A. The ascendency of human reason in the Gothic novel

C. The use of poetic prose in the Gothic novel

D. The representation of contemporary life in the Gothic novel

A. The rupture of the everyday by acts of violence

B. Unnatural forces overwhelming human endeavor

C. The return of the past to the present

A. She leaves home in search of adventure.

B. She rejects her aunts invitation to travel to Italy.

C. She converts to Catholicism.

B. Lewiss use of a female pseudonym in the original edition

C. Ambrosios rape and murder of his sister

D. Lewiss choiceof a feminine literary genre

A. It is removed from the main area of the house.

B. It is locked.

D. It has bars on the window.

A. Agness admittance to the convent

B. Antonias death

C. The magic mirror

B. As a place for the distressed heroine to hide

C. As a means for characters to directly confront unconscious problems

D. As a plot structure that diminishes the Gothic novels intensity

B. The normal activity of vivisection is represented as horrible.

C. Seemingly normal characters are actually terrifying.

D. The dramatic landscape provides an alternative to the usual world.

A. The American Revolution

B. The Industrial Revolution

C. The Battle of Waterloo

A. Each owner upends the prevailing law of the land.

C. The owners of each had mistresses.

D. On the outside they look like homes, but on the inside they are prisons

B. Gender issues are often overlooked.

C. Many protagonists mothers are absent.

D. Womens issues are interrogated.

A. Angel in the house

C. Heroine in distress

D. Pursued protagonist

A. She exemplifies unfeminine anger.

B. She is not submissive.

D. She is sexually deviant.

B. The fear of being buried alive

C. The fear of dying

D. Life rituals with blood

A. A hero who is usually defined by his fatal attraction to women

C. A hero who is known for being aristocratic, moody, and secretive

D. A character who is essentially kind but performs a horrible act by accident

A. Ghosts

C. Sentimentalism

D. Horror

B. Insanity

C. The presence of omens

D. Religious upheaval

A. As something needed for humans to advance

B. As a way to resolve human madness

D. As potentially productive when used correctly

A. The focus on wrongdoing at the highest level of authority

B. The placement of the action in the past and in a foreign country

D. The grandiose threatening setting that requires ingenious stagecraft

A. Transylvania and England were once part of the Holy Roman Empire.

C. Transylvania and England had been at war in the 1860s.

D. Transylvania is Englands economic rival.

A. The barbarians that populate the Gothic novel

C. The style of architecture found in the Gothic novel

D. The excessive violence found in the Gothic novel

A. It was built in the Middle Ages.

B. It is a Catholic structure.

D. It is labyrinthine.

A. An apparently normal person is revealed as a man.

B. It reflects a womans everyday life.

C. It features a body transformation.

A. As an apolitical horror story

B. As a novel ghostwritten by Perce Shelley

C. As a commentary on Victorian England

A. He is from a foreign land.

B. He is a connection to a different time.

D. He is racially different.

A. Reading

C. Writing

D. Cousin Henry and Julia

A. Matthew Lewis

C. Horace Walpole

D. Mary Shelley

A. It offers a positive alternative to the excesses of the Catholic Church.

B. It dispels the anti-Semitism associated with the Gothic novel.

D. It suggests that redemption is possible through penitence.

A. Satire

C. First-person narration

D. Realism

A. Mary Shelley

B. Robert Walton

D. Frankenstein

B. Dracula as sexual predator

C. Dracula as transgressor of Gods order

D. Dracula as foreign invader

A. He is responsible for the burden of original sin.

B. He is a mistake.

D. His habitat is equivalent to the Garden of Eden.

A. As a version of the Romantic novel

B. As the resolution of madness

C. As the antithesis of postmodernism

A. Terror

B. The uncanny

C. Body transformation

A. Her defiance of contemporary culture

C. Her lack of imagination

D. Her full embrace of the Gothic vision of Walpole, Beckford, and Lewis

A. The triumph of reason over passion

B. The rise of individual responsibility

C. The negative critique of Catholicism

A. A sense of uncomfortable strangeness

C. Unheimlich

D. The supernatural

A. The heroine is robbed of psychological complexity by focusing only on horror.

C. She is excluded from the novels violent disturbances.

D. She is excluded from the general sense of isolation in the novel.

A. Emilys misfortunes

C. Emilys mind

D. The plot

A. To support the growth and development of machinery in the 18th century

B. To emphasize the importance of character development over action

D. To encourage rational evaluation rather than arouse emotional reactions

A. The reduction in width of the stone masonry in Gothic architecture

B. The scientific advancement of the ribbed vault and flying buttress associated with Gothic architecture

D. The ethereal quality of the interior space of Gothic architecture

A. He listens outside church services.

C. He reads the Bible.

D. He is taught by Victor about the Bible.

A. The outcast

C. The transgendered

D. The undead

B. Of or relating to anything rude, uncivilized, or ignorant; devoid of culture and taste

C. Of or relating to anything Medieval

D. Of or relating to a particular style of architecture

A. The ancestral castle

B. The supernatural

C. Physical violence

A. Roman Catholicism was wrongfully dismantled in England by Henry VIII in the 16th century.

B. Jews represent sympathetic literary heroes.

C. Religion is race-neutral.

B. Theories of evolution

C. Modern science

D. The consciousness

A. Emily provides a unique example of a weak woman.

B. Emily ends up happily married.

C. Emilys sense of decorum seems to falter late in the novel.

A. They are part of the unconscious controlled by science.

B. They provide relief from the real world.

C. They obscure deep emotions.

A. It is lavishly furnished.

B. It is haunted.

C. It contains a secret passageway.