B. Shakespeare presents political rulers as flawless, perfect human beings.

C. Shakespeare considers all political rulers to be corrupt.

D. Shakespeare only presents fictional political rulers and does not explore any political realities.

A. Epic theater is plot-driven theater.

C. Epic theater privileges feeling over reason.

D. Epic theater maintains the illusion of realism.

A. Death, that which feels nothing.

B. She is a woman of beauty and wonder.

D. I wandered lonely as a cloud.

A. The protagonist

C. Society

D. Another character

B. Hamlet is a tragedy that reflects upon enlightened and progressive political systems that developed during Shakespeares time.

C. Hamlet is a tragedy focusing on the plight of the early-modern self.

D. Hamlet is a tragedy that reflects Shakespeares own political circumstances.

A. Hamlet is deeply disturbed by his fathers death.

B. Ophelia dies by drowning.

C. Hamlet doubts the proper course of action to take.

A. An understanding of the various conceptions and understandings of gender that have carried throughout various cultures

B. An understanding of how standard histories of western societies are presented in terms of heterosexual identity

C. An understanding of gender as a human construct

A. the typographical structures of literary texts.

C. how children relate to their parents in terms of literary texts.

D. translation issues.

B. A methodology for applying ideas to literary texts

C. A trend in university English departments

D. The practice of interpreting literary texts

A. A story of one persons fall from grace and into destruction

B. A story of one persons selfrealization and attempt to return to innocence

D. A story of one persons success within a capitalistic economic system

A. Artists are dangerous to social order.

C. Arts supreme function is to entertain the public.

D. Art serves a particular worldly purpose.

B. Hamlet desires attaining the throne of Denmark, of which Ophelia is a symbol.

C. Hamlet desires his mother, not Ophelia.

D. Hamlet desires revenge, not Ophelia.

B. Traditional literary criticism attempted to consider the psychological aspects of literary texts.

C. Traditional literary criticism is mainly focused on exploring gender issues.

D. Traditional literary criticism only examines pre-20th-century literary texts.

A. They were almost never set in the past.

C. They were often done in honor of the Greek god Zeus.

D. They were not popular with ancient Greek audiences.

A. A narrative based entirely on verifiable facts

B. A narrative without characters

C. A narrative that takes place in the past.

A. Ancient languages

B. Typically poetic and fanciful language

D. Complicated and difficult language

A. the author or speaker maintained the appropriate critical distance from the topic.

B. the author or speaker has provided proper logic and evidence in support of his topic.

C. the author or speaker was emotionally involved in the topic at hand.

A. An awareness of the historical circumstances surrounding a texts production

C. An awareness of the economic circumstances surrounding a literary text

D. Strict criteria for evaluating the quality of a literary text

A. a man of tremendous humor, simplicity, and innate goodness and kindness.

B. a wicked and manipulative man.

C. a disturbed and insane man.

A. A cynic awaiting the worlds destruction

C. A young girl with a particularly dark Mindset

D. A delusional girl with no grasp on reality

A. Introduce the main characters

B. Remind the viewers of what kind of play they are viewing

D. Preview the plays conclusion

A. Compares his love to his fear of death

B. Compares his love to a turbulent sea

D. Compares his love to a winter storm

A. Appealing to the readers emotions

B. Using logic and reason

D. Using informal language

B. A cowardly person who shows some personal strength when faced with a crisis

C. A cowardly person who doubts himself or herself despite possessing great wealth and political power

D. A noble person who becomes completely corrupted

B. A characters fatal flaw

C. A characters moment of selfrealization in a narrative

D. A rhyme scheme

A. terror at the thought of death.

B. a realization of ones empowered position in the world.

D. a feeling of being disconnected from the world.

A. Formalism focuses on examining the historical contexts and backgrounds of literary texts.

B. Formalism focuses on examining the structural dynamics of poems.

C. Formalism focuses on examining how a text exemplifies its writers psychology.

A. The corruptive force of technology

B. The power of religious faith

D. Disobedient children

A. Historically, writers have been considered liars or at the very least irrelevant.

B. Every text includes traces from the outside world, including social, historical, and literary remnants.

C. Fictionalizing reality is a basic human need.

A. without any sort of moral insight.

C. sad.

D. complex in terms of plot and structure.

B. Both fields of literary study are American in origin.

C. New Historicism is simply an early form of Cultural Materialism.

D. Both fields of study are strictly focused on how readers interpret and invent meanings for literary texts.

A. He was born Charles-Edouard Jeanneret.

B. He was an architect who designed The Chandigarh Legislative Assembly building in Punjab, India.

C. He was the architect who designed The Robie House in Chicago, Illinois.

B. Claude Monet and douard Manet

C. Pablo Picasso and Claude Monet

D. T.S. Eliot and Wyndham Lewis

B. A way of questioning Victorian moral conceptions

C. An example of subjective artistic expression

D. A musical invention of the modern age that allows for experimentation of form

A. Raymond Williams

C. Fredric Jameson

D. Both A and B

A. Darwin

C. Freud

D. Aristotle

B. An attempt to use the exact word instead of flowery, excessive descriptive language in poetry

C. B and C only

D. A poetic movement which hoped to offer clear expression of ideas and feelings through the use of specific visual images

B. It is a stream-of-consciousness narrative that explores cultural identity in nineteenth-century Ireland.

C. It is a Romantic novel that explores the decline of a Russian family.

D. It is a lyrical novel that explores the decline of a Caribbean family.

A. Hearing of harvests rotting in the valleys

B. And we rebuild our cities, not dream of islands

D. Mother died today

A. We want to sing the man who holds the steering wheel, whose ideal stem pierces the Earth, itself launched on the circuit of its orbit.

C. The essential elements of our poetry will be courage, daring, and revolt.

D. We want to sing the love of danger, the habit of danger and of temerity.

A. Sexual mores

B. Bourgeois sensibility

D. The importance of the irrational

A. Naturalism depicts the more animalistic tendencies of humans.

B. Naturalism considers the author or artist to be like a scientist.

D. Naturalism is a search for scientific certainty.

A. The shift from agriculturally-based to industrial societies in the West

B. The decline of traditional religious beliefs in Europe

C. The rise of traditional social identities and the decline of personal identity

A. Lyme disease

C. Staph infections

D. A and C only

A. Vorticism

B. A and B only

C. Futurism

B. Eliots poem takes great pains to illustrate the breakdown of stable meaning in the modern world.

C. Some academic scholars suggest that TheWasteland is an extrapolation of the search for the Holy Grail.

D. The Wasteland is an excellent example of modernist symbolism.

A. It was originally written in English.

C. It suggests that poetry is demonic in nature.

D. Both A and B

B. The Anglo-Irish war never involved a guerrilla campaign.

C. All of the above

D. In the course of the Anglo-Irish War, only a few hundred members of the Irish Republican Army were actively resisting British rule.

B. William Butler Yeats

C. James Joyce

D. Seamus Heaney

A. A fascination with the past but a past that is used out of its original context as pastiche

B. A reinforcement of master narratives

C. A rejection of master narratives