A. psychoanalytic criticism.
B. Marxist criticism.
C. New Criticism.
D. structuralism.
A. Historically, writers have been considered liars or at the very least irrelevant.
B. Fictionalizing reality is a basic human need.
C. Every text includes traces from the outside world, including social, historical, and literary remnants.
D. All of these.
A. A noble person who becomes completely corrupted
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 makes a costly mistake
A. Epic theater is plot-driven theater.
B. Epic theater turns the passive spectator into an active observer.
C. Epic theater privileges feeling over reason.
D. Epic theater maintains the illusion of realism.
A. Another character
B. The protagonist
C. Society
D. All of these
A. Compares his love to a winter storm
B. Compares his love to a summer’s day
C. Compares his love to a turbulent sea
D. Compares his love to his fear of death
A. Emotional arguments
B. Political arguments
C. Deductive arguments
D. Inductive arguments
A. A narrative that emphasizes character development
B. A narrative with a unified, plausible plot structure
C. A narrative that conveys the illusion of reality
D. All of these
A. wanted to subvert middle class values.
B. accepted middle class values.
C. wrote in a hyperrealistic fashion.
D. had a negative view of human nature.
A. Simplicity in language, brevity in form, and humorousness in attitude
B. Complexity in language, lengthiness in form, and seriousness in attitude
C. Simplicity in language, lengthiness in form, and humorousness in attitude
D. Complexity in language, brevity in form, and humorousness in attitude