B. In a Greek tragedy, evil people are vanquished by the forces of good.

C. In a Greek tragedy, the tragic hero dies at the end of the play.

D. In a Greek tragedy, the hero suffers but always survives at the end of the play.

A. 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.

A. Matthew Arnold

B. Joseph Addison

C. Coleridge

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

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

D. A noble person who becomes completely corrupted

A. Arts supreme function is to entertain the public.

B. Artists are dangerous to social order.

D. Art serves a particular worldly purpose.

A. Bishops One Art

C. William Shakespeares Sonnet 18

D. Audens Paysage Moralis

A. aware that Hamlet is a remarkable work of literature.

B. passive readers and critics of literary texts.

D. capable of realizing that the viewpoints of some critics are more important than others.

B. A play in which someone gets revenge

C. A play in which a hero faces likely defeat and overcomes it

D. A play in which no form of humor appears

A. 3

C. 6

D. 4

B. Ruskin

C. F. R. Leavis

D. Carlyle

B. It is possible to distill meaning from a work based on the authors politics.

C. Biographical information about the author must be considered when evaluating literature.

D. Literature is inextricably connected to its creator.

A. Flowery and ornate

B. Ancient and sophisticated

C. Futuristic and technologically advanced

A. It includes too few works by non-white writers.

B. It includes too few works by non- European writers.

C. It includes too few works by women.

A. All of the above answers are correct.

C. prevents us from communicating through writing or speech.

D. mirrors our physical evolution as human beings.

A. Game theory

B. Trauma theory

D. Marxist theory

B. Male symbols

C. Evidence of an Oedipus complex

D. Phallic symbols

A. The supernatural

B. Love

C. The sublime

A. Dante

B. Longinus

D. Aristotle

A. A concept developed by W.E.B Du Bois

C. An early aspect of ethnic criticism

D. An understanding of how double experiences create identity

A. Interpretation

C. Copying

D. Criticism of life

B. It is not necessary to observe them

C. He favours the observance of the Unity of Action only

D. Their observance depends upon the nature of the theme of the play

A. Pathos refers to a writers ability to inspire action in readers.

B. Pathos refers to a writers presentation of character and image.

C. Pathos refers to a writers ability to present evidence.

A. Roland Barthes

B. Viktor Shklovsky

D. Michel Foucault

A. A novel set in the past

B. A novel that consists entirely of dialogue

D. A novel that is set in the countryside of Europe

B. To create literary subjects with which female readers can identify

C. To critique phallocentric assumptions about literature

D. To advocate for womens rights

A. Coleridge

C. Southey

D. Shelly

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

B. Hamlet desires revenge, not Ophelia.

D. Hamlet desires his mother, not Ophelia.

A. Dryden

B. Dr. Johnson

D. Addison

A. translation issues.

B. the typographical structures of literary texts.

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

A. A story that takes place in the distant past

B. A story told to little children

C. A light-hearted, humorous story in which viewers are shown proper ways to behave

A. A term related to gender theory that argues that men are dominant in society by virtue of their economic privilege

B. A form of literary criticism that does not incorporate economic concerns

C. A form of literary criticism based on linguistic analysis

A. Negative capability

B. Power of imagination

D. Ability to coin new word

B. Horace

C. Aristotle

D. Longinus

A. T. S. ELiot

B. William Hazlit

D. Walter Pater

A. A pastiche of different literary and historical sources

B. Nonlinear storytelling and the embracement of popular culture

C. Video clips and the use of popular music

A. A novel that attacks the lower classes

B. A novel set in Europe in the 18th century

D. A novel that explores class conflict

A. Compares his love to a turbulent sea

B. Compares his love to a winter storm

D. Compares his love to his fear of death

A. Poetry

B. Drama

C. Narrative mode

A. a villain

B. An atmosphere of dread, fear, and darkness

C. A hero or protagonist who is tempted

E. An isolated protagonist

A. Evaluate the Poem.

C. Analyze the Elements of the Poem

D. Introduce External Support.

A. Marlowes

B. Spensers

C. Shakespeares

A. Longinus

B. Aristotle

C. Horace

B. Ernest Jones

C. Erik Erikson

D. Sigmund Freud

B. Fictionalizing reality is a basic human need.

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

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

A. Moral/ Philosophical Approach

B. Formalism

D. Psychological Approach

A. A narrative with a unified, plausible plot structure

C. A narrative that emphasizes character development

D. A narrative that conveys the illusion of reality

B. A member of the royalty

C. A member of the middle class engaging in self-exploration

D. A child as he or she develops into an adult

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. An important term in the field of New Historicism

D. A term first used by literary theorists William Wimsatt and Monroe Beardsley

A. Horace

C. Virgil

D. Cicero

A. begins with a preview of the plays conclusion.

C. introduces the characters of the play one by one.

D. begins at the apparent end of the story.