| 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 |