|
a. demonstrate the importance of the topic. |
||
|
b. set up the parody of the pretensions of the characters and their concerns. |
||
|
c. reveal the learnedness of the characters. |
||
|
d. elicit the sympathy of elite readers. |
||
|
e. evoke an emotional response in readers. |
|
a. its references to Shakespeare. |
||
|
b. its commitment to an elevated taste, its use of classical imagery, and its evocation of classic forms. |
||
|
c. its scientific ethos and setting in London. |
||
|
d. its refusal to mention Shadwell directly. |
||
|
e. its questioning of human perception. |
|
a. rejection of Renaissance optimism. |
||
|
b. rejection of traditional models. |
||
|
c. emphasis on order, logic, and universal truths. |
||
|
d. emphasis on the corrupt nature of the aristocracy. |
||
|
e. emphasis on individual experience. |
|
a. devotion to traditional authority in political and theoretical matters. |
||
|
b. emphasis on the world being governed by laws that could be discerned through rational exploration. |
||
|
c. reliance on classical scholarship. |
||
|
d. defense of violent emotions as natural. |
||
|
e. rejection of classical scholarship. |
|
a. By suggesting that human knowledge is static and can be captured in one volume |
||
|
b. By dismissing all knowledge from outside Europe |
||
|
c. By questioning the nature of scientific method |
||
|
d. By rejecting the divine right of kings |
||
|
e. By emphasizing the idea that gathering knowledge together can lead to human improvement |
|
a. The government |
||
|
b. Marriage |
||
|
c. Organized religion |
||
|
d. All of these answers |
||
|
e. None of these answers |
|
a. The family institution |
||
|
b. Ideas about chastity |
||
|
c. The institution of marriage |
||
|
d. The aristocracy |
||
|
e. All of these answers |
|
a. England’s power to overcome the recent plague and the great fire of London |
||
|
b. The monarch’s ability to squelch continuing Puritan resistance |
||
|
c. The church’s potential to unify the populace after the English revolution |
||
|
d. Parliament’s ability to restrain the power of the King |
||
|
e. The need to close the theatres for their immoral productions |
|
a. social contract theory of government. |
||
|
b. blank slate or tabula rasa. |
||
|
c. divine authority of kings. |
||
|
d. natural political rights. |
||
|
e. religious toleration. |
|
a. its mocking tone. |
||
|
b. its absurd response to a real issue. |
||
|
c. its sentimental plea to its audience. |
||
|
d. its attempt to shock readers into acting. |
||
|
e. its undermining of forms and tropes for ulterior purposes. |
|
a. his use of the heroic couplet. |
||
|
b. an Enlightenment focus on useful knowledge. |
||
|
c. a neoclassical emphasis on propriety and knowing limitations. |
||
|
d. a radical questioning of revealed religion. |
||
|
e. a scientific emphasis on the possibility of gaining knowledge through reason and experience. |
|
a. Classification, order, and judgment |
||
|
b. Romantic origins |
||
|
c. Linguistic indeterminacy |
||
|
d. Subjective experience |
||
|
e. Political liberty |
|
a. The need for linguistic correctness as exemplified in his Dictionary |
||
|
b. The promise of universal knowledge as epitomized by the Encyclopédie |
||
|
c. The ultimate impossibility of achieving happiness, as espoused in his poem “The Vanity of Human Wishes” |
||
|
d. The need for self-sufficiency as detailed in novels like Robinson Crusoe |
||
|
e. The emptiness of the aristocracy as suggested by The Rape of the Lock |
|
a. A period in the 18th century that celebrated industry |
||
|
b. The revelation of religious truths through meditation |
||
|
c. The power given to absolute monarchs by God |
||
|
d. A period in which reason was celebrated as enabling human knowledge and possibly human perfection |
||
|
e. The Renaissance rejection of the “Dark Ages” |
|
a. A literary form in which society’s vices are ridiculed |
||
|
b. Literature that relies on devices like irony, sarcasm, and humor |
||
|
c. A work of literature that attempts to improve society |
||
|
d. A text that exposes serious flaws under the veil of comedy |
||
|
e. All of these answers |
|
a. Two characters in an epic who are romantically involved |
||
|
b. Two lines of rhyming verse written in iambic pentameter |
||
|
c. The concluding lines of any poem |
||
|
d. Two characters who act as foils in a comedy of manners |
||
|
e. Unrhymed verse written in iambic tetrameter |
|
a. Witty banter |
||
|
b. Epic heroes |
||
|
c. Sexual promiscuity |
||
|
d. Hidden identities |
||
|
e. Convoluted plots and plotting |
|
a. Increased individual liberty |
||
|
b. Checks and balances |
||
|
c. Social contract |
||
|
d. Enlightened monarchy |
||
|
e. Socialism |
|
a. They are somewhat jaded, but all are finally good at heart. |
||
|
b. They are almost universally self-absorbed and willing to do anything to get what they want. |
||
|
c. They tend to value love above money and honor. |
||
|
d. They provide a moral example for the lower classes. |
||
|
e. They deal with one another with honesty and honor, but they treat the lower classes poorly. |
|
a. They enabled discussion about important literary texts. |
||
|
b. They created a space for the exchange of pamphlets. |
||
|
c. They offered people a private place in which they could plan political revolts. |
||
|
d. Both A and B |
||
|
e. Both A and C |
|
a. Familiar essays |
||
|
b. Comedies of manners |
||
|
c. Romanticism |
||
|
d. Medievalism |
||
|
e. Gothic novels |
|
a. Wordsworth’s “We Are Seven” |
||
|
b. Pope’s Rape of the Lock |
||
|
c. Swift’s “A Modest Proposal” |
||
|
d. Benn’s Oroonoko |
||
|
e. Bronte’s Jane Eyre |
|
a. Immanuel Kant |
||
|
b. John Locke |
||
|
c. David Hume |
||
|
d. Denis Diderot |
||
|
e. Rene Descartes |
|
a. like a romance, it focuses on an aristocratic character considered superior to average individuals. |
||
|
b. like a novel, it tells its story with an emphasis on realistic detail and the everyday passage of time. |
||
|
c. like an epic, it involves gods and goddesses. |
||
|
d. like a novel, it makes claims to historical realism. |
||
|
e. like a novel, it rejects traditional plots for one that supposedly emerges directly from the characters’ situations. |
|
a. Reason over emotions |
||
|
b. The necessity for an aristocracy |
||
|
c. The power of feelings |
||
|
d. A sense of adventure |
||
|
e. The supernatural |
|
a. indicates her longing for the older aristocracy. |
||
|
b. suggests her commitment to the Catholic Church. |
||
|
c. is at odds with her explicit socialist politics. |
||
|
d. implies that contemporary British society has overcome the institutions leading to the horrors its characters experience. |
||
|
e. suggests that there is no difference between medieval society and her own. |
|
a. traveled to America. |
||
|
b. believed in God. |
||
|
c. emphasized the importance of human emotions as guiding behavior. |
||
|
d. rejected Newton’s view of the universe. |
||
|
e. argued in favor of communism. |
|
a. revealing his interest in Chaucer. |
||
|
b. enabling his 18th-century readers access to a world they would see as less rational. |
||
|
c. promoting the rise of museums. |
||
|
d. commenting on the French and Indian War. |
||
|
e. suggesting his interest in alchemy. |
|
a. It focuses on a royal hero. |
||
|
b. It denies being imagined in favor of claims of realism. |
||
|
c. It focuses on adventures. |
||
|
d. It connects to poetry. |
||
|
e. It focuses on slavery. |
|
a. Like the novel, it focused on romantic relationships. |
||
|
b. Like the novel, it foregrounded abstract reason over experience and emotion. |
||
|
c. Like the novel, it emphasized the importance of sympathy and individual feelings. |
||
|
d. Like the novel, it demonized the aristocracy. |
||
|
e. In opposition to the novel, it stressed the innate depravity of humans. |
|
a. It provides access to the heroine’s innermost reactions. |
||
|
b. It does not cloud the novel with authorial intrusion that confuses the emotions. |
||
|
c. It provides a sense of immediacy because the letters are written in the thick of the action. |
||
|
d. All of these answers |
||
|
e. None of these answers |
|
a. A heroine is the central character. |
||
|
b. It emphasizes emotion over reason. |
||
|
c. It has a didactic moral focus. |
||
|
d. There is a focus on a central love story. |
||
|
e. All of these answers |
|
a. The sublime |
||
|
b. The explained supernatural |
||
|
c. Its medieval settings |
||
|
d. Its use of mysterious events to spur readers’ interests and emotional responses |
||
|
e. Its suggestion of aristocratic immorality |
|
a. His relationship to God and Christianity |
||
|
b. His understanding of the basis of economics |
||
|
c. His ability to identify with the slaves he has sold |
||
|
d. Both A and B |
||
|
e. Both A and C |
|
a. Their imperialist settings reflect the interest in faraway lands that led to adventure novels. |
||
|
b. Both emphasize romantic relationships that play up the importance of women readers. |
||
|
c. Both focus on the struggles of lower or middle-class characters, mirroring the development of a large middle-class readership as consumers. |
||
|
d. Their epistolary forms reflect an increasing political interest in subjective feelings. |
||
|
e. Both emphasize intense attention to natural details that parallel scientific empiricism. |
|
a. the emergence of a powerful and literate middle class. |
||
|
b. scientific emphasis on detailed observation. |
||
|
c. the political focus on individuals and their rights. |
||
|
d. philosophical theories of sympathy and human emotions. |
||
|
e. the continuing importance of mythological stories. |
|
a. Pamela’s attempt to seduce her employer |
||
|
b. Pamela’s parents’ attempt to marry her to a wealthy landowner |
||
|
c. Pamela’s struggle to overcome her poverty through hard-work |
||
|
d. Pamela’s attempts to protect her chastity from the advances of her employer |
||
|
e. Pamela’s adventures as a prostitute and actress in London |
|
a. Its use of a medieval setting to reflect on rational progress |
||
|
b. Its focus on having readers vicariously experience the dangers that a heroine faces |
||
|
c. Its ambivalent treatment of its leading villain |
||
|
d. Its use of the sublime |
||
|
e. Its use of Gothic architecture to suggest unconscious feelings |
|
a. A refusal to emphasize the innate goodness of humanity |
||
|
b. An emphasis on the power of sympathy to allow individuals to feel others’ pain and joy |
||
|
c. A sense of awe in the power of the natural world |
||
|
d. A parody of the interest in emotion that developed out of the Enlightenment interest in reason |
||
|
e. A pleasure that comes from sympathizing with those experiencing terror |
|
a. Where Oroonoko foregrounds supernatural agents, Robinson Crusoe avoids religion completely. |
||
|
b. Both are largely set in South America, reflecting the relationship between empire and the early English novel. |
||
|
c. Oroonoko seems to defend the aristocracy, where Robinson Crusoe elaborates the struggles of the middle class. |
||
|
d. Both make claims to historical veracity. |
||
|
e. Both attempt to individuate their main characters as living in a distinct place and time |
|
a. Nonfiction |
||
|
b. Travel memoir |
||
|
c. Detective story |
||
|
d. Biography |
||
|
e. Memoir |
|
a. The relationship between the sublime and terror |
||
|
b. The effect of the sublime on the physical body |
||
|
c. The distinction between the sublime and beauty |
||
|
d. An aesthetic explanation of the sublime through painting |
||
|
e. The important role surprise plays in creating pleasure |
|
a. Its recapitulation of a traditional story |
||
|
b. Its larger-than-life hero |
||
|
c. Its lack of attention to time |
||
|
d. Its defense of the aristocracy |
||
|
e. Its focus on the individual and his psychological and moral development |
|
a. Samuel Richardson |
||
|
b. Laurence Sterne |
||
|
c. Daniel Defoe |
||
|
d. Charles Dickens |
||
|
e. Henry Fielding |
|
a. Terror |
||
|
b. Horror |
||
|
c. The sublime |
||
|
d. Suspense |
||
|
e. Picaresque |
|
a. Pope’s The Rape of the Lock |
||
|
b. Swift’s “A Modest Proposal” |
||
|
c. Richardson’s Pamela |
||
|
d. Lewis’s The Monk |
||
|
e. Radcliffe’s The Mysteries of Udolpho |
|
a. Congreve’s The Way of the World |
||
|
b. Richardson’s Pamela |
||
|
c. Radcliffe’s The Mysteries of Udolpho |
||
|
d. Walpole’s The Castle of Otranto |
||
|
e. Lewis’s The Monk |
|
a. through the personal, direct appeal enabled by his epistolary form. |
||
|
b. by emphasizing the character’s fright. |
||
|
c. by emphasizing sexual morality. |
||
|
d. through the sentimental attempt to make readers strongly identify with the character’s feelings. |
||
|
e. by ascribing deep and important feelings to a lower-class character. |
|
a. the ultimate expression of humankind’s ability to control its own destiny. |
||
|
b. a misguided attempt to overthrow human nature by rejecting tradition. |
||
|
c. a necessary change that was beginning to go astray. |
||
|
d. an event that had little consequence to England. |
||
|
e. the proper development of the ideas behind the American Revolution. |
|
a. certain people are simply incapable of understanding poetry. |
||
|
b. the true poet must be comfortable with balancing conflicting ideas. |
||
|
c. the poet cannot express anything beyond his own experience. |
||
|
d. it is only in the absence of experience that true poetry can emerge. |
||
|
e. poetry must come from deep learning unaffected by personal bias. |
|
a. its focus on his lost love. |
||
|
b. its rejection of scientific progress. |
||
|
c. its elaboration of the intersecting importance of nature and the imagination. |
||
|
d. its development of elements from national folklore. |
||
|
e. its focus on a Byronic hero. |
|
a. rejection of traditional form. |
||
|
b. portrayal of the power of art to speak truth. |
||
|
c. rejection of art’s political role. |
||
|
d. attempt to link poetry with music. |
||
|
e. defense of poetry as the greatest expression of the imagination. |
|
a. always fighting for good against evil. |
||
|
b. fortunate in always coming out victorious. |
||
|
c. nearly superhuman in his powers but tortured by a psychological weight. |
||
|
d. devoted to religion above all things. |
||
|
e. always seeking to protect the community. |
|
a. Walton, a failed poet who is attempting to discover the North Pole. |
||
|
b. the creature, after he has killed Victor Frankenstein. |
||
|
c. Victor Frankenstein’s diary. |
||
|
d. Mrs. Saville, Frankenstein’s cousin. |
||
|
e. the bride of the monster. |
|
a. folklore. |
||
|
b. nationalism. |
||
|
c. parody. |
||
|
d. exoticism. |
||
|
e. popular art. |
|
a. he stood to inherit a great deal due to the laws of Primogeniture. |
||
|
b. his brothers died in their youth. |
||
|
c. he was endowed with a great poetic talent. |
||
|
d. he was given special educational opportunities. |
||
|
e. he feels especially connected to nature due to his experience as a youth. |
|
a. a radical break with 18th-century rules on elevated diction. |
||
|
b. a continuity with poets such as Alexander Pope. |
||
|
c. a rejection of nature in favor of society. |
||
|
d. a defense of the use of elaborate figurative language. |
||
|
e. an important part of his emphasis on religious feeling. |
|
a. To help drive his ideas across the universe |
||
|
b. To help him reach the afterlife |
||
|
c. To help him hear nature’s music |
||
|
d. To help him start a new revolutionary war |
||
|
e. To help him escape from his present state of mind |
|
a. Nature as mirroring the human mind and its imagination |
||
|
b. The limits of scientific attempts to understand and control the world |
||
|
c. The poet as special interpreter of the world |
||
|
d. The centrality of subjective experience to apprehending the world |
||
|
e. The importance of national identity |
|
a. reason can help man understand beauty. |
||
|
b. civilization comes through beauty. |
||
|
c. language shows humanity’s impulse towards order. |
||
|
d. poetry has no effect on society. |
||
|
e. poetry is both of its time and eternal. |
|
a. An emphasis on the relationship between a natural setting and the imagination as in Wordsworth’s poems |
||
|
b. A focus on the poet as seer as in some of Keats’s poems |
||
|
c. A call for social and political reform as in some of Shelley’s works |
||
|
d. A nod to the poet as outcast as in some of Byron’s poems |
||
|
e. An experience of innocence as seen in Blake’s poems |
|
a. His Promethean striving to exceed human limitations as explored by Byron and Percy Shelley |
||
|
b. Its suggestion that the natural order has laws beyond human control |
||
|
c. His desire to create a political revolution |
||
|
d. Both A and B |
||
|
e. Both A and C |
|
a. An identical rhyme structure |
||
|
b. The belief that a person is incapable of change, even as he or she ages |
||
|
c. The sense of hope that death will come soon |
||
|
d. A shared theme that nature exposes the pain in human life |
||
|
e. The form of an ode |
|
a. Industrial Revolution |
||
|
b. French Revolution |
||
|
c. Scientific Revolution |
||
|
d. Technological Revolution |
||
|
e. Enlightenment |
|
a. He thought it did not go far enough in granting women rights. |
||
|
b. He opposed it in favor of supporting the king and the ancien régime. |
||
|
c. He favored its democratic impulses but was appalled by its destructive nature. |
||
|
d. He did not think it concerned him and his relationship to nature. |
||
|
e. He thought the British should invade France. |
|
a. The common man |
||
|
b. The promises of technology |
||
|
c. The outcast figure |
||
|
d. The movement of time |
||
|
e. The power of the imagination |
|
a. The poems defend the industrial revolution as helping England’s economy. |
||
|
b. The poems criticize religious institutions for not helping the oppressed. |
||
|
c. The poems reject experience in favor of innocence. |
||
|
d. The poems reject innocence in favor of experience. |
||
|
e. The poems focus on Blake’s personal experience and growth from innocence to experience. |
|
a. Nature loses its ability to affect human emotion over time. |
||
|
b. Sensitivity to nature’s message comes with age. |
||
|
c. Life experience does not have to power to alter human opinions. |
||
|
d. It is not possible to appreciate beauty once one has aged. |
||
|
e. Man exerts power over nature. |
|
a. Romanticism continued the Enlightenment’s focus on a universal order best apprehended through reason. |
||
|
b. Romanticism challenged the Enlightenment’s emphasis on objectivity as the basis of truth. |
||
|
c. Romanticism largely abandoned the Enlightenment’s hope in progressive political change. |
||
|
d. Unlike the Enlightenment, Romanticism deemed the natural world unimportant. |
||
|
e. Like the Enlightenment, Romanticism readily envisioned scientific progress as solving humankind’s problems. |
|
a. In a lyric poem, the speaker expresses emotion. |
||
|
b. The lyric poem is a popular form in the Romantic era. |
||
|
c. The lyric poem has a song-like quality. |
||
|
d. The lyric poem creates a personal sense of emotion. |
||
|
e. The lyric poem focuses on action. |
|
a. Ann Radcliffe |
||
|
b. William Wordsworth |
||
|
c. John Keats |
||
|
d. Alfred Lord Tennyson |
||
|
e. Charlotte Bronte |
|
a. The poet’s changing relationship to nature as fount of meaning and significance |
||
|
b. The falsity of human art as opposed to the immediate truth of nature |
||
|
c. The failure of the poet when a youth to imagine his future |
||
|
d. The utter rejection of youthful folly in favor of mature rationality |
||
|
e. The insignificance of youthful experience compared to adult relationships |
|
a. inheriting his father’s fortune. |
||
|
b. hard work as a blacksmith. |
||
|
c. saving the life of a rich heiress. |
||
|
d. through the wealth of a convict he once helped. |
||
|
e. betting on horse races. |
|
a. are an example of antithesis to suggest the falcon’s contradictory nature. |
||
|
b. use alliterative language to draw attention to the falcon’s importance as a symbol of Christ. |
||
|
c. refer to the speaker’s heart. |
||
|
d. indicate the speaker’s lack of faith. |
||
|
e. suggest that darkness is about to fall. |
|
a. a sonnet expressing his devotion to his wife. |
||
|
b. a dramatic monologue spoken by a murderer. |
||
|
c. a dramatic monologue spoken by Browning. |
||
|
d. an epic describing a great romance. |
||
|
e. a commentary on Queen Victoria. |
|
a. neoclassical emphasis on traditional form and romantic subjectivism. |
||
|
b. romantic rejection of science and neoclassical use of mythology. |
||
|
c. romantic emphasis on personal feelings combined with a neoclassical focus on social context. |
||
|
d. romantic critique of industrialization and neoclassical use of satire. |
||
|
e. neoclassical focus on order and decorum and romantic celebration of nature. |
|
a. The loss of the American colonies turned people off to the idea of expansion. |
||
|
b. Competition between European rivals forced the British to find new trading partners. |
||
|
c. Colonizers were no longer necessarily interested in reforming indigenous populations. |
||
|
d. People found ways to justify expansion by claiming national superiority. |
||
|
e. All of these answers |
|
a. It reiterates the class divisions that kept both men and women from social mobility. |
||
|
b. It suggests that women were increasingly accepted as professionals. |
||
|
c. It indicates that British society had become much more egalitarian. |
||
|
d. It reveals the stern consequences of the Industrial Revolution. |
||
|
e. It accentuates the impact of imperial structures on the domestic sphere. |
|
a. Women should wear more makeup in order to attract husbands. |
||
|
b. Women should make sure to receive an education in order to secure their own futures. |
||
|
c. Women should take pains to remain generous, modest, and capable. |
||
|
d. Women should be given the right to vote immediately. |
||
|
e. Women should stop being “girls” and see themselves as independent adults. |
|
a. The Protestant Reformation |
||
|
b. Religious interpretations of changes to the oceans |
||
|
c. The decline of religion’s importance in the modern West |
||
|
d. His lover’s betrayal |
||
|
e. Faith in the British Empire |
|
a. He created a radically new form. |
||
|
b. He used unusual, arcane words. |
||
|
c. He made obscure allusions. |
||
|
d. All of these answers |
||
|
e. None of these answers |
|
a. Their conservative poetics |
||
|
b. Their frank depiction of sexuality |
||
|
c. Their radical politics |
||
|
d. Their nationalistic tone |
||
|
e. Their defense of Christianity |
|
a. it works as a dramatic monologue. |
||
|
b. it thematizes the importance of choosing action over complacency. |
||
|
c. it reflects a Victorian attitude of continuing to fight against loss of hope or faith. |
||
|
d. it uses Greek mythology to comment on contemporary questions. |
||
|
e. it emphasizes the internal life of the mind over social action. |
|
a. A return to neoclassical aesthetics |
||
|
b. Disassociating painting and poetry |
||
|
c. Lavish attention to the sensuous elements of life |
||
|
d. Rejecting English poetic tradition |
||
|
e. Decorum and logic |
|
a. It functions as a metaphor for the women’s rights movement. |
||
|
b. It foreshadows a negative shift in mood. |
||
|
c. It symbolizes the increase in scientific knowledge. |
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d. It acts as an allusion to the importance of nature in the Romantic period. |
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e. It implies that women should remain indoors. |
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a. They raised the question of whether women should be able to vote. |
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b. They allowed new colonization and imperialism efforts. |
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c. They established new standards for Victorian morality. |
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d. They allowed women to divorce their husbands. |
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e. They allowed women to own property for the first time. |
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a. The pressure of conforming to preexisting social conventions |
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b. The burden of white colonizers who are forced to learn to live in new lands |
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c. The Eurocentric idea that the colonizer has a social responsibility to civilize other nations |
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d. The concept that all white men do not share the same imperial duties |
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e. The white man’s experience of defending his land from being occupied |
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a. A historical discussion prompted by the Reform Bills of 1832 and 1867 |
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b. A debate about whether women should be able to vote |
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c. A discussion of women’s roles inside and outside the home |
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d. A conversation about women’s work as a product of the Industrial Revolution |
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e. All of these answers |
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a. Improved printing machines |
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b. More magazines on the market |
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c. The rise in serialized fiction |
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d. Lower prices for magazines |
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e. The passage of the Reform Bills |
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a. There should be more missionary work in less civilized parts of the world. |
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b. Concerts in the parks that were attended by ordinary people should be banned. |
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c. Civil servants should talk more openly and publicly about their moral work. |
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d. Members of the Jewish and Catholic faiths should be excluded from public office. |
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e. There should be more laws to criminalize sex. |
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a. Like Great Expectations, Jane Eyre addresses the power of wealth and class. |
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b. Like “Dover Beach,” Jane Eyre mourns the diminishing power of Christian faith. |
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c. Through Rochester, Jane Eyre develops a Byronic hero. |
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d. Like Great Expectations, Jane Eyre can be read as a bildungsroman. |
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e. Like Goblin Market, Jane Eyre explores the ambivalence of sexuality for Victorian women. |
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a. It is a dramatic monologue. |
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b. Like earlier Romantic lyrics, it takes a natural setting as an occasion for philosophical reflection. |
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c. It has a melancholic tone. |
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d. It envisions Christianity as eternal. |
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e. It concludes by shifting its focus to personal relationships. |
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a. Repeal of the corn laws |
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b. Opium Wars |
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c. Great Exhibition |
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d. French Revolution |
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e. Railway mania |
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a. The dangers of sensuality to women |
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b. The links between sexuality and economics |
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c. The importance of sisterly bonds |
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d. All of these answers |
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e. None of these answers |
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a. It has a speaker as well as an implied reader. |
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b. It includes elements of parody. |
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c. There is a “spontaneous overflow of emotion.” |
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d. It is written in common, ordinary language. |
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e. The speaker attempts to evoke a sense of terror in the reader. |
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a. Darwin’s work echoed Victorian thought with its emphasis on struggle while disrupting Victorian faith by decentering humans. |
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b. Darwin’s work was almost universally accepted from its first appearance. |
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c. Darwin’s work had little initial influence on Victorian society and culture. |
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d. Almost all religious authorities rejected Darwin’s work completely. |
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e. Darwin’s work thoroughly reflected Victorian notions of moral uplift and progress. |
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a. Penal reform |
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b. Educational reform |
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c. The role of the monarchy |
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d. Both A and B |
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e. Both B and C |
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a. Sonnet 43 is similar to most other sonnets in its focus on love. |
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b. Sonnet 43 is part of a sonnet sequence “Sonnets from the Portuguese.” |
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c. Sonnet 43 consists of fourteen lines, like other sonnets. |
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d. Sonnet 43 is a romantic poem in the same way Wordsworth’s “Tintern Abbey” is a romantic poem. |
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e. Sonnet 43 suggests changing Victorian attitudes about women’s sexuality. |
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a. Alexander Pope |
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b. Percy Shelley |
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c. Samuel Taylor Coleridge |
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d. Alfred Tennyson |
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e. Gerard Manley Hopkins |
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a. William Congreve |
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b. Ann Radcliffe |
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c. Matthew Lewis |
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d. Charles Dickens |
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e. Charlotte Brontë |