|
a. autism |
||
|
b. blindness |
||
|
c. deafness |
||
|
d. loss of limb |
||
|
e. schizophrenia |
|
a. Thomas Aquinas |
||
|
b. William Bradshaw |
||
|
c. John Foxe |
||
|
d. William Tyndale |
||
|
e. Augustine of Hippo |
|
a. moments of awakening |
||
|
b. short prose sketches that vary in character |
||
|
c. dream-like pieces of writing |
||
|
d. deep realizations linked with religious faith |
||
|
e. All of the Above |
|
a. After his exile, he only used one “voice” in his works |
||
|
b. After his exile, he disliked the intricacy of language |
||
|
c. After his exile, he never used split narratives |
||
|
d. After his exile, he used a mixture of languages and linguistic traditions in his works |
||
|
e. After his exile, he only wrote in the Irish language |
|
a. it challenged Irish writers to re-imagine the Irish nation |
||
|
b. it led many Irish writers to criticize British colonial practices |
||
|
c. it led to more depictions of violence and sacrifice in Irish literature |
||
|
d. it inspired Irish writers to create an Irish national identity |
||
|
e. All of the Above |
|
a. 1847 |
||
|
b. 1893 |
||
|
c. 1906 |
||
|
d. 1922 |
||
|
e. 1942 |
|
a. 1901 |
||
|
b. 1916 |
||
|
c. 1922 |
||
|
d. 1934 |
||
|
e. 1939 |
|
a. Pola |
||
|
b. Trieste |
||
|
c. Paris |
||
|
d. Zurich |
||
|
e. All of the Above |
|
a. Nora Barnacle |
||
|
b. Sylvia Beach |
||
|
c. Molly Bloom |
||
|
d. Augusta Gregory |
||
|
e. Harriet Shaw |
|
a. Virginia Woolf |
||
|
b. T.S. Eliot |
||
|
c. T.E. Hulme |
||
|
d. Ezra Pound |
||
|
e. All of the Above |
|
a. the inventions of the automobile, airplane, and telephone |
||
|
b. the spread of Freud’s theories |
||
|
c. the increased pace of everyday life |
||
|
d. the controversy over traditional ideas of certainty and morality |
||
|
e. All of the Above |
|
a. the resentment over British control |
||
|
b. an increase in Irish nationalism |
||
|
c. the Irish desire for independence |
||
|
d. the formation of the secret, revolutionary IRB |
||
|
e. All of the Above |
|
a. the desire to show realistic forms |
||
|
b. the use of traditional formal structure |
||
|
c. the lack of interest in characters’ psyches |
||
|
d. the desire to break with established forms |
||
|
e. All of the Above |
|
a. frequent moves |
||
|
b. his father’s alcoholism |
||
|
c. poverty |
||
|
d. lack of stable work |
||
|
e. All of the Above |
|
a. the metaphor of Ireland as a novel |
||
|
b. the metaphor of Ireland as a woman |
||
|
c. the metaphor of Ireland as a child |
||
|
d. the metaphor of Ireland as a soldier |
||
|
e. the metaphor of Ireland as a poem |
|
a. Augusta Gregory |
||
|
b. George Russell |
||
|
c. J.M. Synge |
||
|
d. W.B. Yeats |
||
|
e. All of the Above |
|
a. the leader of the Home Rule movement |
||
|
b. a popular symbol of Irish nationalism |
||
|
c. an Irish representative in the British Parliament |
||
|
d. the founder of the Catholic Land League |
||
|
e. All of the Above |
|
a. Ezra Pound |
||
|
b. Arthur Symons |
||
|
c. Harriet Weaver |
||
|
d. W.B. Yeats |
||
|
e. All of the Above |
|
a. Thomas Aquinas |
||
|
b. Augusta Gregory |
||
|
c. Charles Parnell |
||
|
d. Ezra Pound |
||
|
e. W.B. Yeats |
|
a. Ezra Pound |
||
|
b. W.B. Yeats |
||
|
c. Ernest Hemmingway |
||
|
d. Virginia Woolf |
||
|
e. T.S. Eliot |
|
a. it counters the sense of unrequited love |
||
|
b. it is used only to disrupt the more prominent first-person narration |
||
|
c. it makes the stories seem more impersonal |
||
|
d. it breaks through the sense of paralysis |
||
|
e. All of the Above |
|
a. she decides to stay in Ireland |
||
|
b. she decides to quit her job |
||
|
c. she decides to leave her mother |
||
|
d. she leaves for France |
||
|
e. she leaves for America |
|
a. it shows the stasis of Irish life |
||
|
b. it is represented in a way that implies collective activity is needed |
||
|
c. it reveals the sense of imprisonment that comes from routine |
||
|
d. it reveals characters’ literal inability to move away from Ireland |
||
|
e. All of the Above |
|
a. adolescence, maturity, childhood |
||
|
b. childhood, maturity, adolescence |
||
|
c. childhood, adolescence, maturity, public life |
||
|
d. childhood, adolescence, maturity |
||
|
e. adolescence, public life, maturity |
|
a. acatalectic |
||
|
b. chiasmus |
||
|
c. fantasy |
||
|
d. pentameter |
||
|
e. vowel shift |
|
a. realism |
||
|
b. impressionism |
||
|
c. fantasy |
||
|
d. gothic |
||
|
e. romanticism |
|
a. alienation |
||
|
b. commonness |
||
|
c. boredom |
||
|
d. backwardness |
||
|
e. All of the Above |
|
a. “Araby” |
||
|
b. “The Dead” |
||
|
c. “Eveline” |
||
|
d. “A Painful Case” |
||
|
e. All of the Above |
|
a. “Araby” |
||
|
b. “The Boarding House” |
||
|
c. “The Dead” |
||
|
d. “An Encounter” |
||
|
e. “A Mother” |
|
a. a reporter |
||
|
b. a father |
||
|
c. a poet |
||
|
d. a soldier |
||
|
e. All of the Above |
|
a. the piano |
||
|
b. the Irish language |
||
|
c. the English language |
||
|
d. the violin |
||
|
e. All of the Above |
|
a. Leopold Bloom |
||
|
b. Molly Bloom |
||
|
c. Charles Stuart Parnell |
||
|
d. Wolf Tone |
||
|
e. W.B. Yeats |
|
a. the snow represents Ireland’s inability to become independent |
||
|
b. the snow represents the quiet that covers life and death |
||
|
c. the snow represents the promise of love |
||
|
d. the snow represents the characters’ ability to escape Ireland |
||
|
e. the snow represents the end of paralysis |
|
a. that women are more at fault than men |
||
|
b. that individuals are too passive |
||
|
c. that people work too hard for change |
||
|
d. that Catholicism is not to blame for problems |
||
|
e. that women are too radical |
|
a. “The Boarding House” |
||
|
b. “Clay” |
||
|
c. “Eveline” |
||
|
d. “A Little Cloud” |
||
|
e. “A Mother” |
|
a. the race for more modes of transportation |
||
|
b. the decline of the Irish race |
||
|
c. the race to establish an empire |
||
|
d. the race for Ireland’s welfare |
||
|
e. the race to improve scientific methods |
|
a. hopeful |
||
|
b. disappointed |
||
|
c. joyful |
||
|
d. satiric |
||
|
e. playful |
|
a. the positive side of war with Germany |
||
|
b. the supremacy of Britain |
||
|
c. Irish nationalism |
||
|
d. the Irish nation’s inability to survive without England’s help |
||
|
e. All of the Above |
|
a. the positive representation of cultural institutions |
||
|
b. the representation of a shallow, drab culture |
||
|
c. the positive representation of the Catholic Church |
||
|
d. the representation of adventures the city offers to the mind |
||
|
e. All of the Above |
|
a. they let characters come to realizations that alter their views |
||
|
b. they sometimes clarify the connection between death and life |
||
|
c. they are often coupled with resignation, sadness, and frustration |
||
|
d. they create a system of hope, followed by passive acceptance |
||
|
e. All of the Above |
|
a. it enables Stephen to say in Ireland forever |
||
|
b. it prepares Stephen to accept his artistic rebirth |
||
|
c. it ends Stephen’s period of enlightenment |
||
|
d. it helps Stephen to decide to join the Catholic church |
||
|
e. All of the Above |
|
a. the image is presented in immediate relation to the artist himself |
||
|
b. the image is presented is immediate relation to the artist and others |
||
|
c. the image is presented in a way that is not purely personal |
||
|
d. the image is presented in immediate relation to others only |
||
|
e. the image is presented in a way that is completely impersonal |
|
a. Thomas Aquinas |
||
|
b. W.B. Yeats |
||
|
c. Augusta Gregory |
||
|
d. Ezra Pound |
||
|
e. Ernest Hemmingway |
|
a. he feels alienated |
||
|
b. he feels proud |
||
|
c. he feels at peace |
||
|
d. he feels confident |
||
|
e. he feels liberated |
|
a. it reminds the reader of the hero’s mythical counterpart |
||
|
b. it represents the desire to flee Ireland |
||
|
c. it represents the hero’s fear that he will overestimate his abilities |
||
|
d. it implies that the artist must take flight to do his work |
||
|
e. All of the Above |
|
a. as a mythical character |
||
|
b. as a friend |
||
|
c. as a family member |
||
|
d. as a romantic hero |
||
|
e. All of the Above |
|
a. Aeneas |
||
|
b. Icarus |
||
|
c. Daedalus |
||
|
d. Minos |
||
|
e. Zeus |
|
a. he is opposed to the Catholic faith for the entire novel |
||
|
b. because he has been raised Catholic, he never struggles with his faith |
||
|
c. he is torn between his desire for freedom and his desire to be moral |
||
|
d. he is committed to priesthood for the entire novel |
||
|
e. he believes that Catholicism is more powerful than art |
|
a. he is conflicted by his desire to leave Ireland because he has inextricable ties to it |
||
|
b. he is sure of his desire to become a leader like Parnell because his friends and family universally praise Irish leaders |
||
|
c. he is committed to staying in Ireland |
||
|
d. he deeply wants to leave Ireland, but he feels that, as an artist, he can only work with national themes |
||
|
e. All of the Above |
|
a. it inspires Stephen to leave Ireland to write |
||
|
b. it ties in with Stephen’s appreciation of language |
||
|
c. it reminds Stephen of his desire to live life to the fullest |
||
|
d. it provides a way for Stephen to feel at peace |
||
|
e. All of the Above |
|
a. iambic pentameter |
||
|
b. vowel shift |
||
|
c. chiasmus |
||
|
d. acatalectic |
||
|
e. stream of consciousness |
|
a. his chance for isolation |
||
|
b. his relationship with his family and friends |
||
|
c. his individual consciousness |
||
|
d. his ability to flee Ireland |
||
|
e. All of the Above |
|
a. it does not explore a character’s internal development |
||
|
b. it uses experimental language |
||
|
c. it celebrates the simplicity of everyday life |
||
|
d. it follows a traditional narrative structure |
||
|
e. All of the Above |
|
a. perception, clarity, and wholeness |
||
|
b. kinesis, clarity, and perception |
||
|
c. clarity, wholeness, and kinesis |
||
|
d. wholeness, harmony, and clarity |
||
|
e. harmony, clarity, and perception |
|
a. a novel that traces women’s intellectual developments |
||
|
b. an artist’s novel of awakening |
||
|
c. an artist’s journey in which he always abandons his art |
||
|
d. a novel in which the hero solves a crime |
||
|
e. a novel that traces two characters unrequited love |
|
a. it represents Joyce’s decision not to use stream of consciousness |
||
|
b. it emulates an adult’s intellectual process |
||
|
c. it captures the intellectual perceptions of a child |
||
|
d. it represents Joyce’s shift to more conventional language |
||
|
e. it represents that artist’s use of dream sequences |
|
a. bildungsroman |
||
|
b. comedy of manners |
||
|
c. pastoral |
||
|
d. satire |
||
|
e. sentimental novel |
|
a. art should not produce stasis in the viewer |
||
|
b. art should be kinetic |
||
|
c. art should be harmonious and proportional |
||
|
d. art should not please the perception |
||
|
e. All of the Above |
|
a. Leopold Bloom |
||
|
b. Molly Bloom |
||
|
c. Gabriel Conroy |
||
|
d. Stephen Dedalus |
||
|
e. Jimmy Doyle |
|
a. sexual awakening |
||
|
b. the artist in exile |
||
|
c. spiritual crisis |
||
|
d. artistic awakening |
||
|
e. All of the Above |
|
a. both are mature |
||
|
b. both tend to be cheerful |
||
|
c. both are artists |
||
|
d. both dislike music |
||
|
e. All of the Above |
|
a. Homer’s The Iliad |
||
|
b. Homer’s The Odyssey |
||
|
c. Virgil’s The Aeneid |
||
|
d. Sophocles’s Antigone |
||
|
e. Sophocles’s Oedipus |
|
a. a newspaper |
||
|
b. a stream |
||
|
c. a law |
||
|
d. a book |
||
|
e. an advertisement |
|
a. it obstructs the characters’ interior thoughts |
||
|
b. it provides a conventional approach to representing the characters |
||
|
c. it makes the characters’ emotions less immediate |
||
|
d. it provides direct access to the characters’ consciousness |
||
|
e. All of the Above |
|
a. Leopold Bloom |
||
|
b. Mr. Deasy |
||
|
c. Gabriel Conroy |
||
|
d. Molly Ivors |
||
|
e. Mrs. Mooney |
|
a. the sequential construction of time |
||
|
b. the lack of taboo topics |
||
|
c. the use traditional language |
||
|
d. the inclusion of various types of media |
||
|
e. All of the Above |
|
a. unusual punctuation |
||
|
b. puns |
||
|
c. parodies |
||
|
d. unconventional syntax |
||
|
e. All of the Above |
|
a. interior monologue |
||
|
b. stream of consciousness |
||
|
c. repetition of words |
||
|
d. shifts in narrative voice |
||
|
e. All of the Above |
|
a. Odysseus |
||
|
b. Telemachus |
||
|
c. Nestor |
||
|
d. Nausicaa |
||
|
e. Menelaus |
|
a. in The Dubliners, Chandler uses it to describe family relationships |
||
|
b. in The Dubliners, Gabriel uses it in his discussions about death |
||
|
c. in Ulysses, Stephen uses it in his lectures on art |
||
|
d. in Ulysses, Leopold uses it to describe his personal identity |
||
|
e. in Finnegans Wake, Shaun uses it to describe his family |
|
a. it outlines the transition from child to adult in The Dubliners |
||
|
b. it outlines the order of stories in The Dubliners |
||
|
c. it outlines the fundamental structure of Ulysses |
||
|
d. it outlines the movement of time in Finnegans Wake |
||
|
e. it outlines the basic chapter structure of Finnegans Wake |
|
a. it was considered inferior by most authors who read it |
||
|
b. it was banned for obscenity |
||
|
c. it was considered too conventional for publication |
||
|
d. it was praised by the government and churches |
||
|
e. All of the Above |
|
a. he is deeply invested in the nationalist cause |
||
|
b. he hopes to join the IRB |
||
|
c. he is disinterested in nationalism |
||
|
d. he is opposed to the nationalist cause |
||
|
e. he wants to work to stop the IRB from achieving its goals |
|
a. Stephen Dedalus |
||
|
b. Mr. Deasy |
||
|
c. Gabriel Conroy |
||
|
d. Leopold Bloom |
||
|
e. Little Chandler |
|
a. Molly Bloom |
||
|
b. Mrs. Mooney |
||
|
c. Mrs. Sinico |
||
|
d. Gerty MacDowell |
||
|
e. Gretta Conroy |
|
a. dysfunctional families |
||
|
b. religious identity |
||
|
c. national identity |
||
|
d. married relationships |
||
|
e. All of the Above |
|
a. Leopold Bloom |
||
|
b. Little Chandler |
||
|
c. Joe Donnelly |
||
|
d. Stephen Dedalus |
||
|
e. Tom Kernan |
|
a. Nausicaa |
||
|
b. Aeolus |
||
|
c. Penelope |
||
|
d. Telemachus |
||
|
e. Nestor |
|
a. Shakespeare’s Hamlet |
||
|
b. The Bible |
||
|
c. Wilde’s The Picture of Dorian Grey |
||
|
d. Yeat’s “Who Goes with Fergus” |
||
|
e. All of the Above |
|
a. that it depends on repression |
||
|
b. that it ends paralysis |
||
|
c. that it enables fulfillment |
||
|
d. that it resolves spiritual crises |
||
|
e. All of the Above |
|
a. the characters’ preference for reality over dreams |
||
|
b. the inability to distinguish between the “self” and “other” |
||
|
c. the inability to experience guilt |
||
|
d. the disconnection from primal senses and urges |
||
|
e. the characters’ fixed identities |
|
a. it manifests itself in rumors and scandal |
||
|
b. it represents original sin |
||
|
c. it is linked with sexual perversions |
||
|
d. it represents the Freudian primal scene |
||
|
e. All of the Above |
|
a. the role of the church |
||
|
b. the impossibility of resurrection |
||
|
c. the unconscious |
||
|
d. unrequited love |
||
|
e. the patterns of birth, life, and death |
|
a. it led to the combination of multiple languages to form new words |
||
|
b. it led to the inclusion of dream scenarios |
||
|
c. it led to the lack of allusions to other cultures’ stories and myths |
||
|
d. it led to the focus on the family as a functional institution |
||
|
e. it led to the use of a more conventional language |
|
a. while Shem is a conformist, Shaun is a talented artist |
||
|
b. while Shem would rather be a priest, Shaun is happy at his work |
||
|
c. while Shem is a postman, Shaun is a artist and writer |
||
|
d. while Shem is an artistic outsider, Shaun is a dull conformist |
||
|
e. while Shem is equated with saints, Shaun is equated with the devil |
|
a. he refers to the mythical Daedalus |
||
|
b. he uses an allusion to the mythical Odysseus |
||
|
c. he uses an allusion to Tristian and Iseult |
||
|
d. he refers to the Oedipal myth |
||
|
e. he uses an allusion to Yeats’s war poems |
|
a. Shakespeare’s Hamlet |
||
|
b. the Book of the Dead |
||
|
c. the Bible |
||
|
d. Vico’s La Scienza Nuova |
||
|
e. All of the Above |
|
a. seduction |
||
|
b. murder |
||
|
c. slander |
||
|
d. hypocrisy |
||
|
e. All of the Above |
|
a. “Araby” |
||
|
b. “The Dead” |
||
|
c. A Portrait of the Artist as a Young Man |
||
|
d. Finnegans Wake |
||
|
e. “Eveline” |
|
a. she is a source of secret, repressed desire |
||
|
b. she represents the functional family structure |
||
|
c. she is an example of piety |
||
|
d. she dissolves the tension of the Oedipal references |
||
|
e. she alleviates her family’s sense of guilt |
|
a. the last sentence and first sentence are circular |
||
|
b. the novel has a traditional plot; nothing is particularly unique about it |
||
|
c. the start of the book bears no resemblance to the end |
||
|
d. the novel is clearly written from the future to the past |
||
|
e. it is broken up into hundreds of episodes |
|
a. whether the events of novel are real or a dream |
||
|
b. whether the novel has a plot |
||
|
c. whether the novel has definite characters |
||
|
d. whether the novel has a protagonist |
||
|
e. All of the Above |
|
a. multilingual puns |
||
|
b. allusions |
||
|
c. jokes |
||
|
d. portmanteaus |
||
|
e. All of the Above |
|
a. forgiveness |
||
|
b. married relationships |
||
|
c. dreams |
||
|
d. the movement of time |
||
|
e. All of the Above |
|
a. it prevents exploration of the unconscious |
||
|
b. it obscures the characters’ immediate thoughts |
||
|
c. it allows for the introduction of plot snippets and new language |
||
|
d. it makes the readers’ experience of the characters less intimate |
||
|
e. it ensures a linear construction of time |
|
a. the stream of conscious style |
||
|
b. the invented words |
||
|
c. the free dream associations |
||
|
d. the sketchy, episodic structure |
||
|
e. All of the Above |
|
a. Wolfe Tone |
||
|
b. Charles Stuart Parnell |
||
|
c. Father Arnall |
||
|
d. Daniel O’Connell |
||
|
e. All of the Above |
|
a. The Dubliners |
||
|
b. A Portrait of the Artist as a Young Man |
||
|
c. Ulysses |
||
|
d. Finnegans Wake |
||
|
e. All of the Above |
|
a. a poem by Yeats |
||
|
b. a popular Irish ballad |
||
|
c. an ancient epic |
||
|
d. a poem by Eliot |
||
|
e. a traditional war ballad |