| 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 |