|
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 |
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e. Louise M. Rosenblatt |
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a. Julia Kristeva |
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b. Fredric Jameson |
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c. Terry Eagleton |
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d. Edward Said |
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e. Michel Foucault |
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a. A theory that sees history as a form of writing and discourse |
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b. A theory that abandons the idea of history as an imitation of events |
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c. A theory that regards history as a series of narratives |
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d. A theory that capitalizes on the interplay between literature and history |
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e. All of the above answers are correct. |
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a. A figure of judgment |
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b. Religious belief |
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c. A witness |
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d. Psychological treatment |
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e. An easy way to explain trauma |
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a. Literary theory is limited in its ability to interpret a text. |
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b. Literary theory often depends on esoteric knowledge to be properly understood. |
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c. Literary theory is employed mostly by academics. |
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d. Literary theory should not be an academic focus in English departments. |
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e. Literary theory is the only proper way to conceptualize literary texts. |
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a. How writers conceptualize natural environments and the representation of environmental issues in literature and culture |
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b. How writers have damaged the environment |
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c. How the environment can be repaired |
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d. Who is responsible for damaging the environment |
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e. How clean energy sources can be developed |
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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. |
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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 |
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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. |
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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 |
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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 |
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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. |
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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. |
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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. |
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a. Trauma theory |
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b. Ecotheory |
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c. Game theory |
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d. Marxist theory |
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e. Psychoanalytic theory |
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a. Strange attractors are mysterious forces that are entirely random. |
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b. Strange attractors are complex forces that are determined by the laws of physics. |
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c. Strange attractors are mysterious forces that are both random and determined. |
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d. Strange attractors are complex forces that are entirely random. |
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e. Strange attractors are mysterious forces that have no basis in logic or reason and cannot be observed in nature. |
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a. Trauma theory |
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b. Ecotheory |
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c. Chaos theory |
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d. Formalism |
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e. Marxist theory |