|
a. The 1960s protest movements |
||
|
b. The attempts of African slaves to communicate with each other |
||
|
c. Slave owners teaching slaves Elizabethan English |
||
|
d. Slaves' attempts to keep their conversations secret |
|
a. Toasting is oral |
||
|
b. Toasting is a male event |
||
|
c. Toasting glorifies women |
||
|
d. Toasting provides cultural identification |
|
a. Trickster |
||
|
b. Victim |
||
|
c. Representation of the slave master |
||
|
d. "Uncle Tom" character who feels slavery is best for the African American |
|
a. Explain how African Americans could not learn standard English |
||
|
b. Make his written inaccessible to white audiences |
||
|
c. To encourage feelings of pride in African American readers |
||
|
d. Challenge American stereotypes about race |
|
a. To impress the horrors of slavery on listeners |
||
|
b. To ease their pain |
||
|
c. To pray for deliverance |
||
|
d. To show that they were content in their work |
|
a. Weasel. |
||
|
b. Bear. |
||
|
c. The farmer. |
||
|
d. The young boy. |
|
a. Cakewalk tunes. |
||
|
b. Gospel. |
||
|
c. Jazz. |
||
|
d. Blues. |
|
a. Giving words double meaning that appear differently to white and black readers. |
||
|
b. Fixing words with very specific meanings. |
||
|
c. Making sure that what is written makes sense. |
||
|
d. Lying to mislead the reader. |
|
a. Strengthened the African American's place in the world of literature |
||
|
b. Perpetuated stereotypes |
||
|
c. Allowed African American authors to sell their works more widely to white audiences |
||
|
d. Showed that African Americans couldn’t speak properly. |
|
a. They showed that a hero would deliver them from slavery. |
||
|
b. They gave hope that God would deliver them from slavery. |
||
|
c. They helped them do their work faster. |
||
|
d. They were based on African songs. |
|
a. The persona that the characters show the world. |
||
|
b. The carved masks of African gods. |
||
|
c. Characters from the Bible. |
||
|
d. Who the narrator wishes to be. |
|
a. Amoral (neither good nor evil) |
||
|
b. Christian |
||
|
c. Evil |
|
a. Their belief in necessary violence. |
||
|
b. Their belief that women should have equal rights. |
||
|
c. Their appeals to Christians. |
||
|
d. Their belief that African Americans should govern themselves. |
|
a. The races should not intermarry. |
||
|
b. Christians the only ones not to blame for the existence of slavery. |
||
|
c. Blacks have the duty to resist slavery. |
||
|
d. Blacks should return to Africa. |
|
a. Stowe's novel is sentimental. |
||
|
b. Stowe describes the treatment of slaves. |
||
|
c. Stowe describes the escape of slaves. |
||
|
d. Uncle Tom's Cabin was used by abolitionists. |
|
a. That female slaves were escaping more frequently than men. |
||
|
b. How slavery was worse for men. |
||
|
c. How females were affected by slavery. |
||
|
d. That female slaves were more valuable than male slaves. |
|
a. Under the floorboards. |
||
|
b. With a friend. |
||
|
c. In the stables. |
||
|
d. In a remote cabin. |
|
a. She is one-quarter Black. |
||
|
b. She is one-eighth Black. |
||
|
c. She is White. |
||
|
d. She cannot be a slave. |
|
a. The mistress of the house was afraid her husband would be attracted to Clotel. |
||
|
b. To keep the lice away. |
||
|
c. So that the other slaves would get along with her. |
||
|
d. So she could sell it. |
|
a. The scene invokes audience sympathy. |
||
|
b. The heroine has to balance autonomy with self-denial. |
||
|
c. The heroine conquers her passions. |
||
|
d. A and B |
||
|
e. B and C |
|
a. Highly original. |
||
|
b. Typical of Colonial poetry. |
||
|
c. Progressive and challenging. |
||
|
d. Abolitionist in subject. |
|
a. Harriet Jacob's Incidents in the Life of a Slave Girl. |
||
|
b. Harriet Wilson's Our Nig. |
||
|
c. William Wells Brown's Clotel. |
||
|
d. Toni Morrison's Beloved. |
|
a. Captivity narratives. |
||
|
b. Abolitionist newspaper accounts. |
||
|
c. Folktales. |
||
|
d. African mythology. |
|
a. Slaveholders objected to losing leisure time. |
||
|
b. Slaves outnumbered non-slaves and might rebel. |
||
|
c. Slaveholders felt economic security rested on the system of slavery. |
||
|
d. B and C. |
||
|
e. A and C. |
|
a. 1804 |
||
|
b. 1865 |
||
|
c. 1848 |
||
|
d. 1807 |
|
a. Led to novels of passing. |
||
|
b. Existed only in fiction by White authors. |
||
|
c. Developed in the 20th century. |
||
|
d. Existed only in fiction by female authors. |
|
a. It was the first African American novel. |
||
|
b. It was the first African American newspaper. |
||
|
c. It was published by Frederick Douglass. |
||
|
d. It argued for a separate African American community in America. |
|
a. The poem is the first-known writing of an African American. |
||
|
b. The poem is better than the poems of the more famous Phillis Wheatley. |
||
|
c. The poem is the first of many poems by Terry. |
||
|
d. The poetry focuses on slave life in the 18th century. |
|
a. The poem's form of rhymed tetrameter couplets. |
||
|
b. The poem shows her future work as a advocate of civil rights. |
||
|
c. The poem is filled with Christian symbolism. |
||
|
d. The fact that the poem is the most accurate account of the 1742 Indian-White engagement in Deerfield, Massachusetts. |
|
a. Women's rights. |
||
|
b. Negro rights. |
||
|
c. The right to keep one's children. |
||
|
d. The rights of farm hands. |
||
|
e. A and B. |
|
a. Resistance to the overseers. |
||
|
b. Learning to be midwives. |
||
|
c. Resistance against dehumanization. |
||
|
d. Lower suicide rates. |
|
a. Slaves are capable of becoming good Christians. |
||
|
b. Slaves should rebel against the Christian religion. |
||
|
c. Slaves are the children of Cain. |
||
|
d. Christians should free their slaves. |
|
a. Based on a New England captivity narrative. |
||
|
b. An anonymous narrative. |
||
|
c. Fiction written by Lydia Maria Child. |
||
|
d. Written by Jacob's son. |
|
a. The Bible. |
||
|
b. Greek history. |
||
|
c. Slave narratives. |
||
|
d. Abolitionist newspapers. |
|
a. She tries to pass as White. |
||
|
b. She washes clothes for White women. |
||
|
c. She lets a man help her out. |
||
|
d. She marries a Black man. |
|
a. Narration of a deserved punishment. |
||
|
b. Depictions of a beautiful rural environment. |
||
|
c. Descriptions of the kinds of food and clothing slaves were given. |
||
|
d. The author's father is often a white man. |
|
a. Most slave children lived in two-family homes. |
||
|
b. Slave owners did not allow their slaves to live as married couples. |
||
|
c. Slaves were given limited civil rights. |
||
|
d. Most slaves were not Christian. |
|
a. William Wells Brown |
||
|
b. Lydia Maria Child |
||
|
c. Harriet Jacobs |
||
|
d. Harriet Beecher Stowe |
|
a. Lucy Terry |
||
|
b. William Wells Brown |
||
|
c. Harriet Wilson |
||
|
d. Harriet Jacobs |
|
a. Harriet Beecher Stowe |
||
|
b. Richard Wright |
||
|
c. Frederick Douglass |
||
|
d. Phillis Wheatley |
|
a. So the author could get paid. |
||
|
b. In order for people to believe the events in the narratives. |
||
|
c. So that slave owners could refute the events in the narratives. |
||
|
d. So that the author could be assured he wouldn’t be recaptured. |
|
a. Whites should pay reparations to former slaves. |
||
|
b. African Americans should acculturate to mainstream White culture. |
||
|
c. White institutions should reform to meet African American needs. |
||
|
d. African Americans will have to help themselves by becoming educated. |
|
a. Rejecting all White assistance. |
||
|
b. Allowing Whites to help African Americans to reach their potential. |
||
|
c. Calling for violent uprisings. |
||
|
d. Separating Blacks by income level. |
|
a. Get an education. |
||
|
b. Get a job. |
||
|
c. To be clean. |
||
|
d. To be a teacher. |
|
a. To describe the horrors of life on the Post-bellum plantation. |
||
|
b. To explain his religious views. |
||
|
c. To amuse the narrator's sickly wife. |
||
|
d. So they won't interrupt his income from the neglected grape harvest. |
|
a. Is the time period that followed the Civil War. |
||
|
b. Describes the rebuilding after World War I. |
||
|
c. Refers to the Civil Rights movement. |
||
|
d. Took place only in the North. |
|
a. Harriet Beecher Stowe |
||
|
b. Joel Chandler Harris |
||
|
c. Richard Wright |
||
|
d. Charles Chesnutt |
|
a. A Christian. |
||
|
b. A radical. |
||
|
c. An accomodationist. |
||
|
d. A coward. |
|
a. The "Talented Tenth." |
||
|
b. All African Americans. |
||
|
c. African American women. |
||
|
d. Only White Americans. |
|
a. William Wells Brown |
||
|
b. Richard Wright |
||
|
c. Charles Chesnutt |
||
|
d. Booker T. Washington |
|
a. Jean Toomer |
||
|
b. Charles Chesnutt |
||
|
c. Booker T. Washington |
||
|
d. Frederick Douglass |
|
a. Redefining black people in terms of a presence, not an absence. |
||
|
b. Working against the existing racist stereotypes. |
||
|
c. A struggle ongoing since 1619. |
||
|
d. All of the above |
|
a. Sharecropping. |
||
|
b. Slavery. |
||
|
c. Segregation. |
||
|
d. Prostitution. |
|
a. To obtain justice for black people. |
||
|
b. To get better accommodations on the train, better seats in the theatre. |
||
|
c. To escape from slavery. |
||
|
d. None of the above. |
|
a. A waterfall. |
||
|
b. Electricity. |
||
|
c. A war. |
||
|
d. A factory. |
|
a. She almost died in childbirth with her first child. |
||
|
b. She doesn't want to lose her figure. |
||
|
c. Her husband has threatened to leave her. |
||
|
d. She is afraid it may have dark skin. |
|
a. Its fractured, collage effect. |
||
|
b. Its insistence on plot. |
||
|
c. Its focus on landscape. |
||
|
d. Its focus on modern city life. |
|
a. Bringing African culture to the United States. |
||
|
b. Leaving the African peoples alone. |
||
|
c. Writers who took African themes for their work. |
||
|
d. Completing an oppressed people's quest for freedom, liberty and democracy. |
|
a. Her relationship with a patron. |
||
|
b. Her mother. |
||
|
c. Her best friend. |
||
|
d. Her job as a waitress. |
|
a. Collectivism versus the authority of the individual. |
||
|
b. The wearing away of traditional class structures. |
||
|
c. The impact of WWI and the 1918 Bolshevik Revolution in Russia. |
||
|
d. The disassociated, anomic self. |
|
a. Negro spirituals being sung in the cotton fields. |
||
|
b. The call and response of an African American church congregation. |
||
|
c. African American toasting on a city street corner. |
||
|
d. Blues being played in a Harlem bar. |
|
a. The ability of an African American to live as a White person. |
||
|
b. To do well on one's schoolwork. |
||
|
c. To leave one's past behind. |
||
|
d. To gain approval from one's community. |
|
a. Rabid dogs. |
||
|
b. Her husband. |
||
|
c. Snakes. |
||
|
d. Bertha. |
|
a. It was home to the Harlem Renaissance. |
||
|
b. Most of its inhabitants worked for White people. |
||
|
c. It was primarily African American. |
||
|
d. It was destroyed after the Civil War. |
|
a. A period of time when African Americans moved North in large numbers. |
||
|
b. When African Americans settled Liberia. |
||
|
c. When slaves traveled the Underground Railroad. |
||
|
d. When African Americans migrated to the South from the North. |
|
a. William Wells Brown |
||
|
b. Nella Larsen. |
||
|
c. Charles Chesnutt |
||
|
d. James Weldon Johnson |
|
a. Alice Walker |
||
|
b. Etheridge Knight |
||
|
c. Martin Luther King, Jr. |
||
|
d. Langston Hughes |
|
a. Because in was cheaper to live in Africa. |
||
|
b. Because he did not feel African Americans would ever achieve equality in America. |
||
|
c. He was asked by African countries to bring African Americans to Africa. |
||
|
d. He had to leave the country. |
|
a. To go to a party. |
||
|
b. To go pay old man Stevenson. |
||
|
c. To end their lives. |
||
|
d. To go to church. |
|
a. To keep the slave offspring of White slave owners from inheriting. |
||
|
b. To allow mixed-race children to get scholarships meant for African Americans. |
||
|
c. To make sure mothers of mixed-race children got custody. |
||
|
d. To keep White slave owner parents of mixed-race offspring from having to pay for their children. |
|
a. Getting an education. |
||
|
b. Fighting. |
||
|
c. Making friends with the guards. |
||
|
d. Contacting famous authors. |
|
a. Having a bathroom with warm water. |
||
|
b. Following one's dreams. |
||
|
c. Getting food on the table. |
||
|
d. Finding a mate. |
|
a. The name of a restaurant the pool players cannot enter. |
||
|
b. A metaphor for colossal lies they have been buried with. |
||
|
c. A metaphor for the pool players who are trying to dig out of their neighborhood. |
||
|
d. The name of a pool hall. |
|
a. The narrator's attempt to stay hidden. |
||
|
b. The narrator's desire to be safe. |
||
|
c. The narrator's invisibility to society. |
||
|
d. The narrator's attempt to stay out of prison. |
|
a. Breaking the law. |
||
|
b. Using violence when necessary. |
||
|
c. Waiting for times to get better. |
||
|
d. Disobeying unjust laws. |
|
a. Jean Toomer. |
||
|
b. Richard Wright. |
||
|
c. Ralph Ellison. |
||
|
d. James Baldwin. |
|
a. He had known many "Biggers" in his life. |
||
|
b. He was trying to overcome his fears of powerful men. |
||
|
c. He was proud of all the African American men he had seen stand up to Whites. |
||
|
d. He wanted to show African American males how not to live. |
|
a. The theme of man against nature. |
||
|
b. The theme of man against man. |
||
|
c. The theme of heredity. |
||
|
d. Nature as an invisible force. |
|
a. William Gates |
||
|
b. Henry David Thoreau |
||
|
c. Booker T. Washington |
||
|
d. Alain Locke |
|
a. Characters are not as important as plot. |
||
|
b. Presentation is objective. |
||
|
c. Ordinary language is used. |
||
|
d. Events are plausible. |
|
a. To speak to the spiritual and cultural needs of African Americans. |
||
|
b. To raise awareness of violence in African American youth. |
||
|
c. To support the Back to Africa Movement. |
||
|
d. To raise money for Sickle Cell Anemia research. |
|
a. To help the other inmates escape. |
||
|
b. To win money by fighting. |
||
|
c. To do what the other inmates were afraid to do. |
||
|
d. To keep the Blacks and Whites separated. |
|
a. African mythology. |
||
|
b. African American folktale. |
||
|
c. Greek mythology. |
||
|
d. Contemporary female artists. |
|
a. That they learn from her mistakes. |
||
|
b. That they have richer lives than hers. |
||
|
c. That they have all they ever wished for themselves. |
||
|
d. That they experience all the pain and embarrassment of being a woman. |
|
a. W.E.B. DuBois |
||
|
b. Amiri Baraka |
||
|
c. Booker T. Washington |
||
|
d. Frederick Douglass |
|
a. African American art should exclude women. |
||
|
b. African American images should inspire African Americans. |
||
|
c. African American art should subvert the art of Europeans and White Americans. |
||
|
d. African American literature should replicate educated White language. |
|
a. A child dying of SIDS. |
||
|
b. The stillborn death of a child. |
||
|
c. Abortion. |
||
|
d. A murdered child. |
|
a. The poem's rhythmic lines. |
||
|
b. The references to jazz songs and musicians. |
||
|
c. The poem can be set to music. |
||
|
d. There is repetition. |
|
a. Betrayal by the educational system. |
||
|
b. Betrayal by her sister. |
||
|
c. Betrayal by her community. |
||
|
d. Betrayal by a family member. |
|
a. The importance of men to the African American family. |
||
|
b. The negative consequences of feminism on the African American family. |
||
|
c. The importance of African religious influence in America. |
||
|
d. The importance of African American craftsmanship. |
|
a. Its character's movement from slavery to freedom. |
||
|
b. Its emphasis on Christian ideals. |
||
|
c. The novel's sensationalist scenes of violence. |
||
|
d. Its didactic (teaching) tone of voice. |
|
a. Supplying them with narcotic eggs. |
||
|
b. Letting them choose their own mates. |
||
|
c. Freeing the males after they are hosts. |
||
|
d. Paying them very well. |
|
a. Her own memories of slavery. |
||
|
b. Stories her grandmother told her. |
||
|
c. The television series Roots. |
||
|
d. Slave narratives. |
|
a. Discussion of race relations in the North and South. |
||
|
b. Condemnation of the plantation myth. |
||
|
c. Examination of the psychological damage of slavery. |
||
|
d. Insistence on desegregation. |
|
a. Urge African Americans to fight their oppressors. |
||
|
b. Encourage societies strive for equality for all. |
||
|
c. Extol the virtues of living in the free North. |
||
|
d. Argue that slavery was not so bad for everyone. |
|
a. A Modernist poet |
||
|
b. A performance poet |
||
|
c. A classical poet |
||
|
d. A traditional poet |
|
a. The extermination of Native Americans. |
||
|
b. That there is a Black America and a White America. |
||
|
c. Black on black violence. |
||
|
d. The fact that America still has a frontier mentality. |
|
a. Mystery. |
||
|
b. Science Fiction. |
||
|
c. Horror. |
||
|
d. Tragedy. |
|
a. She is proud of her heritage. |
||
|
b. She doesn't want Maggie to have it. |
||
|
c. She wants to display it for her friends to see. |
||
|
d. She loves the beauty of it. |
|
a. Protest poetry |
||
|
b. Romantic poetry |
||
|
c. Lyric poetry |
||
|
d. Jazz poetry |