|
a. Vaulted ceilings |
||
|
b. The Middle Ages |
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|
c. Complicated floor plans |
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|
d. Neo-classicism |
|
a. The unknown |
||
|
b. Transgression |
||
|
c. Reason |
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|
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 |
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|
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 |
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|
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. |
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|
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 |