a. Vaulted ceilings ![]() |
||
b. The Middle Ages ![]() |
||
c. Complicated floor plans ![]() |
||
d. Neo-classicism ![]() |
a. The unknown ![]() |
||
b. Transgression ![]() |
||
c. Reason ![]() |
||
d. The grotesque ![]() |
a. The American Revolution ![]() |
||
b. The French Revolution ![]() |
||
c. The Battle of Waterloo ![]() |
||
d. The Industrial Revolution ![]() |
a. The excessive violence found in the Gothic novel ![]() |
||
b. The barbarians that populate the Gothic novel ![]() |
||
c. The use of the word in the subtitle of Walpole’s novel ![]() |
||
d. The style of architecture found in the Gothic novel ![]() |
a. It engenders confusion for both the novel’s protagonist and readers. ![]() |
||
b. It offers a secure refuge for the novel’s protagonist. ![]() |
||
c. It provides the space for a large community of people to congregate. ![]() |
||
d. It represents the glory of a bygone age. ![]() |
a. 17th century; Enlightenment ![]() |
||
b. 18th century; Enlightenment ![]() |
||
c. 18th century; Romanticism ![]() |
||
d. 19th century; Romanticism ![]() |
a. The ethereal quality of the interior space of Gothic architecture ![]() |
||
b. The scientific advancement of the ribbed vault and flying buttress associated with Gothic architecture ![]() |
||
c. The reduction in width of the stone masonry in Gothic architecture ![]() |
||
d. The immense scale typical of Gothic structures ![]() |
a. The focus on the middle and working classes ![]() |
||
b. The consideration of the sensibilities of the protagonists ![]() |
||
c. Plots taken from everyday life ![]() |
||
d. The exploration of cultural taboos ![]() |
a. As a plot structure that diminishes the Gothic novel’s intensity ![]() |
||
b. As the reader’s inward turn to examine his or her own tangled consciousness ![]() |
||
c. As a means for characters to directly confront unconscious problems ![]() |
||
d. As a place for the distressed heroine to hide ![]() |
a. As a version of the Romantic novel ![]() |
||
b. As a set of literary devices developed in the 18th century but applicable to present day ![]() |
||
c. As the antithesis of postmodernism ![]() |
||
d. As the resolution of madness ![]() |
a. To create a sense of mystery, gloom, and suspense ![]() |
||
b. To make the reader dislike modern society ![]() |
||
c. To make the reader feel distaste for supernatural themes ![]() |
||
d. To generate feelings of intense pleasure ![]() |
a. Horace Walpole ![]() |
||
b. Ann Radcliffe ![]() |
||
c. Matthew Lewis ![]() |
||
d. Mary Shelley ![]() |
a. Roman Catholicism was wrongfully dismantled in England by Henry VIII in the 16th century. ![]() |
||
b. Jews represent sympathetic literary heroes. ![]() |
||
c. Religion is race-neutral. ![]() |
||
d. The Spanish Inquisition and the legend of the wandering Jew confirm the superiority of England. ![]() |
a. Romantic literary criticism has been stubbornly limited with regard to queer readings. ![]() |
||
b. Deviant sexuality, including homosexuality, has historically been associated with Romantic literature. ![]() |
||
c. The sexual lives of Romantic-era authors are not relevant to our understanding of queer Romanticism. ![]() |
||
d. The “Queer Gothic” is understudied. ![]() |
a. A hero who is known for being aristocratic, moody, and secretive ![]() |
||
b. A character who is essentially kind but performs a horrible act by accident ![]() |
||
c. A hero-villain who defies the laws of God’s universe ![]() |
||
d. A hero who is usually defined by his fatal attraction to women ![]() |
a. Of or relating to anything Medieval ![]() |
||
b. Of or relating to anything rude, uncivilized, or ignorant; devoid of culture and taste ![]() |
||
c. Of or relating to the Germanic tribes that invaded and established kingdoms in Europe in the first millennium ![]() |
||
d. Of or relating to a particular style of architecture ![]() |
a. Religious upheaval ![]() |
||
b. The presence of omens ![]() |
||
c. The curse of immorality ![]() |
||
d. Insanity ![]() |
a. They are almost always the subjects of omens and curses. ![]() |
||
b. They are typically heroes. ![]() |
||
c. They always express deviant sexual tendencies. ![]() |
||
d. They are perceived as dangerous because they are unknown. ![]() |
a. Realism ![]() |
||
b. An epistolary format ![]() |
||
c. A focus on the individual ![]() |
||
d. An English setting ![]() |
a. People are foolishly superstitious. ![]() |
||
b. A world devoid of supernatural phenomena is a better world. ![]() |
||
c. A belief in ghosts is a belief in imagination. ![]() |
||
d. The personification of nature is regressive. ![]() |
a. The uncanny ![]() |
||
b. The fallen world ![]() |
||
c. The “Other” ![]() |
||
d. The sublime ![]() |
a. Daydreams ![]() |
||
b. Aberrant mental states ![]() |
||
c. Violence ![]() |
||
d. Sexual rapacity ![]() |
a. The use of poetic prose in the Gothic novel ![]() |
||
b. The Gothic novel’s interest in the apocalyptic prophecies found in Hebrew and Christian Scriptures ![]() |
||
c. The ascendency of human reason in the Gothic novel ![]() |
||
d. The representation of contemporary life in the Gothic novel ![]() |
a. It leads the reader to overlook the beauty of nature. ![]() |
||
b. It reminds readers of their civic duties. ![]() |
||
c. It causes an experience of elestasis, or transport. ![]() |
||
d. It creates a sense of contentment. ![]() |
a. The placement of the action in the past and in a foreign country ![]() |
||
b. The grandiose threatening setting that requires ingenious stagecraft ![]() |
||
c. The focus on wrongdoing at the highest level of authority ![]() |
||
d. The use of real historical resources by Shelley for the foundation of his play ![]() |
a. Emily ends up happily married. ![]() |
||
b. Emily’s sense of decorum seems to falter late in the novel. ![]() |
||
c. Emily is a sensible rather than defenseless woman. ![]() |
||
d. Emily provides a unique example of a weak woman. ![]() |
a. Horror is only a sense of the sublime. ![]() |
||
b. Terror contracts the soul. ![]() |
||
c. Terror involves uncertainty and obscurity. ![]() |
||
d. Horror fails to awaken and expand the soul. ![]() |
a. Valancourt’s character ![]() |
||
b. Emily’s misfortunes ![]() |
||
c. The plot ![]() |
||
d. Emily’s mind ![]() |
a. The concern for the sanctity of legal inheritance ![]() |
||
b. The interest in the lessons and values of the Middle Ages for England in the 18th century ![]() |
||
c. The support for the British class system ![]() |
||
d. The belief in British superiority to foreign countries ![]() |
a. The triumph of reason over passion ![]() |
||
b. The rise of individual responsibility ![]() |
||
c. The social and fiscal independence of women ![]() |
||
d. The negative critique of Catholicism ![]() |
a. The hand represents the superiority of the Enlightenment over medievalism. ![]() |
||
b. The hand symbolizes the danger of marriage. ![]() |
||
c. The hand signifies the mysterious pull of the labyrinth. ![]() |
||
d. The hand represents the claim of primogeniture over the living. ![]() |
a. The castle represents the presence of newer technologies. ![]() |
||
b. The castle signifies the ruin of feudal medievalism. ![]() |
||
c. The castle symbolizes the desire for a more powerful aristocracy. ![]() |
||
d. The castle shows the lack of change in popular architecture styles. ![]() |
a. The anticipation of the violation of one’s person versus an act of physical violence ![]() |
||
b. Plotted revenge versus random violence ![]() |
||
c. The male Gothic versus the female Gothic ![]() |
||
d. The persistence of the past in the present versus the betrayal in the present of the paternal protector ![]() |
a. She leaves home in search of adventure. ![]() |
||
b. She takes control of her own money. ![]() |
||
c. She rejects her aunt’s invitation to travel to Italy. ![]() |
||
d. She converts to Catholicism. ![]() |
a. She creates a strong male hero to rescue Emily. ![]() |
||
b. She is not concerned with issues of rightful inheritance. ![]() |
||
c. She sets the novel in present day. ![]() |
||
d. She resolves the appearance of supernatural phenomena. ![]() |
a. The undead ![]() |
||
b. The outcast ![]() |
||
c. The cursed ![]() |
||
d. The transgendered ![]() |
a. It is a necessary part of the social order. ![]() |
||
b. It is essentially fair. ![]() |
||
c. It is monstrous. ![]() |
||
d. It will naturally fall out of favor. ![]() |
a. The ancestral castle ![]() |
||
b. Psychological terror ![]() |
||
c. The supernatural ![]() |
||
d. Physical violence ![]() |
a. It is lavishly furnished. ![]() |
||
b. It is haunted. ![]() |
||
c. It contains a secret passageway. ![]() |
||
d. It does not lock from the inside. ![]() |
a. The ancestral home of Ann Radcliffe ![]() |
||
b. The ancestral home of Horace Walpole ![]() |
||
c. One of the settings in “The Mysteries of Udolpho” ![]() |
||
d. The inspiration for “The Castle of Otranto” ![]() |
a. It represents male sexuality. ![]() |
||
b. It suggests female complicity in sexual deviance. ![]() |
||
c. It refers to the location of murder in Gothic novels. ![]() |
||
d. It symbolizes the forced sequestration of women both before and after marriage. ![]() |
a. Satire ![]() |
||
b. First-person narration ![]() |
||
c. Realism ![]() |
||
d. The uncanny doubling of characters ![]() |
a. Emily is confronted with the duality of the human mind, at once rational and then mad. ![]() |
||
b. Emily is tested regarding the guilt and ghosts of sins past. ![]() |
||
c. Emily comes to understand the benefits of a cloistered life. ![]() |
||
d. Emily learns the story of Sister Agnes’s past. ![]() |
a. The heroine’s fantasies about the castle are combined with her fear of violation. ![]() |
||
b. She is excluded from the novel’s violent disturbances. ![]() |
||
c. She is excluded from the general sense of isolation in the novel. ![]() |
||
d. The heroine is robbed of psychological complexity by focusing only on horror. ![]() |
a. Unnatural forces overwhelming human endeavor ![]() |
||
b. The rupture of the everyday by acts of violence ![]() |
||
c. The destruction of humanity through scientific experimentation ![]() |
||
d. The return of the past to the present ![]() |
a. Terror ![]() |
||
b. Sentimentalism ![]() |
||
c. Horror ![]() |
||
d. Ghosts ![]() |
a. Her sense of morality and decorum ![]() |
||
b. Her defiance of contemporary culture ![]() |
||
c. Her lack of imagination ![]() |
||
d. Her full embrace of the Gothic vision of Walpole, Beckford, and Lewis ![]() |
a. To encourage rational evaluation rather than arouse emotional reactions ![]() |
||
b. To emphasize the importance of character development over action ![]() |
||
c. To assist with the flight and pursuit of villains and their prey ![]() |
||
d. To support the growth and development of machinery in the 18th century ![]() |
a. Radcliffe wants to emphasize the happy ending of the marriage of Emily and Valancourt. ![]() |
||
b. It frees Radcliffe from a strict adherence to common life, allowing her to place Emily in challenging situations. ![]() |
||
c. Radcliffe considers her work a continuation of the sentimental novel of the 18th century. ![]() |
||
d. It acknowledges the lack of supernatural plot tricks. ![]() |
a. It shows the possible dangers of science. ![]() |
||
b. It exposes the deep flaws in medieval ways of thinking about the world. ![]() |
||
c. It marks a return to more primitive ways of pre-Enlightenment thought and expression. ![]() |
||
d. It suggests that reason is more important than emotion. ![]() |
a. A psychoanalytic term that explains terror ![]() |
||
b. The supernatural ![]() |
||
c. “Unheimlich” ![]() |
||
d. A sense of uncomfortable strangeness ![]() |
a. He reads the Bible. ![]() |
||
b. He is taught by Victor about the Bible. ![]() |
||
c. He reads Milton’s “Paradise Lost.” ![]() |
||
d. He listens outside church services. ![]() |
a. He threatens to spread his madness to women. ![]() |
||
b. His sexuality appeals to women. ![]() |
||
c. He protects women’s chastity and virginity. ![]() |
||
d. He provides a way for Victorian men to blame their actions on women. ![]() |
a. The normal activity of vivisection is represented as horrible. ![]() |
||
b. Seemingly normal characters are actually terrifying. ![]() |
||
c. The dramatic landscape provides an alternative to the usual world. ![]() |
||
d. The monster’s grotesque body is actually made of human parts. ![]() |
a. He is from a foreign land. ![]() |
||
b. He is racially different. ![]() |
||
c. He is Christian. ![]() |
||
d. He is a connection to a different time. ![]() |
a. It reflects a woman’s everyday life. ![]() |
||
b. An everyday object causes her terror. ![]() |
||
c. An apparently normal person is revealed as a man. ![]() |
||
d. It features a body transformation. ![]() |
a. That sexual purity was less important than society’s safety ![]() |
||
b. That female sexuality is dangerous and must be destroyed ![]() |
||
c. That women are not one-dimensional ![]() |
||
d. That men consider themselves responsible for their own fates ![]() |
a. It allows women to participate in the novel. ![]() |
||
b. It serves as a path to the public sphere for women. ![]() |
||
c. It is a less effective tool than traditional folklore weapons. ![]() |
||
d. It becomes a way to conceal information. ![]() |
a. They provide relief from the real world. ![]() |
||
b. They prophesy future destruction. ![]() |
||
c. They are part of the unconscious controlled by science. ![]() |
||
d. They obscure deep emotions. ![]() |
a. As potentially productive when used correctly ![]() |
||
b. As something needed for humans to advance ![]() |
||
c. As a way to resolve human madness ![]() |
||
d. As inherently monstrous ![]() |
a. It suggests that the creation process has become perverted. ![]() |
||
b. It invokes the laws of man. ![]() |
||
c. It offers an acceptable correction to scientific mistakes. ![]() |
||
d. It represents a natural process. ![]() |
a. Incest ![]() |
||
b. Life rituals with blood ![]() |
||
c. The fear of dying ![]() |
||
d. The fear of being buried alive ![]() |
a. Sigmund Freud ![]() |
||
b. Edmund Lewis ![]() |
||
c. Edmund Burke ![]() |
||
d. Mary Shelley ![]() |
a. Modern science ![]() |
||
b. The consciousness ![]() |
||
c. Theories of evolution ![]() |
||
d. Ancient evil ![]() |
a. The novel presents the vampire count as a father-figure of great power. ![]() |
||
b. The vampire represents a beloved father who seeks to gather together all the women and young men (sons). ![]() |
||
c. The vampire represents sexual impotence. ![]() |
||
d. The vampire represents the future. ![]() |
a. The erratic movement of time and place ![]() |
||
b. The readers’ unwavering empathy for Frankenstein ![]() |
||
c. The reliable narrator ![]() |
||
d. The mix of language in terms of voice, diction, and rhythm ![]() |
a. Stoker’s “Dracula” ![]() |
||
b. Beckford’s “Vathek” ![]() |
||
c. Ancient civilizations worldwide ![]() |
||
d. Walpole’s “The Castle of Otranto” ![]() |
a. Imperialism ![]() |
||
b. The Woman Question ![]() |
||
c. Labor unions ![]() |
||
d. Theories of Darwinian evolution ![]() |
a. As a commentary on Victorian England ![]() |
||
b. As an apolitical horror story ![]() |
||
c. As a novel ghostwritten by Perce Shelley ![]() |
||
d. As an exploration on the effects of science on humanity ![]() |
a. The decline in animal dissections ![]() |
||
b. The increase in scientific experimentation ![]() |
||
c. The end of absolute monarchy ![]() |
||
d. The end of the Vitalist Controversy ![]() |
a. Both were successful because they followed the laws of nature. ![]() |
||
b. Both refused to use science to do innovative work. ![]() |
||
c. Both worked collaboratively. ![]() |
||
d. Both suffered for their attempt to do divine work. ![]() |
a. Frankenstein’s monster ![]() |
||
b. Mary Shelley ![]() |
||
c. Robert Walton ![]() |
||
d. Frankenstein ![]() |
a. His habitat is equivalent to the Garden of Eden. ![]() |
||
b. He is a mistake. ![]() |
||
c. He is the first of his kind. ![]() |
||
d. He is responsible for the burden of original sin. ![]() |
a. Transylvania is England’s economic rival. ![]() |
||
b. Transylvania and England had been at war in the 1860s. ![]() |
||
c. Transylvania represents a vaguely known and, therefore, suspicious country. ![]() |
||
d. Transylvania and England were once part of the Holy Roman Empire. ![]() |
a. The reference to ancestral halls ![]() |
||
b. The uncommon nature of the event ![]() |
||
c. The first-person narrator ![]() |
||
d. The dichotomy between the concepts of ordinary and estate ![]() |
a. Dracula as foreign invader ![]() |
||
b. Dracula as sexual predator ![]() |
||
c. Dracula as usurper of the British class system ![]() |
||
d. Dracula as transgressor of God’s order ![]() |
a. Each owner upends the prevailing law of the land. ![]() |
||
b. Both are former palaces. ![]() |
||
c. The owners of each had mistresses. ![]() |
||
d. On the outside they look like homes, but on the inside they are prisons. ![]() |
a. The body is represented in abnormal ways. ![]() |
||
b. Women’s issues are interrogated. ![]() |
||
c. Gender issues are often overlooked. ![]() |
||
d. Many protagonists’ mothers are absent. ![]() |
a. As a path to redemption ![]() |
||
b. As a necessary control ![]() |
||
c. As a voyeuristic activity ![]() |
||
d. As a model for contemporary police work ![]() |
a. Mina and Jonathan decide to live together without being married. ![]() |
||
b. Lucy becomes a sexual predator. ![]() |
||
c. Van Helsing is a bachelor. ![]() |
||
d. John Seward remains devoted to Lucy. ![]() |
a. It introduces one of several supernatural elements into the plot. ![]() |
||
b. It dispels the anti-Semitism associated with the Gothic novel. ![]() |
||
c. It offers a positive alternative to the excesses of the Catholic Church. ![]() |
||
d. It suggests that redemption is possible through penitence. ![]() |
a. It is a Catholic structure. ![]() |
||
b. It was built in the Middle Ages. ![]() |
||
c. It is a sanctuary for women. ![]() |
||
d. It is labyrinthine. ![]() |
a. It represents a “doubling” of Queen Victoria by English women as they remake themselves in her image. ![]() |
||
b. It represents the “transformation” of the traditional Victorian woman from the private sphere to the public sphere. ![]() |
||
c. It represents the rise in psychological pathologies or “madness” in women in the late 19th century. ![]() |
||
d. It represents the “pollution” of the ideal woman by foreign influences. ![]() |
a. It is an ancestral estate. ![]() |
||
b. It contains vault-like spaces. ![]() |
||
c. It is located in England. ![]() |
||
d. It is mysterious. ![]() |
a. Its protagonist is at risk for sexual transgression. ![]() |
||
b. It is a Bildungsroman. ![]() |
||
c. It explains strange phenomena. ![]() |
||
d. The theme of imprisonment is prominent. ![]() |
a. The relative location of the room in which the “troubled” women are kept ![]() |
||
b. The state of disrepair when the houses are first encountered by the protagonists ![]() |
||
c. The relative location of the houses within the larger communities ![]() |
||
d. The relative age of the houses ![]() |
a. It is the scene of violence. ![]() |
||
b. It is the scene of sexual transgression. ![]() |
||
c. It is the scene of redemption for the Byronic hero. ![]() |
||
d. It serves as a kind of prison. ![]() |
a. It includes apocalyptic themes. ![]() |
||
b. It represents society as relatively stable. ![]() |
||
c. It condemns the misuse of power. ![]() |
||
d. It predicts the upheaval of society. ![]() |
a. She is sexually deviant. ![]() |
||
b. She exemplifies unfeminine anger. ![]() |
||
c. She is not submissive. ![]() |
||
d. She is understood to be mad. ![]() |
a. Antonia’s death ![]() |
||
b. Matilda’s dressing as Rosario ![]() |
||
c. Agnes’s admittance to the convent ![]() |
||
d. The magic mirror ![]() |
a. That it is necessary to contain mad women ![]() |
||
b. That it is an artificial patriarchal tool ![]() |
||
c. That men also are mad ![]() |
||
d. That female madness is a serious obstacle to women’s liberation ![]() |
a. Cousin Henry and Julia ![]() |
||
b. Reading ![]() |
||
c. Writing ![]() |
||
d. John ![]() |
a. The idea that women should advise men ![]() |
||
b. The idea that the Victorian woman represents “the new woman” ![]() |
||
c. The idea that women are pure and morally superior to men ![]() |
||
d. The idea that confinement in the home may induce madness ![]() |
a. It has bars on the window. ![]() |
||
b. It is removed from the main area of the house. ![]() |
||
c. It is locked. ![]() |
||
d. It is sunny. ![]() |
a. Queer provocateur ![]() |
||
b. Heroine in distress ![]() |
||
c. Angel in the house ![]() |
||
d. Pursued protagonist ![]() |
a. Agnes ![]() |
||
b. Ambrosio ![]() |
||
c. Baptiste ![]() |
||
d. Matilda ![]() |
a. Body transformation ![]() |
||
b. Horror ![]() |
||
c. Terror ![]() |
||
d. The uncanny ![]() |
a. Antonia ![]() |
||
b. Charlotte Perkins Gilman ![]() |
||
c. Jane Eyre ![]() |
||
d. Mina Murray Harker ![]() |
a. The habited nuns ![]() |
||
b. Ambrosio’s rape and murder of his sister ![]() |
||
c. Lewis’s use of a female pseudonym in the original edition ![]() |
||
d. Lewis’s choice of a feminine literary genre ![]() |
a. To represent the expansion of Gothic literary spaces from only subterranean spaces to attics as well ![]() |
||
b. To represent the shift from the male Gothic villain to the female Gothic villain in the Victorian Gothic novel ![]() |
||
c. To make reference to the rise of personal responsibility in Victorian England for the care of the sick and insane ![]() |
||
d. To make an ironic statement about the point of view and marginalization of the “Other” in Victorian England ![]() |