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 ![]() |