| a. More and bigger tools required additional buildings to house them, horses to run them, and experienced laborers. Smaller farms could not afford to spend money on equipment used only a few weeks out of the year. | ||
| b. The old tools, like the scythe, were put to other uses. | ||
| c. More people became farmers. | ||
| d. Additional tools and requirements meant more expense, so farmers earned more money and became much wealthier than before. | ||
| e. People became afraid of machines and returned to the old ways of life. |
| a. non-believers (progressive) and believers (conservative). | ||
| b. an emphasis on freedom of action (progressive) and belief in social hierarchy and established or official state religion (conservative). | ||
| c. writers (progressive) and Patrons (conservative). | ||
| d. All of these | ||
| e. None of these |
| a. Science fiction: He attempts to create a dystopian narrative by merging science and fiction. | ||
| b. Travel literature: He uses drastic shock tactics to convey an exciting discovery of "savages" in the capital city. | ||
| c. Romance: He makes the poor into romantic/tragic heroes so the reader will sympathize. | ||
| d. He does not use a literary technique. | ||
| e. He uses all of these literary techniques. |
| a. Outbreaks of plague and other epidemics that affect small children | ||
| b. Excessive distances to travel between home and work | ||
| c. Suitors from the upper classes seeking their hand in marriage or attempting to arrange marriages for them | ||
| d. Long hours, little pay, enormous responsibilities with almost no actual power, problematic relations with employer and under-staff | ||
| e. Pressure to abuse strong drink |
| a. They could not work if they were pregnant or nursing small children. | ||
| b. Women of the middle and upper classes were supposed to marry and stay home as centers of the Victorian family-but many households could not be supported on a single income. | ||
| c. There were so many lower-class women in the workforce that there was no need for middle-class women to work. | ||
| d. Paid work was unnecessary because the salaries of men in the middle class were very high. | ||
| e. Paid work referred exclusively to prostitution. |
| a. Novels were more fun to read than non-fiction, so all writing attempted to look like a novel when it was published. | ||
| b. Because Victorians were interested in social responsibility, and because they believed problems afforded solutions, they were more likely to focus on social realities in both fiction and non-fiction than the Romantic-era writers before them. | ||
| c. Charles Dickens and Henry Mayhew were friends. | ||
| d. People were frightened by progress and enjoyed reading novels and non-fiction with horrifying narratives about technology. This was called sensationalism. | ||
| e. There was no relationship between the two works. |
| a. They were easier and better-paid professions than being a writer or artist. | ||
| b. Dressmaking was considered very fashionable and being a governess meant you had better chances of finding a husband. | ||
| c. Because they resembled roles that a woman might have in the household sphere, they were considered more "natural" for them. | ||
| d. The working conditions for needlework were very good and governesses were well paid. | ||
| e. It was a good place to meet a marriage partner. |
| a. sensationalism: the attraction of repulsion and shock. | ||
| b. horror: the discovery that people in a major city live like "savages." | ||
| c. sympathy: pity for the destitute women and children in a major industrial city. like London. | ||
| d. All of these | ||
| e. None of these |
| a. women's equality in the workplace. | ||
| b. the right to vote for women in a non-violent manner by constitutional means. | ||
| c. an end to slavery. | ||
| d. None of these | ||
| e. All of these |
| a. Charles Dickens worked as a coal miner, which influenced his writing of Hard Times. | ||
| b. Charlotte Bronte worked as a governess, which influenced her writing of Jane Eyre. | ||
| c. Thomas Hardy worked as a fisherman, which influenced his writing of Return of the Native. | ||
| d. Henry Mayhew was a lawyer who worked in chancery court, which influenced his writing of Bleak House. | ||
| e. Thomas Hardy and Charlotte Bronte were married, which influenced their writing of relationships. |
| a. The reign of Queen Victoria | ||
| b. Rapid expansion of the British Empire | ||
| c. Increasing industrialization | ||
| d. Changing gender roles and the concept of "separate spheres" | ||
| e. All of these |
| a. "The name of the public-house was the Pegasus's Arms. The Pegasus's legs might have been more to the purpose; but, underneath the winged horse upon the sign-board, the Pegasus's Arms was inscribed in Roman letters." | ||
| b. "Before Mr. Bounderby could reply, a young man appeared at the door, and introducing himself with the words, 'By your leaves, gentlemen!' walked in with his hands in his pockets. His face, close-shaven, thin, and sallow, was shaded by a great quantity of dark hair, brushed into a roll all round his head, and parted up the centre. His legs were very robust, but shorter than legs of good proportions should have been." | ||
| c. "It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it; but as matters stood, it was a town of unnatural red and black like the painted face of a savage. It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of building full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness. It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and to-morrow, and every year the counterpart of the last and the next." | ||
| d. "'Very well,' said Bounderby. 'I was born in a ditch, and my mother ran away from me. Do I excuse her for it? No. Have I ever excused her for it? Not I. What do I call her for it? I call her probably the very worst woman that ever lived in the world, except my drunken grandmother.'" | ||
| e. All of these |
| a. "He was a rich man: banker, merchant, manufacturer, and what not. A big, loud man, with a stare, and a metallic laugh. A man made out of a coarse material, which seemed to have been stretched to make so much of him. A man with a great puffed head and forehead, swelled veins in his temples, and such a strained skin to his face that it seemed to hold his eyes open, and lift his eyebrows up. A man with a pervading appearance on him of being inflated like a balloon, and ready to start. A man who could never sufficiently vaunt himself a self-made man. A man who was always proclaiming, through that brassy speaking-trumpet of a voice of his, his old ignorance and his old poverty. A man who was the Bully of humility." | ||
| b. "In truth, Mrs. Gradgrind's stock of facts in general was woefully defective; but Mr. Gradgrind in raising her to her high matrimonial position, had been influenced by two reasons. Firstly, she was most satisfactory as a question of figures; and, secondly, she had 'no nonsense' about her. By nonsense he meant fancy; and truly it is probable she was as free from any alloy of that nature, as any human being not arrived at the perfection of an absolute idiot, ever was." | ||
| c. "Being left to saunter in the hall a minute or two while Mr. Gradgrind went up-stairs for the address, he opened the door of the children's study and looked into that serene floor-clothed apartment, which, notwithstanding its book-cases and its cabinets and its variety of learned and philosophical appliances, had much of the genial aspect of a room devoted to hair-cutting. Louisa languidly leaned upon the window looking out, without looking at anything, while young Thomas stood sniffing revengefully at the fire. Adam Smith and Malthus, two younger Gradgrinds, were out at lecture in custody; and little Jane, after manufacturing a good deal of moist pipe-clay on her face with slate-pencil and tears, had fallen asleep over vulgar fractions." | ||
| d. "'Oh, my poor health!' returned Mrs. Gradgrind. 'The girl wanted to come to the school, and Mr. Gradgrind wanted girls to come to the school, and Louisa and Thomas both said that the girl wanted to come, and that Mr. Gradgrind wanted girls to come, and how was it possible to contradict them when such was the fact!'" | ||
| e. Both C and D |
| a. "'They say, too, that Clym Yeobright is become a real perusing man, with the strangest notions about things. There, that's because he went to school early, such as the school was.'" "'Strange notions, has he?' said the old man. 'Ah, there's too much of that sending to school in these days! It only does harm. Every gatepost and barn's door you come to is sure to have some bad word or other chalked upon it by the young rascals-a woman can hardly pass for shame sometimes. If they'd never been taught how to write they wouldn't have been able to scribble such villainy. Their fathers couldn't do it, and the country was all the better for it.'" | ||
| b. "'I say, Sam,' observed Humphrey when the old man was gone, 'she and Clym Yeobright would make a very pretty pigeon-pair-hey? If they wouldn't I'll be dazed! Both of one mind about niceties for certain, and learned in print, and always thinking about high doctrine-there couldn't be a better couple if they were made o' purpose. Clym's family is as good as hers. His father was a farmer, that's true; but his mother was a sort of lady, as we know. Nothing would please me better than to see them two man and wife.'" | ||
| c. "That five minutes of overhearing furnished Eustacia with visions enough to fill the whole blank afternoon. Such sudden alternations from mental vacuity do sometimes occur thus quietly. She could never have believed in the morning that her colourless inner world would before night become as animated as water under a microscope, and that without the arrival of a single visitor. The words of Sam and Humphrey on the harmony between the unknown and herself had on her mind the effect of the invading Bard's prelude in the Castle of Indolence, at which myriads of imprisoned shapes arose where had previously appeared the stillness of a void." | ||
| d. "The subject of their discourse had been keenly interesting to her. A young and clever man was coming into that lonely heath from, of all contrasting places in the world, Paris. It was like a man coming from heaven. More singular still, the heathmen had instinctively coupled her and this man together in their minds as a pair born for each other." | ||
| e. All of these |
| a. Being "prudish," "repressed," and "old fashioned" | ||
| b. The notion that one person cannot better himself or his environment | ||
| c. The birth of Agnosticism and a disdain for morality | ||
| d. A sense of social responsibility, a basic attitude that obviously differentiates them from their immediate predecessors, the Romantics | ||
| e. An uncertainty about the role of the family and its importance to the nation |
| a. Chemistry, electricity, engineering, and architecture | ||
| b. Empiricism, enlightenment, and romanticism | ||
| c. Alcoholics Anonymous, the World Health Organization, and NATO | ||
| d. Democracy, feminism, unionization of workers, socialism, and Marxism | ||
| e. None of these |
| a. It gave extensive tracts of land to the husband, overturning a practice of matrilineal inheritance. | ||
| b. It gave married women the right to own property they either earned or acquired by inheritance. | ||
| c. It allowed the aristocracy to own property only if they were married and had male children. | ||
| d. It allowed women to get a divorce. | ||
| e. It allowed more sexual freedom to both partners. |
| a. Hostility to dissenters | ||
| b. Complete non-resistance to the monarchy | ||
| c. Support for Jacobites | ||
| d. A conservative, reactionary group that favored the aristocracy, whose power base was the rural squirearchy | ||
| e. Both A and B |
| a. The political and military faction defeated by Charles the II | ||
| b. The liberal party of the new financial and mercantile interests and reformist legislation, who felt the aristocracy ruled only at the consent of the people | ||
| c. Advocates of personal freedom | ||
| d. Strong supporters of William III and his consort Mary | ||
| e. None of these |
| a. idyllic and easy, characterized by healthy, happy agrarian workers. | ||
| b. politically problematic, characterized by revolutionary sentiment. | ||
| c. much better than city life, characterized by fresh air and nourishing food. | ||
| d. hard and difficult, characterized by harsh conditions, malnourishment, and complete dependence upon the weather and seasonal harvest. | ||
| e. None of these |
| a. the architecture of a city or urban landscape, as opposed to the countryside. | ||
| b. the development of a youthful protagonist as he or she matures. | ||
| c. the history of antiquity, particularly of ancient Rome and Greece. | ||
| d. the poor versus the rich. | ||
| e. the ways in which new laws affect the social class of England under Victoria |
| a. Thomas Hardy's Return of the Native. | ||
| b. Henry Mayhew's London Labor and the London Poor. | ||
| c. Bram Stoker's Dracula. | ||
| d. Charles Dickens' Great Expectations. | ||
| e. Charles Dickens' Bleak House. |
| a. The history of 19th-century printing is intimately bound up with the engraved boxwood block. | ||
| b. The artist engraved his own white line illustrations on boxwood blocks, and the artist-engraver remained a common figure in book illustration until mid-century. | ||
| c. Most of the Victorian illustrations were done with wood blocks. | ||
| d. From mid-century, two styles of woodblock illustration occur, the old vignette and the pen-and-ink drawing. | ||
| e. All of the above statements are accurate descriptions of this art book period. |
| a. "No, she had never seen him. Young as she was when her mama died, she remembered how the tears would come into her eyes when she spoke of him and of the noble generosity of his character, which she had said was to be trusted above all earthly things; and Ada trusted it." | ||
| b. "'I began to keep the little creatures,' she said, 'with an object that the wards will readily comprehend. With the intention of restoring them to liberty. When my judgment should be given. Ye-es! They die in prison, though. Their lives, poor silly things, are so short in comparison with Chancery proceedings that, one by one, the whole collection has died over and over again. I doubt, do you know, whether one of these, though they are all young, will live to be free! Ve-ry mortifying, is it not?'" | ||
| c. "Bless you, sir, the way she tended them two children after the mother died was the talk of the yard! And it was a wonder to see her with him after he was took ill, it really was! 'Mrs. Blinder,' he said to me the very last he spoke-he was lying there-'Mrs. Blinder, whatever my calling may have been, I see a angel sitting in this room last night along with my child, and I trust her to Our Father!" | ||
| d. "There was such a shock of apprehension in his face, and he knew Richard so perfectly, and I too had seen so much of his gradual decay, that what my dear girl had said to me in the fullness of her foreboding love sounded like a knell in my ears. 'In case you should be wanting Mr. C., sir,' said Mr. Vholes, coming after us, 'you'll find him in court. I left him there resting himself a little. Good day, sir; good day, Miss Summerson.' As he gave me that slowly devouring look of his, while twisting up the strings of his bag before he hastened with it after Mr. Kenge, the benignant shadow of whose conversational presence he seemed afraid to leave, he gave one gasp as if he had swallowed the last morsel of his client, and his black buttoned-up unwholesome figure glided away to the low door at the end of the Hall." | ||
| e. All of these |
| a. Tenderness and affection evoked by beautiful objects | ||
| b. Feelings characterized by smallness, delicacy, and smoothness | ||
| c. Emotions generated by objects that were vast, magnificent, and obscure | ||
| d. Spiritually superior and without moral failings | ||
| e. Feelings influenced by pastoral fields and pleasant natural surroundings |
| a. "It is not a large world. Relatively even to this world of ours, which has its limits too (as your Highness shall find when you have made the tour of it and are come to the brink of the void beyond), it is a very little speck. There is much good in it; there are many good and true people in it; it has its appointed place." | ||
| b. "My Lady Dedlock has returned to her house in town for a few days previous to her departure for Paris, where her ladyship intends to stay some weeks, after which her movements are uncertain. The fashionable intelligence says so for the comfort of the Parisians, and it knows all fashionable things." | ||
| c. "This is the Court of Chancery, which has its decaying houses and its blighted lands in every shire, which has its worn-out lunatic in every madhouse and its dead in every churchyard, which has its ruined suitor with his slipshod heels and threadbare dress borrowing and begging through the round of every man's acquaintance, which gives to monied might the means abundantly of wearying out the right, which so exhausts finances, patience, courage, hope, so overthrows the brain and breaks the heart, that there is not an honourable man among its practitioners who would not give-who does not often give-the warning, 'Suffer any wrong that can be done you rather than come here!'" | ||
| d. "I have a great deal of difficulty in beginning to write my portion of these pages, for I know I am not clever. I always knew that. I can remember, when I was a very little girl indeed, I used to say to my doll when we were alone together, 'Now, Dolly, I am not clever, you know very well, and you must be patient with me, like a dear!' And so she used to sit propped up in a great arm-chair, with her beautiful complexion and rosy lips, staring at me-or not so much at me, I think, as at nothing-while I busily stitched away and told her every one of my secrets." | ||
| e. "I knew he meant well in paying me this compliment, so I laughed at myself for blushing at it when he had shut the door and got upon the box; and we all three laughed and chatted about our inexperience and the strangeness of London until we turned up under an archway to our destination-a narrow street of high houses like an oblong cistern to hold the fog." |
| a. means that we approve of the novel's practicality. | ||
| b. refers to the materiality of the text, that it is not digital and that it does not exist only in the head but is "real." | ||
| c. assumes that reality inheres in the here and now and emphasizes accurate descriptions of setting, dress, and character. | ||
| d. means that texts must engage with political action. | ||
| e. concerns only the non-spiritual and is generally a secular account of events without regard to specific moral content. |
| a. "Krook takes it, goes to the fire, stoops over the red embers, and tries to get a light. The dying ashes have no light to spare, and his endeavours are vain. Muttering, after an ineffectual call to his lodger, that he will go downstairs and bring a lighted candle from the shop, the old man departs. Mr. Tulkinghorn, for some new reason that he has, does not await his return in the room, but on the stairs outside." | ||
| b. "Groups of its inhabitants assemble to discuss the thing, and the outposts of the army of observation (principally boys) are pushed forward to Mr. Krook's window, which they closely invest. A policeman has already walked up to the room, and walked down again to the door, where he stands like a tower, only condescending to see the boys at his base occasionally; but whenever he does see them, they quail and fall back." | ||
| c. "At the appointed hour arrives the coroner, for whom the jurymen are waiting and who is received with a salute of skittles from the good dry skittle-ground attached to the Sol's Arms. The coroner frequents more public-houses than any man alive." | ||
| d. "Mrs. Piper lives in the court (which her husband is a cabinet-maker), and it has long been well beknown among the neighbours (counting from the day next but one before the half-baptizing of Alexander James Piper aged eighteen months and four days old on accounts of not being expected to live such was the sufferings gentlemen of that child in his gums) as the plaintive-so Mrs. Piper insists on calling the deceased-was reported to have sold himself." | ||
| e. "Here he is, very muddy, very hoarse, very ragged. Now, boy! But stop a minute. Caution. This boy must be put through a few preliminary paces. Name, Jo. Nothing else that he knows on. Don't know that everybody has two names. Never heerd of sich a think. Don't know that Jo is short for a longer name. Thinks it long enough for HIM. HE don't find no fault with it. Spell it? No. HE can't spell it. No father, no mother, no friends. Never been to school. What's home? Knows a broom's a broom, and knows it's wicked to tell a lie. Don't recollect who told him about the broom or about the lie, but knows both. Can't exactly say what'll be done to him arter he's dead if he tells a lie to the gentlemen here, but believes it'll be something wery bad to punish him, and serve him right-and so he'll tell the truth." |
| a. By using realistic details to contrast the lives of the extremely wealthy to the struggles of the poor but virtuous hero, these authors point out social problems and inequalities. | ||
| b. Most people still read traditional poetry and French romance novels, so representing real characters challenged the reading habits of Victorians. | ||
| c. Challenging situations are more difficult to read than happy ones, so realism is used to make the story more interesting in those challenging chapters. | ||
| d. Dickens and Bronte used realism to make the story seem far more complex than it really was. | ||
| e. Realism was often a thinly veiled code understood by politicians to be aimed at them and for the betterment of their constituents. |
| a. It allowed authors to build an audience through anticipation, and it also enabled authors to respond to the response of readers, occasionally trying new strategies if the reception was not good enough. | ||
| b. It was problematic to produce the entire book because authors often ran out of paper, which slowed the production process. | ||
| c. It was one way of becoming wealthy through writing. | ||
| d. Authors often were too preoccupied by the busy Victorian lifestyle to write sustained prose and so this allowed them to write whole novels on the short-story clock. | ||
| e. It allowed magazines to be made more cheaply than ever before. |
| a. plot development. | ||
| b. theme. | ||
| c. narration. | ||
| d. characterization. | ||
| e. setting. |
| a. Plot is what happens in a story, and structure is the order in which the novel presents the plot. | ||
| b. Structure is what happens in a story, and plot is the order in which the novel presents the structure. | ||
| c. Plot is the pace at which things happen, and structure is the number of pages comprising the book itself. | ||
| d. Plot always has a single narrator, while structure may be expressed by several narrators. | ||
| e. Plot and structure are often the very same thing. |
| a. primarily organized by the East India Trading Company, who controlled the stocks. | ||
| b. usually owned by authors, who became wealthy landowners as a result of their trade. | ||
| c. three divisions that were just emerging as separate businesses in the 19th century, and they merged almost as often as they separated. | ||
| d. financed entirely by book clubs and traveling libraries. | ||
| e. three very separate trades that rarely or never overlapped and usually did not know much about the work done by other constituents. |
| a. "heal the wounded heart." | ||
| b. "enlighten the mind and infuse the wit." | ||
| c. "encourage strong minds, strong souls, strong bodies." | ||
| d. "preach to the nerves instead of the judgment." | ||
| e. "give wisdom, courage, and strength of character." |
| a. ruins, darkness, romance, mystery, castles, and the sublime. | ||
| b. expansion, industry, modernization and fear of the future. | ||
| c. monsters, aliens, and mythical beasts. | ||
| d. Greek and Roman gods and goddesses. | ||
| e. the struggle for political freedom. |
| a. show the differences between these traditions as well as their similarities. | ||
| b. explores the youth and young adulthood of a sensitive protagonist who is in search of the meaning of life and the nature of the world. | ||
| c. a genre where magic elements are a natural part in an otherwise mundane, realistic environment. | ||
| d. sought to engage directly with the contemporary social and political issues with a focus on the representation of class, gender, and labour relations, as well as on social unrest. | ||
| e. follows the hero to England on an epic quest, usually involving an inheritance. |
| a. pace (the speed at which the story is told) and variation (the ups and downs of the plot structure). | ||
| b. city (the primary city in which the story takes place) and country (the primary nation in which the story takes place). | ||
| c. plot (what happens in a story), and structure (the order in which the novel presents the plot). | ||
| d. chronological setting (the time in history when the story takes place) and place (the location in which the story takes place). | ||
| e. art (the artistry of the printing) and design (the layout of the book). |
| a. Mayhew's London Labor and the London Poor | ||
| b. Darwin's The Origin of Species | ||
| c. Lombroso's work on criminals | ||
| d. Charlotte Bronte's Jane Eyre | ||
| e. None of these |
| a. Victorian novels, particularly those by Charles Dickens, influenced Darwin's The Origin of Species. | ||
| b. Scientists tend to see their fields in complete isolation from art and culture. | ||
| c. Since the coming of Romanticism in the late 18th century, many poets, such as Blake and Keats, have tended to oppose science and technology to the arts. | ||
| d. The development of cinema, television, video, and digital information technology has provided a kind of intellectual distance. | ||
| e. There is a general lack of interest in examining the relation of science and technology to the arts. |
| a. Bildungsroman, feminist novel, anti-bellum novel | ||
| b. Sensation novel, adaptation, superhero novel | ||
| c. Detective novel, new woman novel, gothic Novel | ||
| d. Empty-center novel, magical realism novel, poetic novel | ||
| e. Heroic epic, stanza poem novel, dystopia |
| a. An increase in numbers of readers in mid-Victorian Britain | ||
| b. Tabloid journalism | ||
| c. Notorious trials such as that of the poisoner Palmer | ||
| d. New weekly and monthly (often illustrated) literary magazines | ||
| e. All of these |
| a. It is not important to pay attention to point of view, and narrative voice is only important if it is a first person narrator. | ||
| b. We identify better with first person narrators. | ||
| c. If it is an all-knowing narrator, then the story will be "preachy" and moralistic. | ||
| d. Knowing who is telling the story and whether they have a complete or limited perspective of the events helps you understand whether they are trustworthy and reliable narrators of the story. | ||
| e. Most authors are not conscious of the narrative decisions they are making. |
| a. Napier, Hopkinson, and Cope. | ||
| b. Charles Dickens, William Thackery, and Lewis Carroll. | ||
| c. Douglas Jerrold, Lewis Carroll, and Charles Kingsley. | ||
| d. Gustav Doré, John Tenniel, and Linley Sambourne. | ||
| e. T. H. Fielding and his two eldest sons. |
| a. higher education. | ||
| b. property. | ||
| c. divorce. | ||
| d. suffrage. | ||
| e. All of these |
| a. A midwife or nurse, a woman who did not marry but who served married women in their time of need | ||
| b. A false-god, an idol who was really a femme-fatale and who should be avoided | ||
| c. A woman who vowed to wear only white, as a symbol of purity, and who likewise vowed never to leave the house where she lived, but directed family affairs from the drawing room | ||
| d. A pure woman who was the moral and spiritual center of the house, who never went out in the urban setting or mixed in the public, whose mission was to fight against the immoral influence the femme fatale and market capitalism | ||
| e. A woman who had joined a non-Catholic version of the nunnery, who took religious vows to serve her husband as though she would the church, and who would remain abstinent her entire life |
| a. moral and religious guidance for their husbands who must encounter the world beyond the home. | ||
| b. sexual pleasure or gratification regardless of the desire for children or the continuance of the family. | ||
| c. a safe place of "hearth and home" that was free from the corruption of market capitalism. | ||
| d. an income from labor performed outside the home to supplement the middle-class way of life. | ||
| e. Both A and C |
| a. As a woman of lower class with no money of her own, Jane is considered far beneath her employer and such a match would be thought degrading and shameful. | ||
| b. Women are considered emotional creatures, and so there is no reason for Jane to hide her feelings. That she does so is one of the mysteries of the text. | ||
| c. Rochester is already married and so Jane is not meant to take his proposals seriously. | ||
| d. Jane's training at Lowood makes her calm, quiet, meek and without personal will or desire. It would be against her nature to reveal her love for him. | ||
| e. Marriage is considered to be an equal partnership and Jane refuses to commit to a man who has not shown himself to be her equal. |
| a. She felt that health and hygiene was not important to the cause of women's emancipation and voting rights. | ||
| b. The acts were only aimed at children and did not include women; doctors were therefore ignoring the plight of women and the problems of venereal diseases. | ||
| c. The acts allowed policemen to consider any women in ports and army towns as prostitutes and bring them in to have compulsory checks for venereal disease. If the women were suffering from sexually transmitted diseases they were placed in a locked hospital. | ||
| d. She had a personal vendetta against the men who promoted the acts because they were her political opponents and also opposed women | ||
| e. The Contagious Disease Acts was a code name and really an organization named "men against women's right to vote." |
| a. "While the direction was being executed, the lady consulted moved slowly up the room. I suppose I have a considerable organ of veneration, for I retain yet the sense of admiring awe with which my eyes traced her steps. Seen now, in broad daylight, she looked tall, fair, and shapely; brown eyes with a benignant light in their irids, and a fine pencilling of long lashes round." | ||
| b. "Ravenous, and now very faint, I devoured a spoonful or two of my portion without thinking of its taste; but the first edge of hunger blunted, I perceived I had got in hand a nauseous mess; burnt porridge is almost as bad as rotten potatoes; famine itself soon sickens over it. The spoons were moved slowly: I saw each girl taste her food and try to swallow it; but in most cases the effort was soon relinquished. Breakfast was over, and none had breakfasted. Thanks being returned for what we had not got, and a second hymn chanted, the refectory was evacuated for the schoolroom." | ||
| c. "The din was on the causeway: a horse was coming; the windings of the lane yet hid it, but it approached. I was just leaving the stile; yet, as the path was narrow, I sat still to let it go by. In those days I was young, and all sorts of fancies bright and dark tenanted my mind: the memories of nursery stories were there amongst other rubbish; and when they recurred, maturing youth added to them a vigour and vividness beyond what childhood could give." | ||
| d. "Something of daylight still lingered, and the moon was waxing bright: I could see him plainly. His figure was enveloped in a riding cloak, fur collared and steel clasped; its details were not apparent, but I traced the general points of middle height and considerable breadth of chest. He had a dark face, with stern features and a heavy brow; his eyes and gathered eyebrows looked ireful and thwarted just now; he was past youth, but had not reached middle-age; perhaps he might be thirty-five." | ||
| e. "The second picture contained for foreground only the dim peak of a hill, with grass and some leaves slanting as if by a breeze. Beyond and above spread an expanse of sky, dark blue as at twilight: rising into the sky was a woman's shape to the bust, portrayed in tints as dusk and soft as I could combine. The dim forehead was crowned with a star; the lineaments below were seen as through the suffusion of vapour; the eyes shone dark and wild; the hair streamed shadowy, like a beamless cloud torn by storm or by electric travail. On the neck lay a pale reflection like moonlight; the same faint lustre touched the train of thin clouds from which rose and bowed this vision of the Evening Star." |
| a. The governess was often much better educated than her employers. | ||
| b. The governess was in the same class as her employers, and she was treated as one of the family. This demonstrated the benevolence of the middle class, which was a model of equality and domesticity. | ||
| c. The servants and the governess were generally of the same class and yet had full control of the upper-class children, playing upon the fears of class uprising among the merchant and business classes. | ||
| d. The only occupation at which an unmarried middle-class woman could earn a living and maintain some claim to gentility was that of a governess, but a governess could expect employment insecurity, minimal wages, and an ambiguous status, somewhere between servant and family member, that isolated her within the household. | ||
| e. The governess-protagonist experienced an inner conflict between reason and desire, rationality and passion, restraint and emotion. |
| a. Husbands and wives had distinct, but complementary, functions to perform. Women were involved in the work of the household-care of the children, sewing, cooking, and cleaning. Men earned the money to purchase goods needed by their households and debated matters of public concern. | ||
| b. The middle-class actually maintained two different houses, one for all the women and one for the men, much like they did in ancient Greece. | ||
| c. Separate spheres were created to protect women and men from divorce; it meant that they rarely saw one another or spoke, so that disagreements were minimized. | ||
| d. Men were encouraged to go to war or to sea, while women were encouraged to work in the factories and take up the slack of the absent men. Women gained new powers and equality from working in separate spheres. | ||
| e. It existed as a hierarchy in the church but in the rest of secular London there was basic equality with everyone performing the same kinds of tasks. |
| a. to want children, but not the means of getting them-and to be never failing in their Godly virtues. | ||
| b. to be sexual creatures but to hide it and to be coy and playful. | ||
| c. to always take part of the public sphere of city life. | ||
| d. to avoid other women of their own class. | ||
| e. to take up the cause of women |
| a. Aristocrats were often the villains, and this pleased middle-class reading public. | ||
| b. Women were often the heroines, and this helped the cause of New Woman suffragettes. | ||
| c. The genre highlighted architecture and ancient history, the supernatural and the sublime. | ||
| d. It served the interests of the government by distracting the public from scandals of state. | ||
| e. The genre employed a rigorous realism that catered to a contemporary "taste for the factual" while it nonetheless titillated the public appetite for the exotic and renewed interest in the science of the mind. |
| a. The divorce rights of women against an obviously male-biased law that determined that, while a wife's adultery was sufficient cause for a divorce, a husband's adultery was insufficient cause | ||
| b. The dangerous and scheming prostitutes of the Contagious Disease Acts and the threat they posed to the Victorian family | ||
| c. The political machinations of the empire during Victoria's reign, particularly as regards British colonies | ||
| d. The property rights of women against an obviously male-biased law that determined only men could inherit | ||
| e. She was not responding to any specific plots, but rather copying the style of Wilkie Collins, the "king of sensation." |
| a. permitted women limited divorce capability. | ||
| b. allowed married women to retain and control their earned income. | ||
| c. denied men conjugal rights to their wives' bodies without their wives' consent. | ||
| d. gave women the right to own property of their own. | ||
| e. Both A and C |
| a. not a popular genre until the very end of the 19th century, long after governesses were no longer employed in the average household. | ||
| b. only written before 1840, and only by women who had never been governesses themselves, but who romanced the genre and made it more appealing. | ||
| c. more often written by men than women. | ||
| d. connected with the 19th-century anxiety concerning middle-class female employment in general, and governess work in particular. | ||
| e. Often confused with more scandalous fiction and French novels that depicted saucy maids, nurses, or governesses working in large continental households. |
| a. Wilkie Collins' Woman in White | ||
| b. Robert Louis Stevenson's Jekyll and Hyde | ||
| c. Elizabeth Braddon's Lady Audley's Secret | ||
| d. All of these | ||
| e. None of these |
| a. supported women's right to vote. | ||
| b. supported the end of slavery. | ||
| c. supported children. | ||
| d. intended to end suffering. | ||
| e. claimed that women did not suffer in any way and supported separate spheres. |
| a. Woman of means and of poverty | ||
| b. Pedant and fool | ||
| c. Domestic wife and femme fatale | ||
| d. Hysteric and cold fish | ||
| e. Virgin in the nunnery and whore of the street |
| a. A governess heroine | ||
| b. Encounters with a number of painful situations that are connected with her position as a governess | ||
| c. Trouble in relation to her employers or her pupils | ||
| d. Aspects of the supernatural, particularly of ghosts or ghostly presences | ||
| e. Convincing development in character that could be achieved by moving the heroine from one situation to another |
| a. Originally asked by Henry Mayhew, it raised concerns about women in the workplace, fearing that market capitalism would tarnish their virtue. | ||
| b. Originally asked by Charlotte Bronte, it asked why women were not allowed to run schools or to educate the very young. | ||
| c. Originally asked by Josephine Butler, it primarily concerned venereal disease and the Contagious Disease Acts. | ||
| d. Originally asked by Mary Wollstonecraft in the 18th century, it raised awareness about inequality and encouraged women to obtain a proper education and to be allowed entrance to public debates and the public sphere. | ||
| e. Originally asked by Charles Dickens, it concerned the Victorian desire for the perfect wife and a secure home. |
| a. Abused Animals Act of 1823 | ||
| b. The death of Prince Albert in 1861 | ||
| c. Contagious Diseases Acts of 1866 and 1869 | ||
| d. George Eliot | ||
| e. The Englishwoman's Review, A Journal of Woman's Work 1866 |
| a. "When he had thoroughly recovered himself, and had joined me on the beach, his warm Southern nature broke through all artificial English restraints in a moment. He overwhelmed me with the wildest expressions of affection-exclaimed passionately, in his exaggerated Italian way, that he would hold his life henceforth at my disposal-and declared that he should never be happy again until he had found an opportunity of proving his gratitude by rendering me some service which I might remember, on my side, to the end of my days." | ||
| b. "We both bounced into the parlour in a highly abrupt and undignified manner. My mother sat by the open window laughing and fanning herself. Pesca was one of her especial favourites and his wildest eccentricities were always pardonable in her eyes." | ||
| c. "I had mechanically turned in this latter direction, and was strolling along the lonely high-road-idly wondering, I remember, what the Cumberland young ladies would look like-when, in one moment, every drop of blood in my body was brought to a stop by the touch of a hand laid lightly and suddenly on my shoulder from behind me. I turned on the instant, with my fingers tightening round the handle of my stick. There, in the middle of the broad bright high-road-there, as if it had that moment sprung out of the earth or dropped from the heaven-stood the figure of a solitary Woman, dressed from head to foot in white…" | ||
| d. "The first touch of womanly tenderness that I had heard from her trembled in her voice as she said the words; but no tears glistened in those large, wistfully attentive eyes of hers, which were still fixed on me." | ||
| e. "We had hardly proceeded a third of the way down the Avenue Road when I saw a cab draw up at a house a few doors below us, on the opposite side of the way. A gentleman got out and let himself in at the garden door. I hailed the cab, as the driver mounted the box again. When we crossed the road, my companion's impatience increased to such an extent that she almost forced me to run." |
| a. The development of Britain's relationship with the United States of America | ||
| b. A desire to defend the financial interests abroad | ||
| c. The threat posed by emerging world powers | ||
| d. The Industrial Revolution |
| a. Mysteries of Udolpho | ||
| b. Bleak House | ||
| c. Jane Eyre | ||
| d. Dracula | ||
| e. The Sign of Four |
| a. "They were tall, fierce-looking chaps, Mahomet Singh and Abdullah Khan by name, both old fighting-men who had borne arms against us at Chilian-wallah. They could talk English pretty well, but I could get little out of them. They preferred to stand together and jabber all night in their queer Sikh lingo." | ||
| b. "He was a good-sized, powerful man, and as he stood poising himself with legs astride I could see that from the thigh downwards there was but a wooden stump upon the right side." | ||
| c. "At the sound of his strident, angry cries there was movement in the huddled bundle upon the deck. It straightened itself into a little black man-the smallest I have ever seen-with a great, misshapen head and a shock of tangled, disheveled hair. Holmes had already drawn his revolver, and I whipped out mine at the sight of this savage, distorted creature. He was wrapped in some sort of dark ulster or blanket, which left only his face exposed; but that face was enough to give a man a sleepless night. Never have I seen features so deeply marked with all bestiality and cruelty. His small eyes glowed and burned with a sombre light, and his thick lips were writhed back from his teeth, which grinned and chattered at us with a half animal fury." | ||
| d. "'It is nothing against the fort,' said he. 'We only ask you to do that which your countrymen come to this land for. We ask you to be rich. If you will be one of us this night, we will swear to you upon the naked knife, and by the threefold oath which no Sikh was ever known to break, that you shall have your fair share of the loot. A quarter of the treasure shall be yours. We can say no fairer.'" | ||
| e. "His forecast proved to be correct, for the detective looked blank enough when I got to Baker Street and showed him the empty box. They had only just arrived, Holmes, the prisoner, and he, for they had changed their plans so far as to report themselves at a station upon the way. My companion lounged in his arm-chair with his usual listless expression, while Small sat stolidly opposite to him with his wooden leg cocked over his sound one. As I exhibited the empty box he leaned back in his chair and laughed aloud." |
| a. the fundamentally anti-technological bias of British education. | ||
| b. fewer educated people than either Europe or North America. | ||
| c. the fact that the British middle class made money so easily in the first years of the Industrial Revolution, they simply did not work as hard in subsequent years. | ||
| d. All of these | ||
| e. None of these |
| a. a feeling of nationalism and pride in being British and in claiming other parts as British, spurred by a fear of losing markets. | ||
| b. anti-annexation and a giving back of claimed territories. | ||
| c. a feeling of satisfaction and peace, the well-being of the nation and a focus on the home. | ||
| d. a desire to increase democracy and capitalism. | ||
| e. disdain for the empire and a renewed economic focus on the British Isles. |
| a. It implied that British people were oppressed by non-white people. | ||
| b. The phrase suggested that women were largely responsible for causing problems in the empire, particularly between racialized groups. | ||
| c. The phrase meant that British people should trade with their non-white neighbors, treating them largely as equals in the mercantile economy. | ||
| d. It implied that the empire was like a child and should be cared for by the larger community of nations surrounding it. | ||
| e. The implication was that the Empire existed not for the benefit of Britain itself, but in order that so-called "primitive" peoples could be "civilized" (and Christianized) by serving Britain. |
| a. Harker travels from the west to the east, and his arrival at Castle Dracula represents the progress of the British Empire and the expansion of colonies. | ||
| b. Mina travels from her home to her friend's home, and this represents the social mobility of women and of the middle classes. | ||
| c. Van Helsing travels to London, and this represents the power of medical men and their ability to thwart myth and superstition. | ||
| d. The count travels from the east to the west, and his invasion of London can be linked to fears of the "other" and the fall of the British Empire. | ||
| e. Quincy travels from the United States to Britain, and this represents the colonies returning to the motherland. |
| a. The dissolve of the East India Trading Company in 1873 | ||
| b. The Indian Rebellion of 1857 | ||
| c. The crowning of Queen Victoria as Empress of India in 1877 | ||
| d. The Indian National Congress of 1885 | ||
| e. Queen Victoria's Diamond Jubilee of 1897 |
| a. A lack of interest in surplus capital and a disregard for protecting existing trade links | ||
| b. The "Great Game"-espionage and counter-espionage especially with reference to Russia's interests | ||
| c. Bloody and unsuccessful wars in Afghanistan, ferocious popular rebellions, invocations of jihad, and inscrutable terrain | ||
| d. Aggressive competition for overseas territorial acquisitions and a quest for captive markets | ||
| e. The building of large structures, imperial buildings, and other architectural wonders of the empire |
| a. scientific discovery, narratives of progress, and a focus on positivism. | ||
| b. colonies, foreigners, the arts, and beautiful scenery. | ||
| c. psychological and physical terror; mystery and the supernatural; madness, doubling, and heredity curses. | ||
| d. empire building, the East India Trading Company, merchant stories, and often pirates. | ||
| e. romance, intrigue, spy-narratives, and political justice. |
| a. The British were always interested in expanding their territories and had little to no concern for trade. | ||
| b. The British were committed to expanding the empire in every direction and actively sought to increase their land holdings. | ||
| c. The British were not always interested in the territories that they took over, but occasionally felt compelled to conquer one territory to protect another. | ||
| d. The British were at war with other countries and colonies on the grounds of religious persecution. | ||
| e. The British government actively sought to consolidate territories like India and Burma. |
| a. an imperial power. | ||
| b. an entity with its own military power. | ||
| c. a monopoly. | ||
| d. a problematic ruling body separate from the British Empire, who finally reigned in its power starting in 1813. | ||
| e. All of the above |
| a. The Company was a militant group that harnessed the power of the navy to compete with the British nation. After taking control of the sea, they took control of the land. | ||
| b. Britain did not have firm imperial policies, so much activity developed in a semi-structured way. The Company had vast holdings and resources in India, and became the primary gateway through which these items traveled in and out of the country. | ||
| c. The Company was largely made up of landed gentry from Britain who were elected to run the colonies by their constituents on the mainland. | ||
| d. The Company held all the wealth of Britain and threatened to bankrupt the nation if they were not permitted to rule their territory. | ||
| e. The Company was popular with the Indian people. They instituted humane policies and were elected by the colonies to govern. |
| a. A profitable balance of trade, it was believed, would provide the wealth, but simultaneously shrink the empire, meaning fewer colonies. | ||
| b. Textiles were going to be the product of the future, more important than crops. | ||
| c. Trade was unimportant; the wealth of the nation should be kept within the nation's borders. | ||
| d. The mercantilists advocated in theory, and sought in practice, trade monopolies which would insure that Britain's exports would exceed its imports. |
| a. The discovery of natural resources like coal, oil, gold, and silver in the British Isles | ||
| b. The rebellion of serfs against their masters and a desire for equality for all men | ||
| c. The ongoing competition for resources and markets that existed over a period of centuries between England and her Continental rivals, Spain, France, and Holland | ||
| d. The emergence of the United States of America as a world power | ||
| e. The use of slave labor in Britain, Scotland, and Ireland to farm large plantations |
| a. Fear of the "other" and of the degeneration of British people | ||
| b. Greater economic policies favoring women and minorities | ||
| c. Better foreign policy and stronger leadership | ||
| d. Better schools and a greater emphasis on education | ||
| e. Attempts to join coalitions of foreign nations |
| a. Stories of horror and myth or "old wives tales" | ||
| b. Adventure stories that often included monsters of history or of mythology | ||
| c. Dystopian narratives of science gone-wrong, super-strong monsters, and beings with unexplained powers | ||
| d. "unexplained" phenomena, Spiritualism, communication with the dead or with the past, aspects of religion | ||
| e. The church and the miracles of Christ |
| a. It is essentially a kind of Darwinism and supported Darwin's claims about evolution and progress. | ||
| b. It was the theory that all persons could trace their origin to Adam. | ||
| c. It believed that humans neither progressed nor regressed, but stayed the same throughout history-only technology changed. | ||
| d. It was only applied to non-white, non-British persons. | ||
| e. It was the fear of regression-if all humans had evolved from primitive forms, then we could potentially return to the primitive. |
| a. Imperialism | ||
| b. Atavism | ||
| c. Evolution | ||
| d. Expansionism | ||
| e. Nationalism |
| a. "I am glad that it is old and big. I myself am of an old family, and to live in a new house would kill me. A house cannot be made habitable in a day, and after all, how few days go to make up a century. I rejoice also that there is a chapel of old times. We Transylvanian nobles love not to think that our bones may lie amongst the common dead. I seek not gaiety nor mirth, not the bright voluptuousness of much sunshine and sparkling waters which please the young and gay." | ||
| b. "For if we fail in this our fight he must surely win, and then where end we? Life is nothings, I heed him not. But to fail here, is not mere life or death. It is that we become as him, that we henceforward become foul things of the night like him, without heart or conscience, preying on the bodies and the souls of those we love best. To us forever are the gates of heaven shut, for who shall open them to us again?" | ||
| c. "We Szekelys have a right to be proud, for in our veins flows the blood of many brave races who fought as the lion fights, for lordship. Here, in the whirlpool of European races, the Ugric tribe bore down from Iceland the fighting spirit which Thor and Wodin gave them, which their Berserkers displayed to such fell intent on the seaboards of Europe, aye, and of Asia and Africa too, till the peoples thought that the werewolves themselves had come." | ||
| d. "I saw the fingers and toes grasp the corners of the stones, worn clear of the mortar by the stress of years, and by thus using every projection and inequality move downwards with considerable speed, just as a lizard moves along a wall." | ||
| e. "I went back to the room, and found Van Helsing looking at poor Lucy, and his face was sterner than ever. Some change had come over her body. Death had given back part of her beauty, for her brow and cheeks had recovered some of their flowing lines. Even the lips had lost their deadly pallor. It was as if the blood, no longer needed for the working of the heart, had gone to make the harshness of death as little rude as might be." |
| a. Attract poles of magnetic force | ||
| b. Describe the entanglement between man and universe, the vital fluid or life force | ||
| c. Serve to attract animals for selective breeding, rather like natural selection | ||
| d. Electrify human beings; he vowed never to use it for therapeutic purposes | ||
| e. Be used to vanquish the spirit and dominate other people, thus it had potential uses as a means of conquering other nations |
| a. Bram Stoker | ||
| b. Thomas Hardy | ||
| c. Wilkie Collins | ||
| d. Charles Dickens | ||
| e. Charlotte Bronte |
| a. is the assessment of a person's character or personality based on his outer appearance, especially the face. | ||
| b. is a pseudoscience primarily concerned with reflexology and the nerves of the feet. | ||
| c. focused on measurements of the human skull, based on the concept that the brain is the organ of the mind, and that certain brain areas have localized, specific functions. | ||
| d. is a practice similar to acupuncture and focuses on pressure points and glandular activity. | ||
| e. attempted to disprove madness by using magnets and other implements. |
| a. The railroad workers did not like to travel by the railway because they feared it interfered with digestion of coarse food. | ||
| b. The coaches were differentiated by class, and railway workers often rode at the back of the car. | ||
| c. Most of the passengers were wealthy in the early days of the railway; it was too expensive for the poorer classes (who might make only 10 shillings a week) to travel that way. | ||
| d. It did not reinforce class but rather served to democratize its riders, who were all heading to the same destination. | ||
| e. Tickets to the railway would be sold only to persons of high class, meaning even if lower class passengers had money to ride, they would be denied. |
| a. Both are driven by a sense of mystery and a need for discovery-to answer questions and to find solutions. | ||
| b. Both demonstrate a fear of the unknown and are allegorical stories about doubt. | ||
| c. Neither reflects the narrative style of careful collection of data and description of places or objects. | ||
| d. Neither of the journeys make any real impact on the surrounding people, or the wider community of scientists. | ||
| e. The two works are in fact not at all similar and cannot be compared. |
| a. Human freedom and reviving the ancient concept of communism, wherein human beings could fulfill their cooperative roles within society without fear of exploitation | ||
| b. Sameness and homogeneity; he wishes to reduce all persons to the same class | ||
| c. The end of capitalism and the rise of communism as a state institution of power over the will of the people | ||
| d. The concept of atavism and Social Darwinism as a means of subjugating the people | ||
| e. A return to pastoral roles of an earlier time before the industrial revolution |
| a. it could strike without warning, like fever. | ||
| b. it was a form of partial insanity conceived as single pathological preoccupation in an otherwise sound mind-and so could be hard to detect in others or in one's self. | ||
| c. it signaled infection with the lower classes and potential degeneration and atavism. | ||
| d. it primarily attacked women and was related to the reproductive system. | ||
| e. it had not known cure. |
| a. Literacy, law, and military power | ||
| b. Widely available printed material, literacy, adequate transportation | ||
| c. Slave owners, slave labor, and the East India Trading Company | ||
| d. Adequate transportation, gothic novels, and the steam engine | ||
| e. Adequate communication, military power, colonies in the East Indies |
| a. The use of dialogue between a patient and a psychoanalyst, using free association to discover transference and repression | ||
| b. The use of psychosurgery to correct problematic psychosis through lobotomy | ||
| c. The use of myths and legends to reflect the collective unconscious and its presence in daily life | ||
| d. All of these | ||
| e. None of these |
| a. Jane Eyre | ||
| b. Bleak House | ||
| c. The Sign of Four | ||
| d. Dracula | ||
| e. The Signalman |
| a. the conflict between the rich and the poor classes of England, similar to the French Revolution. | ||
| b. the combined conflicts of Afghanistan and India that resulted in the loss of land holdings for Britain. | ||
| c. the invention of the steam engine. | ||
| d. the vast social and economic changes that resulted from the development of steam-powered machinery and mass-production methods. | ||
| e. the rise of foreign powers as threats to Britain in the late 19th century. |
| a. "A disagreeable shudder crept over me, but I did my best against it. It was not to be denied, I rejoined, that this was a remarkable coincidence, calculated deeply to impress his mind. But, it was unquestionable that remarkable coincidences did continually occur, and they must be taken into account in dealing with such a subject." | ||
| b. "The voice seemed hoarse with shouting, and it cried, 'Look out! Look out!' And then again 'Halloa! Below there! Look out!' I caught up my lamp, turned it on red, and ran towards the figure, calling, 'What's wrong? What has happened? Where?'" | ||
| c. "Punctual to my appointment, I placed my p. 98foot on the first notch of the zig-zag next night, as the distant clocks were striking eleven. He was waiting for me at the bottom, with his white light on. 'I have not called out,' I said, when we came close together; 'may I speak now?'" | ||
| d. "Resisting the slow touch of a frozen finger tracing out my spine, I showed him how that this figure must be a deception of his sense of sight, and how that figures, originating in disease of the delicate nerves that minister to the functions of the eye, were known to have often troubled patients, some of whom had become conscious of the nature of their affliction, and had even proved it by experiments upon themselves." | ||
| e. "His manner cleared, like my own. He replied to my remarks with readiness, and in well-chosen words. Had he much to do there? Yes; that was to say, he had enough responsibility to bear; but exactness and watchfulness were what was required of him, and of actual work-manual labour-he had next to none." |
| a. the case revolves around a medical and scientific experiment. | ||
| b. Dr. Jekyll changes in his appearance as his mind degenerates so that he looks, acts, and speaks more like an animal. | ||
| c. Mr. Hyde is much craftier than the doctor is. | ||
| d. no one can tell that the two men are one in the same. | ||
| e. like monomania, the disorder is securely hidden and impossible to trace-it can affect anyone. |
| a. Darwin was primarily interested in preserving the concept of superior races. | ||
| b. Lombroso and Darwin worked on the theory of Social Darwinism together. | ||
| c. The theory of Social Darwinism developed from philosophies derived from Darwin's theory of evolution, and did not reflect the work of Darwin himself. | ||
| d. Freud heavily influenced Lombroso's work on the evolution and devolution of human beings. | ||
| e. Social Darwinism suggested than man always chooses his destiny. |
| a. A theory that suggested apes had turned into men and this proved transmutation, or the changing of one species into another species | ||
| b. An idea that concerned adaptation but not actual evolution, a theory that came later, after Darwin's death | ||
| c. The understanding that all species descended from common ancestors and this branching pattern of evolution resulted from a process called natural selection, in which the struggle for existence results in selective breeding | ||
| d. A theory originally developed as a kind of criminology and a way of telling one race from another | ||
| e. A theory originally developed for Darwin's failed career as a medical practitioner and only accidentally concerned the origin and development of species |
| a. Few people were classically educated, so there was no call for reviving the mythology of the Greeks. | ||
| b. The pursuit of material values, even worldly success itself, seemed somehow to invite catastrophe. Authors used the voyages as a means of distraction from real problems. | ||
| c. Seeing foreign lands and strange people and animals, and witnessing new geological formations or strange biological processes, renewed the age-old quest for new worlds and the "fantastic." | ||
| d. The voyages of discovery suggested new possible colonies that would aid in the expansion of the British Empire. | ||
| e. Fiction writers were having trouble competing with the sales of travel narratives and so created their own narratives that were similar. |
| a. Textiles, Electricity, Railway and Steel | ||
| b. Railway and Steel, Textiles, Information Technologies | ||
| c. Railways and Steel, Electricity and Chemicals, Information Technologies, | ||
| d. None of these | ||
| e. All of these |
| a. the id, ego, and super-ego are the driving agents of every action and reaction. | ||
| b. no one can ever be certain about criminal intent, not even the criminal him/herself. | ||
| c. "man is a calculating animal," in the causes of criminal behavior, premised on the idea that people have free will in making decisions, and that punishment can be a deterrent for crime. | ||
| d. this was the mechanism that had allowed monarchies to become the primary form of government. He concluded that monarchs had asserted the right to rule and enforced it either through an exercise in raw power, or through a form of contract. | ||
| e. criminality was inherited, and that someone "born criminal" could be identified by physical defects, which confirmed a criminal as savage, or atavistic. |
| a. He made countless inquiries of animal breeders, both farmers and hobbyists like pigeon fanciers, trying to understand how they made distinct breeds of animals. | ||
| b. He would find multiple species in one place that had replaced all the fossil species, while discovering a living fossil species still alive elsewhere. It caused him to ask where new species came from and why there were so many variations. | ||
| c. He read the works of Alexander von Humboldt and geologist Charles Lyell's book, Principles of Geology. | ||
| d. He investigated geology for the first time while traveling to South America. | ||
| e. Darwin read the Rev. Thomas Malthus' Essay on the Principle of Population (1798). |
| a. Sigmund Freud | ||
| b. Herbert Spencer | ||
| c. Cesare Lombroso | ||
| d. Carl Jung | ||
| e. Alexander Bain |