a. To connect human beings with a higher ideal ![]() |
||
b. To entertain those who enjoy it ![]() |
||
c. To criticize society through satire ![]() |
||
d. To bring to light social oppressions ![]() |
||
e. All of the above answers are correct. ![]() |
a. Literary theory engages with theoretical rather than real-world issues. ![]() |
||
b. Literary theory asks fundamental questions about literary interpretation, and at the same time builds specific systems of literary interpretation. ![]() |
||
c. Literary theory relies totally on speculation rather than history. ![]() |
||
d. Literary theory is detached from the reality of politics and the economy. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Claude Lévi-Strauss ![]() |
||
b. Ferdinand de Saussure ![]() |
||
c. Viktor Shklovsky ![]() |
||
d. Roland Barthes ![]() |
||
e. Michel Foucault ![]() |
a. A reversal ![]() |
||
b. An imitation ![]() |
||
c. A satire ![]() |
||
d. A poetic metaphor ![]() |
||
e. A spectacle ![]() |
a. To understand the importance of the formal elements of literary structure ![]() |
||
b. To formulate relationships among an author, a reader, and a literary work ![]() |
||
c. To understand the role of sexuality, gender, race, and ethnicity in literary study ![]() |
||
d. To evaluate the role of historical context in the interpretation of literature ![]() |
||
e. All of the above answers are correct. ![]() |
a. Literary criticism is concerned only with the meaning of a literary work, while literary theory is concerned only with the structure of a literary work. ![]() |
||
b. Literary criticism draws upon research derived from sources outside literature, while literary theory draws upon sources within a text. ![]() |
||
c. Literary criticism is concerned with how characters in a text act, while literary theory is concerned with why characters act. ![]() |
||
d. Literary theory is concerned with the method used to interpret a work, while literary criticism is the application of literary theory. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Aristotle ![]() |
||
b. Viktor Shklovsky ![]() |
||
c. Cleanth Brooks ![]() |
||
d. Stanley Fish ![]() |
||
e. Toni Morrison ![]() |
a. Plato ![]() |
||
b. Claude Lévi-Strauss ![]() |
||
c. Julia Kristeva ![]() |
||
d. Walter Benjamin ![]() |
||
e. Louis Althusser ![]() |
a. Jacques Derrida ![]() |
||
b. Jacques Lacan ![]() |
||
c. Edward Said ![]() |
||
d. Stephen Greenblatt ![]() |
||
e. Plato ![]() |
a. An idea traditionally associated with the Renaissance ![]() |
||
b. A humanity-centered view of the universe ![]() |
||
c. A school of theory devoted to the revival of Classical (ancient Greek and Roman) literature ![]() |
||
d. A theory that values restraint, form, and imitation ![]() |
||
e. All of the above answers are correct. ![]() |
a. As an aesthetic object that is independent of historical context ![]() |
||
b. As an aesthetic object that is influenced by historical context ![]() |
||
c. As a historical object that is also aesthetic ![]() |
||
d. As a historical object that is not necessarily aesthetic ![]() |
a. Both sets of critics reject the importance of historical context in studying literature. ![]() |
||
b. Both sets of critics look for an objective way to view texts. ![]() |
||
c. Both sets of critics study the underlying forms of texts. ![]() |
||
d. Both sets of critics focus on evaluating literature in a scientific manner. ![]() |
||
e. All of the above answers are correct. ![]() |
a. A term first used by literary theorists William Wimsatt and Monroe Beardsley ![]() |
||
b. A term that suggests that a critic should study the structural and thematic elements of a poem rather than the effect it has on the emotions of the reader ![]() |
||
c. A term that describes the confusion between a poem and its result ![]() |
||
d. An important term in the field of New Historicism ![]() |
||
e. All of the above answers are correct. ![]() |
a. A term that describes how literature exposes its own artificiality ![]() |
||
b. A concept associated with Russian formalism ![]() |
||
c. An idea explored by Viktor Shklovsky ![]() |
||
d. A term that describes the capacity of art to counter the effects of habit ![]() |
||
e. All of the above answers are correct. ![]() |
a. An approach that emphasizes literary devices in a text ![]() |
||
b. An approach that emphasizes the historical context of a text ![]() |
||
c. An approach that emphasizes the biographical intent of a text ![]() |
||
d. An approach that emphasizes racial issues in a text ![]() |
||
e. An approach that emphasizes the representation of the economy in a text ![]() |
a. Cleanth Brooks ![]() |
||
b. Ferdinand de Saussure ![]() |
||
c. Karl Marx ![]() |
||
d. Sigmund Freud ![]() |
||
e. Toni Morrison ![]() |
a. Critics should examine historical information surrounding a literary work. ![]() |
||
b. Critics should develop universal readings of texts. ![]() |
||
c. Critics should consider evolving notions of a text over time. ![]() |
||
d. Critics should attempt to paraphrase texts in order to find out what they mean. ![]() |
||
e. Critics should look at the biographical information of authors. ![]() |
a. Plato's The Republic ![]() |
||
b. T.S. Eliot's "Tradition and the Individual Talent" ![]() |
||
c. Jacques Derrida's Of Grammatology ![]() |
||
d. Roland Barthes's "The Death of the Author" ![]() |
||
e. Jacques Lacan's "The Mirror Stage … " ![]() |
a. Aristotle's Poetics ![]() |
||
b. Leo Tolstoy's The Kreutzer Sonata ![]() |
||
c. John Keats's "Ode on a Grecian Urn" ![]() |
||
d. Joseph Conrad's Heart of Darkness ![]() |
||
e. W.E.B. Du Bois's The Souls of Black Folk ![]() |
a. Viktor Shklovsky ![]() |
||
b. Cleanth Brooks ![]() |
||
c. Terry Eagleton ![]() |
||
d. Judith Butler ![]() |
||
e. Mikhail Bakhtin ![]() |
a. Humanism ![]() |
||
b. Formalism ![]() |
||
c. Structuralism ![]() |
||
d. Poststructuralism ![]() |
||
e. Marxism ![]() |
a. Language is inseparable from its historical context. ![]() |
||
b. There are five phases of linguistic development. ![]() |
||
c. Language can be analyzed as a formal system of elements. ![]() |
||
d. Linguistics is too complicated to be distilled to a formula. ![]() |
||
e. All of the above answers are correct. ![]() |
a. refuses maternal bonds. ![]() |
||
b. is able to separate the "I" from the "Other." ![]() |
||
c. looks into a mirror for the first time. ![]() |
||
d. first engages with speech. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Biographical information about the author must be considered when evaluating literature. ![]() |
||
b. A text and its author text are unrelated. ![]() |
||
c. It is possible to distill meaning from a work based on the author's politics. ![]() |
||
d. Authorial intent must be considered when evaluating literature. ![]() |
||
e. Literature is inextricably connected to its creator. ![]() |
a. The idea of the author came into being at a certain point in history. ![]() |
||
b. The names of authors serve a classificatory function. ![]() |
||
c. The author is not a source of infinite meaning. ![]() |
||
d. The author may not always exist. ![]() |
||
e. All of the above answers are correct. ![]() |
a. No fixed, stable meaning is possible. ![]() |
||
b. Language must be studied in conjunction with history in order to create meaning. ![]() |
||
c. There is no potential for multiple and differing meanings in a work of literature. ![]() |
||
d. Literature is timeless, and thus meaning does not change. ![]() |
||
e. All of the above answers are correct. ![]() |
a. mirrors our physical evolution as human beings. ![]() |
||
b. prevents us from communicating through writing or speech. ![]() |
||
c. involves a constant process of deferred meaning. ![]() |
||
d. evolved exclusively as a function of our individual psyche. ![]() |
||
e. All of the above answers are correct. ![]() |
a. The ability of a text to contain truth ![]() |
||
b. The "undecidability" and essentially unstable nature of a text ![]() |
||
c. The idea that a text has a specific meaning that can be understood through a process of deconstruction ![]() |
||
d. Jacques Derrida's style of writing ![]() |
||
e. All of the above answers are correct. ![]() |
a. the meaning of a text always relies on context. ![]() |
||
b. texts are always heterogeneous. ![]() |
||
c. the instability of a text is actually evident in the text itself. ![]() |
||
d. any system for the production of meaning is inevitably bound by context, yet also limitless. ![]() |
||
e. All of the above answers are correct. ![]() |
a. It contains secret instincts and desires that are repressed. ![]() |
||
b. It has little impact on human behavior. ![]() |
||
c. It is the only significant aspect of the human psyche. ![]() |
||
d. It can never be accessed. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Literary texts should not be read as a projection of the author's psyche. ![]() |
||
b. Literary texts solely reflect an author's intentions. ![]() |
||
c. Literary texts are unlike dreams because they have a system of order and produce meaning. ![]() |
||
d. Literary texts reveal secret elements of an author's unconscious. ![]() |
||
e. All of the above answers are correct. ![]() |
a. A maxim of logic developed by Charles Sanders Peirce ![]() |
||
b. A theory of practical actions developed by William James ![]() |
||
c. An idea used to guide conduct towards clear objectives ![]() |
||
d. A concept derived from the ancient Greek word pragma, meaning action ![]() |
||
e. All of the above answers are correct. ![]() |
a. T.S. Eliot ![]() |
||
b. Jacques Lacan ![]() |
||
c. Jacques Derrida ![]() |
||
d. Stanley Fish ![]() |
||
e. Edward Said ![]() |
a. Neurotic behavior ![]() |
||
b. Changes in emotional states ![]() |
||
c. Obsessions ![]() |
||
d. Slips of the tongue ![]() |
||
e. All of the above answers are correct. ![]() |
a. All linguistic concepts evolve solely out of the responses of people within a specific historical era. ![]() |
||
b. All linguistic and social phenomena are texts, and the object of studying these texts is to reveal the underlying codes that make them meaningful. ![]() |
||
c. All linguistics is in some way related to class struggle. ![]() |
||
d. All linguistics is related to history, and therefore the meaning of linguistics relies exclusively on historical context. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Judith Butler's Gender Trouble ![]() |
||
b. W.E.B. Du Bois's The Souls of Black Folk ![]() |
||
c. Roland Barthes's "The Death of the Author" ![]() |
||
d. Jacques Derrida's Of Grammatology ![]() |
||
e. Jacques Lacan's "The Mirror Stage … " ![]() |
a. Claude Lévi-Strauss ![]() |
||
b. Jacques Derrida ![]() |
||
c. Jacques Lacan ![]() |
||
d. Michel Foucault ![]() |
||
e. Carl Jung ![]() |
a. Calling into question the possibility of the coherence of discourse ![]() |
||
b. Suggesting that the study of literature is based on the breakdown of language into signs ![]() |
||
c. Arguing that language, and therefore literary texts, relies on the difference between terms and therefore constantly defers meaning. ![]() |
||
d. Calling into question the capacity of language to communicate ![]() |
||
e. All of the above answers are correct. ![]() |
a. Kristeva rejects the idea that neuroses provide insight into the unconscious. ![]() |
||
b. Kristeva suggests that women are not subject to traditional fetishes. ![]() |
||
c. Kristeva offers a more central place for women's issues within psychological development. ![]() |
||
d. Kristeva fundamentally disagrees with the idea of the mirror stage. ![]() |
||
e. All of the above answers are correct. ![]() |
a. It suggests that the suppression of women is part of a historical climate that will naturally fade away. ![]() |
||
b. It suggests that gender roles are conditioned by the possession of money and power. ![]() |
||
c. It suggests that gender has power over class. ![]() |
||
d. It suggests that education, rather than money, is needed for the liberation of women. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Women's gender is artificial, while men's gender is not. ![]() |
||
b. While gender is not real, the stereotypes that accompany it are true. ![]() |
||
c. Gender is a problematic, but essentially true, category. ![]() |
||
d. Gender is largely a cultural construct. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Women should write for and about themselves in order to counter phallocentric texts. ![]() |
||
b. Women should write, but they should do so only within the existent male canon. ![]() |
||
c. Women should primarily dedicate themselves to studying women's literature from the past. ![]() |
||
d. Women should be unconcerned with the struggle for identity. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Kristeva wholly rejects Lacan's theory of psychosexual development. ![]() |
||
b. Kristeva centralizes the maternal and the feminine in her revisions of Lacan's theory. ![]() |
||
c. Kristeva argues that the mirror stage does not occur until the individual embraces a distinct gender role. ![]() |
||
d. All of the above answers are correct. ![]() |
a. Ophelia's madness represents the social oppression of women. ![]() |
||
b. It is nearly impossible to represent women as anything other than mad in patriarchal discourses. ![]() |
||
c. Feminist critics need to re-appropriate Ophelia for their own purposes. ![]() |
||
d. Women's tragedies tend to be subordinated to those of men. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Examining only female-authored literature more critically ![]() |
||
b. Considering women's literature outside of its historical context ![]() |
||
c. Studying women's literature for its linguistic qualities only ![]() |
||
d. Becoming more familiar with the history of women and women's writing ![]() |
||
e. All of the above answers are correct. ![]() |
a. Gender does not reflect an essential truth, but rather is a role people play based on their internalization of socially constructed gender roles. ![]() |
||
b. Gender roles do not exist. ![]() |
||
c. Real gender roles are scripted by excellent writers. ![]() |
||
d. Only individuals who have the capacity to perform have gender. ![]() |
||
e. All of the above answers are correct. ![]() |
a. To advocate for women's rights ![]() |
||
b. To create literary subjects with which female readers can identify ![]() |
||
c. To critique phallocentric assumptions about literature ![]() |
||
d. To counter stereotypes about women ![]() |
||
e. All of the above answers are correct. ![]() |
a. Performance is the ultimate objective of all human beings. ![]() |
||
b. Language is used to indicate action as well as thought. ![]() |
||
c. Individuals perform gender actively. ![]() |
||
d. Individuals develop consciousness through speech. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Understanding sexuality is crucial to understanding culture. ![]() |
||
b. Understanding homosexuality has little effect on understanding culture. ![]() |
||
c. Literary study is unaffected by a lack of interest in sexuality. ![]() |
||
d. Understanding homosexual themes in novels has become too routine. ![]() |
||
e. All of the above answers are correct. ![]() |
a. How women really feel about male writers ![]() |
||
b. The inscription of womanhood and femininity in texts ![]() |
||
c. Second-wave feminism ![]() |
||
d. Psychological studies of women ![]() |
||
e. Literary works that feature women ![]() |
a. Elaine Showalter ![]() |
||
b. Julia Kristeva ![]() |
||
c. Lucy Irigaray ![]() |
||
d. Hélène Cixous ![]() |
||
e. Louise M. Rosenblatt ![]() |
a. Hélène Cixous ![]() |
||
b. Judith Butler ![]() |
||
c. Lucy Irigaray ![]() |
||
d. Mary Wollstonecraft ![]() |
||
e. Julia Kristeva ![]() |
a. History comprises the essential framework for the performance of literary analysis ![]() |
||
b. Politics and the economy are the most important factors in literary analysis ![]() |
||
c. Biography is essential to literary analysis ![]() |
||
d. Psychoanalysis is critical to literary analysis ![]() |
||
e. All of the above answers are correct. ![]() |
a. Formalism ![]() |
||
b. Structuralism ![]() |
||
c. Poststructuralism ![]() |
||
d. Marxism ![]() |
||
e. Postcolonialism ![]() |
a. An infant's inability to speak prior to the mirror stage ![]() |
||
b. The referential relationships among symbols, signifiers, and signs ![]() |
||
c. The multi-layered nature of language in a literary work ![]() |
||
d. The formulaic shift between economic and political themes ![]() |
||
e. All of the above answers are correct ![]() |
a. A form of literary criticism that is based on historical context ![]() |
||
b. A form of literary criticism that does not incorporate economic concerns ![]() |
||
c. A form of literary criticism based on linguistic analysis ![]() |
||
d. A term related to gender theory that argues that men are dominant in society by virtue of their economic privilege ![]() |
||
e. A form of literary criticism that is based on a reader's response ![]() |
a. A term developed by Mikhail Bakhtin ![]() |
||
b. A term used to describe how texts include a variety of styles ![]() |
||
c. A term used to explain the use of multiple points of view in literature ![]() |
||
d. A term that explains resistance to a monolithic text ![]() |
||
e. All of the above answers are correct. ![]() |
a. A term for the false neuroses expressed in dreams ![]() |
||
b. A feminist term for the state that occurs when texts written by women are not considered in the study of literature ![]() |
||
c. Another term for the unconscious ![]() |
||
d. A term related to the period of psychosexual development that occurs before an infant reaches the mirror stage ![]() |
||
e. An ideology that involves dominating the consciousness of exploited classes ![]() |
a. The effect of literature in enlightening the human mind ![]() |
||
b. The effect of modern society on human suffering ![]() |
||
c. The effect of the economy on women's concerns ![]() |
||
d. The effect of the unconscious mind on the conscious self ![]() |
||
e. All of the above answers are correct. ![]() |
a. Language includes multiple social dialects and jargons. ![]() |
||
b. Language can include socio-ideological contradictions from the past. ![]() |
||
c. Language exhibits and is bound up in the social lives and historical context of the people who speak it. ![]() |
||
d. Language is loaded with the intentions of others. ![]() |
||
e. Language is shaped by the context of a socially-charged life. ![]() |
a. Sigmund Freud ![]() |
||
b. Carl Jung ![]() |
||
c. William James ![]() |
||
d. Theodor W. Adorno ![]() |
||
e. Edward Said ![]() |
a. They accept ideology as an essential, although sometimes problematic, part of society. ![]() |
||
b. They subject all ideologies to critique in order to expose biased interests. ![]() |
||
c. They reject the idea that ideology has real effects on social progress. ![]() |
||
d. They promote ideology because it helps to create a dominant social order. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Understanding the author's ideas in the context of the real world ![]() |
||
b. Entering the author's mind through his or her literary works ![]() |
||
c. Understanding the author's consciousness ![]() |
||
d. Reproducing the author's thoughts in a critical context ![]() |
||
e. All of the above answers are correct. ![]() |
a. The reader fills in the gaps imposed by an author's intention. ![]() |
||
b. The reader is sublimated beneath the author. ![]() |
||
c. The reader is less important than the author's context. ![]() |
||
d. The reader is totally subject to the author's intention. ![]() |
||
e. All of the above answers are correct. ![]() |
a. The reader participates in a transaction with the text. ![]() |
||
b. The reader is acted upon by the text. ![]() |
||
c. The reader acts upon the text. ![]() |
||
d. The reader brings individual knowledge to his or her reading of the text. ![]() |
||
e. All of the above answers are correct. ![]() |
a. It is impossible to view a piece of literature as its author intended. ![]() |
||
b. It is impossible to divorce a text from capitalist ideology. ![]() |
||
c. It is impossible to view a piece of literature correctly, because we can only work within the hetero-normative paradigm. ![]() |
||
d. It is impossible to separate a text from the linguistics that compose it. ![]() |
||
e. It is impossible for a reader to recognize multiple voices in a text. ![]() |
a. A term that describes the absence of racial others in the canon ![]() |
||
b. A term that describes the attempt to read homosexuality into literature ![]() |
||
c. A term that describes the effect of autobiography on text ![]() |
||
d. A term that describes the interpretation of meaning ![]() |
||
e. A term that describes the layers of voices in literature ![]() |
a. The examination of structures informing our conscious experience ![]() |
||
b. The examination of desires informing our consciousness ![]() |
||
c. The examination of our unconscious experience ![]() |
||
d. The examination of intricate structures within our unconscious ![]() |
||
e. The examination of transmissions between our unconscious and conscious experiences ![]() |
a. The Moscow School ![]() |
||
b. The Chicago School ![]() |
||
c. The Frankfurt School ![]() |
||
d. The Geneva School ![]() |
||
e. The Yale School ![]() |
a. Edmund Husserl ![]() |
||
b. Wolfgang Iser ![]() |
||
c. Jean-Paul Sartre ![]() |
||
d. Emmanuel Lévinas ![]() |
||
e. All of the above answers are correct. ![]() |
a. Wolfgang Iser ![]() |
||
b. William Wimsatt ![]() |
||
c. Cleanth Brooks ![]() |
||
d. Harold Bloom ![]() |
||
e. Edmund Husserl ![]() |
a. How readers learn to read ![]() |
||
b. How readers imagine visual images in a text ![]() |
||
c. How readers participate in creating the meaning of a text ![]() |
||
d. How readers regard critics ![]() |
||
e. How readers choose to read what they read ![]() |
a. Theodor W. Adorno ![]() |
||
b. Claude Lévi-Strauss ![]() |
||
c. Julia Kristeva ![]() |
||
d. Jacques Derrida ![]() |
||
e. Jacques Lacan ![]() |
a. New Historicism rejects the idea that history is neutral. ![]() |
||
b. New Historicism does not make strict delineations between literary and non-literary texts. ![]() |
||
c. New Historicism takes a particular interest in marginalized peoples. ![]() |
||
d. New Historicism is interested in how texts help us understand economic realities. ![]() |
||
e. All of the above answers are correct. ![]() |
a. Psychoanalytic theory ![]() |
||
b. Feminist theory ![]() |
||
c. Ethnic criticism ![]() |
||
d. Postcolonial theory ![]() |
||
e. All of the above answers are correct. ![]() |
a. It includes too few works by non-European writers. ![]() |
||
b. It includes too few works by non-white writers. ![]() |
||
c. It includes too few works by women. ![]() |
||
d. It includes too few works by non-Western writers. ![]() |
||
e. All of the above answers are correct. ![]() |
a. It has little relationship to the colonization of Asian countries by the West. ![]() |
||
b. It illustrates the fundamental political equality of all nations. ![]() |
||
c. It was produced by Western scholarship. ![]() |
||
d. Its literature is less proud that that of the West. ![]() |
||
e. All of the above answers are correct. ![]() |
a. An early aspect of ethnic criticism ![]() |
||
b. An understanding of how double experiences create identity ![]() |
||
c. A concept developed by W.E.B Du Bois ![]() |
||
d. An attempt to explain dual identity ![]() |
||
e. All of the above answers are correct. ![]() |
a. To represent the relationship between colonizers and the colonized ![]() |
||
b. To draw attention to the positive effects of colonization on literature ![]() |
||
c. To explain why there are few examples of successful non-Western literature ![]() |
||
d. To show the ways in which most Western literature is superior ![]() |
||
e. All of the above answers are correct. ![]() |
a. To bring attention to false Euro-centric paradigms ![]() |
||
b. To rectify the double experiences of certain racial groups ![]() |
||
c. To reconcile cultural identity with individual identity ![]() |
||
d. To expand the canon to include works authored by different racial groups ![]() |
||
e. All of the above answers are correct. ![]() |
a. The West spends too much time trying to consider an Asian perspective. ![]() |
||
b. The West tends to look at Asian countries as individual units rather than lump them together. ![]() |
||
c. The West views matters through its own limited historical position. ![]() |
||
d. The West refuses to apply economic and political coercion to Asian writers. ![]() |
||
e. The West compels writers to work in pre-colonial, lost languages. ![]() |
a. Texts are examined to see how colonizers and the colonized interact. ![]() |
||
b. Texts are examined to see how the formal aspects of the text create meaning. ![]() |
||
c. Texts are examined to determine how they reveal social realities. ![]() |
||
d. Texts are examined to determine the author's intent. ![]() |
||
e. Texts are examined to show how history has little effect on literary production. ![]() |
a. Harold Bloom's "An Elegy for the Canon" ![]() |
||
b. Jacques Lacan's "The Mirror Stage … " ![]() |
||
c. Cleanth Brooks's "Keats's Sylvan Historian" ![]() |
||
d. Edward Said's Orientalism ![]() |
||
e. Toni Morrison's Playing in the Dark ![]() |
a. Jacques Derrida ![]() |
||
b. Terry Eagleton ![]() |
||
c. Fredric Jameson ![]() |
||
d. Stephen Greenblatt ![]() |
||
e. Louise M. Rosenblatt ![]() |
a. Julia Kristeva ![]() |
||
b. Fredric Jameson ![]() |
||
c. Terry Eagleton ![]() |
||
d. Edward Said ![]() |
||
e. Michel Foucault ![]() |
a. A theory that sees history as a form of writing and discourse ![]() |
||
b. A theory that abandons the idea of history as an imitation of events ![]() |
||
c. A theory that regards history as a series of narratives ![]() |
||
d. A theory that capitalizes on the interplay between literature and history ![]() |
||
e. All of the above answers are correct. ![]() |
a. A figure of judgment ![]() |
||
b. Religious belief ![]() |
||
c. A witness ![]() |
||
d. Psychological treatment ![]() |
||
e. An easy way to explain trauma ![]() |
a. Literary theory is limited in its ability to interpret a text. ![]() |
||
b. Literary theory often depends on esoteric knowledge to be properly understood. ![]() |
||
c. Literary theory is employed mostly by academics. ![]() |
||
d. Literary theory should not be an academic focus in English departments. ![]() |
||
e. Literary theory is the only proper way to conceptualize literary texts. ![]() |
a. How writers conceptualize natural environments and the representation of environmental issues in literature and culture ![]() |
||
b. How writers have damaged the environment ![]() |
||
c. How the environment can be repaired ![]() |
||
d. Who is responsible for damaging the environment ![]() |
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e. How clean energy sources can be developed ![]() |
a. It offers a strong outline for how theory can be conducted in the 21st century. ![]() |
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b. It should not be read or considered by any student or scholar. ![]() |
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c. It offers some valid ideas and critiques, but its author is not entirely trustworthy. ![]() |
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d. It offers a strong counterpoint to Jacques Derrida's notion of deconstruction. ![]() |
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e. It proves that William Shakespeare did not author his plays. ![]() |
a. Reject all previous modes of literary theory ![]() |
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b. Focus on a return to traditional critical methods ![]() |
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c. Make use of different literary theories in order to develop new theories ![]() |
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d. Work only with ideas developed by post-Marxist theorists ![]() |
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e. Insist that literary studies should be abandoned ![]() |
a. Literary theory tends to be too political. ![]() |
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b. Literary theory does not offer a holistic interpretation of a text. ![]() |
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c. Literary theory depends on specialized knowledge that is outside the realm of literary studies. ![]() |
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d. Literary theory is sometimes very abstract and difficult to read. ![]() |
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e. All of the above answers are correct. ![]() |
a. Psychoanalysis ![]() |
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b. Marxism ![]() |
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c. Feminism ![]() |
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d. Deconstruction ![]() |
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e. Reader-response theory ![]() |
a. Sigmund Freud ![]() |
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b. Carl Jung ![]() |
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c. Michel Foucault ![]() |
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d. Jacques Derrida ![]() |
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e. Jacques Lacan ![]() |
a. Theory has replaced literary appreciation with formulas for understanding. ![]() |
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b. The reasoning of theory is often too circular. ![]() |
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c. Many theories have been pushed too far into abstraction. ![]() |
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d. Many theories are no longer accepted by their parent disciplines. ![]() |
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e. All of the above answers are correct. ![]() |
a. A language about another language ![]() |
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b. A supernatural language ![]() |
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c. A language that does not yet constitute a real language ![]() |
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d. A language used by a particular marginalized group of people within a larger dominant culture ![]() |
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e. All of the above answers are correct. ![]() |
a. He considers it to be vital in order to understand literary texts. ![]() |
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b. He considers theory to be the only way that literary texts can be interpreted. ![]() |
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c. He has no misgivings about the practical usability of literary theory. ![]() |
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d. He feels that literary theory is ultimately too limited in scope to serve as a proper method of interpretation. ![]() |
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e. He claims never to have read a piece of literary theory. ![]() |
a. Trauma theory ![]() |
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b. Ecotheory ![]() |
||
c. Game theory ![]() |
||
d. Marxist theory ![]() |
||
e. Psychoanalytic theory ![]() |
a. Strange attractors are mysterious forces that are entirely random. ![]() |
||
b. Strange attractors are complex forces that are determined by the laws of physics. ![]() |
||
c. Strange attractors are mysterious forces that are both random and determined. ![]() |
||
d. Strange attractors are complex forces that are entirely random. ![]() |
||
e. Strange attractors are mysterious forces that have no basis in logic or reason and cannot be observed in nature. ![]() |
a. Trauma theory ![]() |
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b. Ecotheory ![]() |
||
c. Chaos theory ![]() |
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d. Formalism ![]() |
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e. Marxist theory ![]() |