a. "Art for art's sake" | ||
b. Sexual mores | ||
c. The importance of the irrational | ||
d. Bourgeois sensibility | ||
e. All of the above |
a. Aestheticism | ||
b. Naturalism | ||
c. Decadence | ||
d. Both A and C | ||
e. None of the above |
a. The work celebrates the young Jean and his Jesuit school education as a model for the best possible education of the young. | ||
b. It ends with the famous line "the horror, the horror." | ||
c. It explores Jean's decision to become a recluse and a social drop-out. | ||
d. All of the above | ||
e. None of the above |
a. The shift from agriculturally-based to industrial societies in the West | ||
b. The decline of traditional religious beliefs in Europe | ||
c. The rise of traditional social identities and the decline of personal identity | ||
d. Both A and B | ||
e. None of the above |
a. Produce works of art that were meaningless | ||
b. Reject artistic production that was obligatorily moral in character | ||
c. Avoid all forms of prose | ||
d. Make art profitable above all else | ||
e. Embrace naturalism |
a. Conservative modernism came to look to the past for inspiration and hope, while progressive modernism looked to the future. | ||
b. Conservative modernism supported the status quo, while progressive modernism was deeply engaged in political and social amelioration. | ||
c. Conservative modernism celebrated aesthetic formalism, while progressive modernism celebrated innovation and attacked aesthetic formalism. | ||
d. All of the above | ||
e. None of the above |
a. It was an urban modernization project that reorganized Parisian city streets so that the bourgeoisie could flaunt their new wealth. | ||
b. It was an urban renovation project which offered social services in city slums. | ||
c. It was a political movement intended to overthrow Napoleon III. | ||
d. It was a religious movement intended to celebrate the values of Christianity. | ||
e. None of the above |
a. The end of the novella depicts Marlow's conversation with the Kurtz's Intended. | ||
b. The work considers the dark side of European colonialism. | ||
c. Marlow comes to understand the necessity of European leadership in Africa. | ||
d. Both A and B | ||
e. All of the above |
a. It ends with the lines: "Eternity./It is the sea run off/ With the sun." | ||
b. It suggests that the quest for knowledge and enlightenment is deeply satisfying. | ||
c. The poem speaks of the necessity of seeking human approval and communal acceptance. | ||
d. It begins with the lines: "I kissed the dawn of summer." | ||
e. None of the above |
a. It was originally written in English. | ||
b. It celebrates the almost divine power of the poet. | ||
c. It suggests that poetry is demonic in nature. | ||
d. Both A and B | ||
e. None of the above |
a. Symbolism began as a French literary movement in the late 19th century. | ||
b. Paul Gauguin is an example of symbolism in painting. | ||
c. Symbolism adheres to an objective view of reality and a rational and realistic depiction of the natural world. | ||
d. Both A and B | ||
e. None of the above |
a. His career ended when he was jailed for criminal "gross indecency." | ||
b. He believed that art should be something more than the reproduction and appreciation of the natural world. | ||
c. Wilde was the author of such poems as "Bénédiction," "L'Albatros," and "Élévation." | ||
d. He was notorious for his use of paradox. | ||
e. He is known for his witty and often humorous declarations and his flamboyant lifestyle in addition to his important poetry, prose, and drama. |
a. Charles Baudelaire | ||
b. William Butler Yeats | ||
c. Rudyard Kipling | ||
d. Napoleon III | ||
e. Oscar Wilde |
a. Because of the increasing prominence of department stores in Paris | ||
b. Because of the advent of arcade projects | ||
c. Because they began to purchase products as they walked the urbanscape | ||
d. Because they were threatened by police with jail | ||
e. None of the above |
a. Stroller, idler, walker | ||
b. An inhabitant of a rural village | ||
c. A religious believer | ||
d. Both A and B | ||
e. None of the above |
a. A "state-of-mind" in the 1890s | ||
b. "The impotent despair of a sick man, who feels himself dying by inches in the midst of an eternally living nature blooming insolently forever" | ||
c. A term that means nothing except for the signification given to it by the user | ||
d. "A confession and a complaint" | ||
e. All of the above |
a. Genteel | ||
b. Symbolist | ||
c. Impressionist | ||
d. Decadent | ||
e. Imagistic |
a. "Every product of disgust capable of becoming a negation of the family" | ||
b. "A protest with the fists of its whole being engaged in destructive action" | ||
c. "Absolute and unquestionable faith in every god that is the immediate product of spontaneity" | ||
d. "A tale told by an idiot, full of sound and fury, signifying nothing" | ||
e. "Elegant and unprejudiced leap from a harmony to the other sphere" |
a. The Suffragette Emmeline Pankhust | ||
b. King George V | ||
c. King Edward VII | ||
d. King James II | ||
e. Queen Anne |
a. His safe return home | ||
b. The defeat of the Germans | ||
c. His death and escape from suffering. | ||
d. His ability to finally kill an enemy soldier | ||
e. His desire to be reunited with his mother |
a. Pablo Picasso and Claude Monet | ||
b. T.S. Eliot and Wyndham Lewis | ||
c. Claude Monet and Édouard Manet | ||
d. George Braque and Pablo Picasso | ||
e. George Braque and Wyndham Lewis |
a. The Franco-Prussian War | ||
b. The American Civil War | ||
c. World War I | ||
d. World War II | ||
e. A and C only |
a. A philosophical belief that existence proceeds essence | ||
b. A poetic movement which hoped to offer clear expression of ideas and feelings through the use of specific visual images | ||
c. An attempt to use the "exact word" instead of flowery, excessive descriptive language in poetry | ||
d. A and B only | ||
e. B and C only |
a. It is a philosophical term which means "imitation" or "mimicry." | ||
b. It is a philosophical and critical term meaning "otherness." | ||
c. It is a critical term, which describes the act of expression and the presentation of self-identity, theorized by academics, such as Erich Auerbach. | ||
d. A and C only | ||
e. B and C only |
a. The avant-garde, a military term meaning "advanced guard," was founded in France in the mid-19th century. | ||
b. The term avant-garde itself means "advanced guard," and the military role of the advanced guard and the role of the avant-garde art movement are much of the same. | ||
c. The realist painter Gustave Courbet never considered himself a member of the avant-garde. | ||
d. Both A and B | ||
e. All of the above |
a. Naturalism is a search for scientific certainty. | ||
b. Naturalism depicts humans as reasonable and objective. | ||
c. Naturalism depicts the more "animalistic" tendencies of humans. | ||
d. Naturalism considers the author or artist to be like a scientist. | ||
e. Naturalism considers nature as ambivalent to the concerns of humans. |
a. Realism strives to depict humans within a certain social context. | ||
b. Realism depicts the tension between harsh reality and ideals. | ||
c. Realism gives up the search for truth and instead embraces moral relativism. | ||
d. Realism explores ethical quandaries within a social context. | ||
e. Realism considers that the artist or author can be objective observers of reality. |
a. "We want to sing the love of danger, the habit of danger and of temerity." | ||
b. "The essential elements of our poetry will be courage, daring, and revolt." | ||
c. "We want to sing the man who holds the steering wheel, whose ideal stem pierces the Earth, itself launched on the circuit of its orbit." | ||
d. "We want never to glorify war, the scourge of the planet." | ||
e. "We want to demolish museums, libraries, fight against moralism, feminism, and all opportunistic and utilitarian cowardices." |
a. Dadaist period | ||
b. Blue period | ||
c. Synthetic cubism | ||
d. Rose period | ||
e. Analytic cubism |
a. The term "Vorticism" was coined in 1914 by the avant-gardist Ezra Pound. | ||
b. Practitioners of Vorticism often saw themselves just as much as educators as artists as they taught the public a new, more graphic language. | ||
c. The periodical and manifesto named BLAST attempted to expound Vorticism's principal tenets. | ||
d. The practice of Vorticism in artistic circles grew after World War I. | ||
e. All of the above |
a. "Pax romana" | ||
b. "Veni, vidi, vici" | ||
c. "Dux bellorum" | ||
d. "Pro patria mori" | ||
e. "E pluribus unum" |
a. Lyme disease | ||
b. Staph infections | ||
c. Shell shock | ||
d. A and C only | ||
e. B and C only |
a. The culture industry is classified by ruthless uniformity of all ideas. | ||
b. The culture industry is the chief method by which technology brings true democracy to all. | ||
c. The culture industry is a fundamental way to promote individuality. | ||
d. The culture industry is chiefly intended to offer consumers the opportunity to classify wants and desires as well as corresponding production. | ||
e. The culture industry is an example of how specific content is tailored to the individual. |
a. Cubism | ||
b. Vorticism | ||
c. Futurism | ||
d. A and B only | ||
e. B and C only |
a. As an interpretation of the Biblical Second Coming of Christ | ||
b. As an attempt to support European colonialism in Africa | ||
c. As a howl of despair concerning the current state of the world | ||
d. Both A and C | ||
e. None of the above |
a. The unique passage of time in the work | ||
b. The profound and often troubling relationships among characters | ||
c. The novel's experimental structure | ||
d. The novel's radically unique narrative voice | ||
e. All of the above |
a. An improvisational, hybrid musical form | ||
b. A way of questioning Victorian moral conceptions | ||
c. A musical invention of the modern age that allows for experimentation of form | ||
d. An example of subjective artistic expression | ||
e. All of the above |
a. As an omniscient narrative of love and loss | ||
b. As a third-person narrative of the Great Depression | ||
c. As a domestic stream of consciousness narrative | ||
d. A and B only | ||
e. B and C only |
a. A group of self-imposed American expatriates living in Paris that included Ernest Hemingway, Hart Crane, and Henry Miller | ||
b. A group of artists and writers who were deeply marked by the traumas of World War I | ||
c. Any American in self-exile in Europe to avoid fighting in World War I | ||
d. All of the above | ||
e. A and B only |
a. It destroys notions of high and low culture and replaces it with mass culture. | ||
b. It is an industry in the sense that its aim is to standardize aesthetic taste and value. | ||
c. It is a radical rethinking of mass culture in that it promotes the values of high culture and attempts to eradicate more popular forms of expression. | ||
d. Both A and B | ||
e. None of the above |
a. "Hearing of harvests rotting in the valleys" | ||
b. "And we rebuild our cities, not dream of islands" | ||
c. "Things fall apart; the centre cannot hold" | ||
d. "Mother died today" | ||
e. None of the above |
a. Ernest Hemingway's "The Sun Also Rises" | ||
b. James Joyce's "Dubliners" | ||
c. Joseph Conrad's "Heart of Darkness" | ||
d. Friedrich Nietzsche's "Twilight of the Idols" | ||
e. Vladimir Nabokov's "Lolita" |
a. The Great Depression lasted for one hundred years. | ||
b. The Great Depression was the longest and most severe depression ever experienced by Western civilization since industrialization. | ||
c. The Great Depression was a severe economic downturn in the industrialized world that began in 1929 and lasted for approximately ten years. | ||
d. All of the above | ||
e. B and C only |
a. The "Bloomsbury Group" consists of a group of English writers, thinkers, and artists who met in the Bloomsbury district of London. | ||
b. The group consisted of survivors of World War II. | ||
c. The Bloomsbury group included E.M. Forster, Clive Bell, John Maynard Keynes, and Virginia Woolf. | ||
d. A and B only | ||
e. A and C only |
a. Some academic scholars suggest that "The Wasteland" is an extrapolation of the search for the Holy Grail. | ||
b. "The Wasteland" is an excellent example of modernist symbolism. | ||
c. Eliot's poem takes great pains to illustrate the breakdown of stable meaning in the modern world. | ||
d. "The Wasteland" is often used as an excellent example of poetic realism. | ||
e. The poem is an overload of meaning and language, and it uses many footnotes to guide the reader through its density. |
a. Amy Lowell | ||
b. Gertrude Stein | ||
c. Virginia Woolf | ||
d. Alice Walker | ||
e. Charlotte Perkins Gilman |
a. The romance | ||
b. The epic | ||
c. The sonnet | ||
d. The haiku | ||
e. None of the above |
a. "Was it for this-" | ||
b. "Riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs." | ||
c. "And the worst friend and enemy is but Death." | ||
d. "April is the cruellest month" | ||
e. None of the above |
a. There is an undeniable "tension between the death-instinct and the sexual instincts." | ||
b. Repetition-compulsion does not help to come to terms with one's own mortality. | ||
c. Most victims of trauma do not exhibit "the compulsion of the human psyche to repeat traumatic events over and over again." | ||
d. Talk therapy will not help cure one's psychological neuroses concerning past trauma. | ||
e. None of the above |
a. "Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be." | ||
b. "The feeling of strangeness that overcomes the actor before the camera, as Pirandello describes it, is basically of the same kind as the estrangement felt before one's own image in the mirror." | ||
c. "All art work, even mass produced art, clearly links to an original referent that has a stable and knowable meaning." | ||
d. Both A and B | ||
e. None of the above |
a. Incest | ||
b. Trauma | ||
c. Taboo | ||
d. Love | ||
e. Hate |
a. Marx | ||
b. Freud | ||
c. Darwin | ||
d. Aristotle | ||
e. Plato |
a. "The Sun Also Rises" | ||
b. "Hugh Selwyn Mauberley" | ||
c. "The Cantos" | ||
d. "To the Lighthouse" | ||
e. "In a station of the Metro" |
a. James Joyce | ||
b. Voltaire | ||
c. Virginia Woolf | ||
d. Y.B. Yeats | ||
e. Gertrude Stein |
a. Andre Breton's "Surrealist Manifesto" | ||
b. James Joyce's "Ulysses" | ||
c. Ernest Hemingway's "The Sun Also Rises" | ||
d. T.S. Eliot's "The Wasteland" | ||
e. None of the above |
a. "The Dead" | ||
b. "The Surrealist Manifesto" | ||
c. "The Heart of Darkness" | ||
d. "To the Lighthouse" | ||
e. None of the above |
a. Maurice Tabard | ||
b. Ansel Adams | ||
c. Hans Bellmer | ||
d. Man Ray | ||
e. Dora Maar |
a. Giorgio de Chirico | ||
b. Salvador Dalí | ||
c. Marcel Duchamp | ||
d. Paul Gauguin | ||
e. Juan Miró |
a. It begins with the famous line: "North Richmond Street being blind, was a quiet street except at the hour when the Christian Brothers' School set the boys free." | ||
b. It speaks of the author's illicit relationship with a young girl. | ||
c. It is a dramatization of the relationship between Adam and Eve in the Garden of Eden. | ||
d. It is an analysis of "Exodus" from "The Holy Bible." | ||
e. None of the above |
a. It begins with the famous line: "Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo..."? | ||
b. It is a semi-autobiographical account of Joyce's "coming of age" as an artist. | ||
c. It captures the conflict that Stephen Dedalus has with his Irish and Catholic heritage. | ||
d. All of the above | ||
e. None of the above |
a. Stream of consciousness often relies upon "free association" of ideas. | ||
b. Stream of consciousness is the capturing of the interior monologue of the narrator. | ||
c. Stream of consciousness attempts to accurately capture the external dialogue of various characters in a realistic setting by an objective observer. | ||
d. All of the above | ||
e. A and B only |
a. Surrealism | ||
b. Dadaism | ||
c. Symbolism | ||
d. Realism | ||
e. Abstract Expressionism |
a. It contains almost hellish imagery, such as: "Melting like dirty wax,/decayed candles, the bums sinking lower,/faces submerged under hams." | ||
b. It explores the theme of the perversion of language. | ||
c. It deeply identifies with Dante's "Inferno" in terms of tone and thick description. | ||
d. All of the above | ||
e. None of the above |
a. Salvador Dalí | ||
b. Pablo Picasso | ||
c. Juan Miró | ||
d. Man Ray | ||
e. None of the above |
a. He was born Charles-Edouard Jeanneret. | ||
b. He was an architect who designed The Chandigarh Legislative Assembly building in Punjab, India. | ||
c. He was the architect who designed The Robie House in Chicago, Illinois. | ||
d. Both A and B | ||
e. Both A and C |
a. In English literature, we seldom speak of tradition, though we occasionally apply its name in deploring its absence. | ||
b. In English literature, we cannot refer to "the tradition" or to "a tradition;" at most, we employ the adjective in saying that the poetry of so-and-so is "traditional" or even "too traditional." | ||
c. Tradition is the great conversation which links all English literature and is a coherent and stable cannon. | ||
d. All of the above | ||
e. A and B only |
a. "The modern writer (scriptor) is born simultaneously with his text." | ||
b. "Once the Author is gone, the claim to "decipher" a text is quite simple." | ||
c. "A text never consists of multiple writings, it is always the product of a monolithic culture." | ||
d. Both A and B | ||
e. None of the above |
a. "Something that replaces reality with its representation" | ||
b. "A stable referent to a knowable original cultural artifact" | ||
c. "An exact imitation of the material world" | ||
d. "A basic affirmation of everyday reality" | ||
e. None of the above |
a. Sal Paradise | ||
b. Humbert Humbert | ||
c. Dean Moriarty | ||
d. Jake Barnes | ||
e. Humpty Dumpty |
a. The short work speaks of the daunting search for truth and knowledge. | ||
b. It is obsessed with the descriptions of an endless and ultimately incomprehensible library. | ||
c. Borges takes great pains to show how the key to understanding the library is reason. | ||
d. The library is analogous to the universe. | ||
e. The tone of the work is one of bewilderment and confusion in the face of such a glut of information. |
a. Argentina | ||
b. Brazil | ||
c. Mexico | ||
d. Britain | ||
e. Spain |
a. James Joyce | ||
b. Vladimir Nabokov | ||
c. T.S. Eliot | ||
d. Joseph Conrad | ||
e. None of the above |
a. Joyce's "The Dead" | ||
b. Hemingway's "My Old Man" | ||
c. Woolf's "A Haunted House" | ||
d. Borges' "The Library of Babel" | ||
e. None of the above |
a. An assault on the notion that there is any knowable truth | ||
b. An assault on the sexual mores of the Victorian Age | ||
c. A reaffirmation of Romantic notions of the sublime | ||
d. All of the above | ||
e. None of the above |
a. A term used to describe contemporary cultural production | ||
b. A literary movement concerned with extreme self-reflexivity | ||
c. An attempt to break down the barriers between high and low culture | ||
d. All of the above | ||
e. None of the above |
a. Linda Hutcheon | ||
b. Jean Baudrillard | ||
c. Jean Jacques Rousseau | ||
d. Thomas Hobbes | ||
e. Both A and B |
a. Gabriel Garcia Marquez | ||
b. Isabel Allende | ||
c. James Joyce | ||
d. Allejo Carpentier | ||
e. Mario Vargas Llosa |
a. Beckett's work expresses a certain frustration with the inability of language to fully capture the human condition. | ||
b. Beckett's play explores how language helps to form one's notion of self. | ||
c. Beckett's work captures an almost transcendent melancholy as it explores human desires for a redemption that may or may not ever materialize. | ||
d. All of the above | ||
e. A and C only |
a. A radical project of experimentation with literary and artistic form | ||
b. A belief in the power of the natural world to communicate transcendent truth | ||
c. The use of irony and parody | ||
d. Both A and B | ||
e. Both A and C |
a. "Lolita, light of my life, fire of my loins. My sin, my soul." | ||
b. "Lolita, look at this tangle of thorns." | ||
c. "Lolita, all at once we were madly, clumsily, shamelessly, agonizingly in love with each other." | ||
d. "Lolita, a cluster of stars palely glowed above us." | ||
e. None of the above |
a. Magical realism aims to capture often paradoxical union of opposites. | ||
b. Magical realism often accepts both a materialist and a supernatural view of the real. | ||
c. Magical realism differs from fantasy and science fiction in that it considers the impossible as normal. | ||
d. The term "magical realism" was first coined by Franz Roh, a German art critic. | ||
e. All of the above |
a. A complete disregard for the past as useless | ||
b. A fascination with the past but a past that is used out of its original context as pastiche | ||
c. A reinforcement of master narratives | ||
d. A rejection of master narratives | ||
e. Both B and D |
a. Raymond Williams | ||
b. Jacques Derrida | ||
c. Fredric Jameson | ||
d. Both A and B | ||
e. Both B and C |
a. "Pale Fire" | ||
b. "A Passage to India" | ||
c. "Daniel Deronda" | ||
d. "On the Road" | ||
e. "Things Fall Apart" |
a. Marxism | ||
b. Post-Colonial Theory | ||
c. Deconstruction | ||
d. Feminism | ||
e. Formalism |
a. It is an excellent example of "Magical Realism." | ||
b. It is concerned with the post-colonial situation of India before and after its partitioning into India and Pakistan. | ||
c. It is a book that tells the story of the Sinai family. | ||
d. All of the above | ||
e. None of the above |
a. Chinua Achebe | ||
b. Edward Said | ||
c. Arundhati Roy | ||
d. Salman Rushdie | ||
e. Homi Bhaba |
a. Arundhati Roy | ||
b. Salman Rushdie | ||
c. Seamus Heaney | ||
d. Vladimir Nabokov | ||
e. None of the above |
a. Ravinder Reddy | ||
b. Rummana Hussain | ||
c. Dadabhai Naoroji | ||
d. All of the above | ||
e. A and B only |
a. Seamus Heaney | ||
b. James Joyce | ||
c. William Butler Yeats | ||
d. E.M. Forster | ||
e. Samuel Beckett |
a. It is a lyrical novel that explores cultural identity and decline of an Indian family. | ||
b. It is a Romantic novel that explores the decline of a Russian family. | ||
c. It is a stream-of-consciousness narrative that explores cultural identity in nineteenth-century Ireland. | ||
d. It is a lyrical novel that explores the decline of a Caribbean family. | ||
e. None of the above |
a. Religion | ||
b. Nature | ||
c. Christianity | ||
d. Pastoral landscapes | ||
e. World War II |
a. Mimicry | ||
b. Ambivalence | ||
c. Hybridity | ||
d. Serendipity | ||
e. None of the above |
a. Linda Hutcheon | ||
b. Homi Bhabha | ||
c. Jacques Derrida | ||
d. Fredric Jameson | ||
e. Seamus Heaney |
a. The British East India Company was originally a group of London businessmen engaged in importing spices from South Asia. | ||
b. The British East India Company first entered South Asia as importers of British Tea. | ||
c. The British East India Company was essentially a covert British army. | ||
d. Both A and B | ||
e. Both B and C |
a. The British presence in India began after World War II in Bombay. | ||
b. British families never settled in India until after the conclusion of World War II. | ||
c. The British were long present in India in the 19th century and were not actively resisted until the Mutiny of 1857-58. | ||
d. Both A and B | ||
e. None of the above |
a. The Anglo-Irish war began with the resistance of the Irish Republican Army. | ||
b. The Anglo-Irish war never involved a guerrilla campaign. | ||
c. In the course of the Anglo-Irish War, only a few hundred members of the Irish Republican Army were actively resisting British rule. | ||
d. All of the above | ||
e. B and C only |
a. Edward Said | ||
b. Arundhati Roy | ||
c. Salman Rushdie | ||
d. Homi Bhaba | ||
e. None of the above |
a. W.B. Yeats | ||
b. Jorge Luis Borges | ||
c. Mario Vargas Llosa | ||
d. Charles Baudelaire | ||
e. None of the above |
a. Ibo | ||
b. Russian | ||
c. Irish | ||
d. Indian | ||
e. Italian |