce |
||
|
e. All of the above |
|
a. Treasurer of the Exchequer |
||
|
b. Chancellor of the Duchy of Lancaster |
||
|
c. Speaker of the House of Commons |
||
|
d. Master of Requests |
||
|
e. All of the above |
|
a. Marxism |
||
|
b. Feminism |
||
|
c. New Historicism |
||
|
d. Psychoanalysis |
||
|
e. None of the above |
|
a. Restoration |
||
|
b. Glorious Revolution |
||
|
c. French Revolution |
||
|
d. Seven Years War |
||
|
e. None of the above |
|
a. Sir Thomas More |
||
|
b. Sir Walter Raleigh |
||
|
c. John Lyly |
||
|
d. Sir Philip Sidney |
||
|
e. None of the above |
|
a. John Foxe |
||
|
b. John Lyly |
||
|
c. Sir Thomas More |
||
|
d. Sir Walter Raleigh |
||
|
e. None of the above |
|
a. Marxism |
||
|
b. Christian Humanism |
||
|
c. Feminism |
||
|
d. New Historicism |
||
|
e. Post-Humanism |
|
a. “Utopia” |
||
|
b. “Euphues” |
||
|
c. “Paradise Lost” |
||
|
d. “Paradise Regained” |
||
|
e. “Acts and Monuments” |
|
a. Hexagrams |
||
|
b. Epigrams |
||
|
c. Heroic couplets |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. John Locke |
||
|
b. John Lyly |
||
|
c. John Foxe |
||
|
d. John Milton |
||
|
e. None of the above |
|
a. Sir Thomas More |
||
|
b. Sir Walter Raleigh |
||
|
c. Sir Philip Sidney |
||
|
d. John Milton |
||
|
e. All of the above |
|
a. Sir Thomas More |
||
|
b. Sir Walter Raleigh |
||
|
c. Sir Philip Sidney |
||
|
d. Sir William Shakespeare |
||
|
e. None of the above |
|
a. John Donne |
||
|
b. Sir Walter Raleigh |
||
|
c. Sir Thomas More |
||
|
d. John Foxe |
||
|
e. None of the above |
|
a. Sir Thomas More |
||
|
b. Sir Philip Sidney |
||
|
c. Sir Walter Raleigh |
||
|
d. John Foxe |
||
|
e. None of the above |
|
a. 10 |
||
|
b. 20 |
||
|
c. 30 |
||
|
d. 40 |
||
|
e. 50 |
|
a. Lust |
||
|
b. Pride |
||
|
c. Jealousy |
||
|
d. Love |
||
|
e. None of the above |
|
a. Satan |
||
|
b. Adam |
||
|
c. Eve |
||
|
d. Christ |
||
|
e. None of the above |
|
a. The fall of the rebel angels |
||
|
b. The fall of Adam |
||
|
c. The fall of Eve |
||
|
d. The fall of the son |
||
|
e. None of the above |
|
a. An epic poem is the recital of some grand enterprise in a poetical form. |
||
|
b. Epic poetry is of a moral nature and tends to the promotion of virtue. |
||
|
c. “Canterbury Tales” is an example of epic poetry. |
||
|
d. All of the above answers are true. |
||
|
e. Both A and B are true. |
|
a. Sex |
||
|
b. Emotions |
||
|
c. Psychology |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. Milton |
||
|
b. Wordsworth |
||
|
c. Aristo |
||
|
d. Both A and B |
||
|
e. Both B and C |
|
a. “Paradise Lost” |
||
|
b. “The Faerie Queen” |
||
|
c. “The Prelude” |
||
|
d. “Canterbury Tales” |
||
|
e. None of the above |
|
a. Medieval |
||
|
b. Victorian |
||
|
c. Romantic |
||
|
d. Modern |
||
|
e. Industrial |
|
a. Catholic |
||
|
b. Protestant |
||
|
c. Buddhist |
||
|
d. Quaker |
||
|
e. None of the above |
|
a. A pastoral elegy |
||
|
b. A satire |
||
|
c. An epic |
||
|
d. A mock-epic |
||
|
e. None of the above |
|
a. Fate vs. free will |
||
|
b. Heaven vs. hell |
||
|
c. God vs. Satan |
||
|
d. Good vs. evil |
||
|
e. All of the above |
|
a. Drugs |
||
|
b. Sex |
||
|
c. Animals |
||
|
d. Propaganda |
||
|
e. None of the above |
|
a. “Canterbury Tales” |
||
|
b. “The Faerie Queen” |
||
|
c. “Paradise Lost” |
||
|
d. “The Prelude” |
||
|
e. None of the above |
|
a. 9 |
||
|
b. 10 |
||
|
c. 12 |
||
|
d. 14 |
||
|
e. None of the above |
|
a. Trochaic trimeter |
||
|
b. Terza rima |
||
|
c. Iambic pentameter |
||
|
d. Anapestic pentameter |
||
|
e. None of the above |
|
a. Sir Philip Sidney |
||
|
b. Sir Thomas More |
||
|
c. Thomas Wyatt |
||
|
d. Henry Howard, Earl of Surrey |
||
|
e. None of the above |
|
a. Sir Philip Sidney |
||
|
b. Sir Thomas More |
||
|
c. Thomas Wyatt |
||
|
d. Henry Howard, Earl of Surrey |
||
|
e. None of the above |
|
a. “Astrophil and Stella” |
||
|
b. “Utopia” |
||
|
c. “Paradise Lost” |
||
|
d. “Canterbury Tales” |
||
|
e. None of the above |
|
a. “Paradise Lost” |
||
|
b. “The Odyssey” |
||
|
c. “The Iliad” |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Terza rima |
||
|
b. Metaphysical poetry |
||
|
c. Rhyme royal |
||
|
d. The Petrarchan sonnet |
||
|
e. None of the above |
|
a. Thomas Wyatt |
||
|
b. Henry Howard, Earl of Surrey |
||
|
c. John Donne |
||
|
d. Both A and B |
||
|
e. Both A and C |
|
a. Homer |
||
|
b. Dante |
||
|
c. Virgil |
||
|
d. Milton |
||
|
e. Chaucer |
|
a. John Milton |
||
|
b. Ludovico Ariosto |
||
|
c. Sir Philip Sidney |
||
|
d. William Shakespeare |
||
|
e. None of the above |
|
a. “Romeo and Juliet” |
||
|
b. “Hamlet” |
||
|
c. “Titus Andronicus” |
||
|
d. “The Spanish Tragedy” |
||
|
e. “Much Ado about Nothing” |
|
a. “Macbeth” |
||
|
b. “Two Gentlemen of Verona” |
||
|
c. “The Winter’s Tale” |
||
|
d. “The Tempest” |
||
|
e. “Faustus” |
|
a. Psychological, Sexual |
||
|
b. Religious, Didactic |
||
|
c. Emotional, Psychological |
||
|
d. Sexual, Religious |
||
|
e. Scientific, Didactic |
|
a. Tragi-comedy |
||
|
b. Romance |
||
|
c. Satire |
||
|
d. Comedy |
||
|
e. Tragedy |
|
a. Masque |
||
|
b. Satire |
||
|
c. Tragedy |
||
|
d. Comedy |
||
|
e. Romance |
|
a. Very great |
||
|
b. Insignificant |
||
|
c. Somewhat significant |
||
|
d. Impossible |
||
|
e. None of the above |
|
a. Clowns |
||
|
b. Women |
||
|
c. Politicians |
||
|
d. Pantomimes |
||
|
e. Musicians |
|
a. Tragedy |
||
|
b. Comedy |
||
|
c. Romance |
||
|
d. A and B only |
||
|
e. B and C only |
|
a. Large hillside amphitheaters |
||
|
b. Large indoor theaters |
||
|
c. Small indoor theaters |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. When Elizabeth I came to the throne, there were no specially designed theatre buildings in England. |
||
|
b. When Elizabeth I came to the throne, there were dozens of specially designed theatre buildings in England. |
||
|
c. When Elizabeth I came to the throne, there were three specially designed theatre buildings in England. |
||
|
d. When Elizabeth I came to the throne, there were ten specially designed theatre buildings in England. |
||
|
e. None of the above |
|
a. “The Curtain” |
||
|
b. “The Globe” |
||
|
c. “The Rose” |
||
|
d. “The Anchor” |
||
|
e. None of the above |
|
a. Chaucer |
||
|
b. Langland |
||
|
c. Homer |
||
|
d. Shakespeare |
||
|
e. None of the above |
|
a. “Henry IV, Part I” |
||
|
b. “Henry IV, Part II” |
||
|
c. “Titus Andronicus” |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. Medieval |
||
|
b. Romantic |
||
|
c. Victorian |
||
|
d. Elizabethan |
||
|
e. None of the above |
|
a. Tragedies |
||
|
b. Comedies |
||
|
c. Romances |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. Benvolio |
||
|
b. Lady Capulet |
||
|
c. Mercutio |
||
|
d. Falstaff |
||
|
e. Romeo |
|
a. The idea that William Shakespeare was a homosexual. |
||
|
b. The idea that William Shakespeare never lived. |
||
|
c. The idea that William Shakespeare was a Catholic. |
||
|
d. All of the above |
||
|
e. A and B only |
|
a. M. H. Abrams |
||
|
b. Stephen Greenblatt |
||
|
c. Helen Vendler |
||
|
d. Wayne C. Booth |
||
|
e. None of the above |
|
a. “Romeo and Juliet” |
||
|
b. “Hamlet” |
||
|
c. “Much Ado about Nothing” |
||
|
d. “Henry IV, Part I” |
||
|
e. “Titus Andronicus” |
|
a. “The Jew of Malta” |
||
|
b. “Doctor Faustus” |
||
|
c. “Edward II” |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. It burned down and was reconstructed hundreds of years later. |
||
|
b. It was situated on the Thames River. |
||
|
c. It was lit from natural sunlight as well as by candle light. |
||
|
d. All of the above |
||
|
e. A and C only |
|
a. The Red Bull |
||
|
b. The Curtain |
||
|
c. The Rose |
||
|
d. The Globe |
||
|
e. All of the above |
|
a. Queen Elizabeth I |
||
|
b. Queen Elizabeth II |
||
|
c. Queen Anne |
||
|
d. Both A and B |
||
|
e. None of the above |
|
a. Tragedy |
||
|
b. Comedy |
||
|
c. Romance |
||
|
d. Satire |
||
|
e. None of the above |
|
a. Tragedy |
||
|
b. Comedy |
||
|
c. Romance |
||
|
d. History |
||
|
e. Satire |
|
a. Masque |
||
|
b. Satire |
||
|
c. Burlesque |
||
|
d. Tragedy |
||
|
e. Comedy |