A. logical in terms of plot and structure.
B. complex in terms of plot and structure.
C. without any sort of moral insight.
D. sad.
A. Introduce the main characters
B. Preview the play’s conclusion
C. Provide insight into the play’s mythological background
D. Remind the viewers of what kind of play they are viewing
A. the author or speaker was of good mind and character.
B. the author or speaker was emotionally involved in the topic at hand.
C. the author or speaker has provided proper logic and evidence in support of his topic.
D. the author or speaker maintained the appropriate critical distance from the topic.
A. A romantic awaiting true love
B. A cynic awaiting the world’s destruction
C. A delusional girl with no grasp on reality
D. A young girl with a particularly dark Mindset
A. It offers a critique of Romantic poetry and ideology.
B. It serves to parody gothic novels.
C. It is a horror novel.
D. It is a memoir based on Jane Austen’s childhood.
A. Traditional literary criticism is mainly focused on exploring gender issues.
B. Traditional literary criticism only examines pre-20th-century literary texts.
C. Traditional literary criticism focused on tracking influences and textual allusions and considering the historical contexts of literary texts.
D. Traditional literary criticism attempted to consider the psychological aspects of literary texts.
A. The sublime
B. The supernatural
C. Love
D. The manners and traditions of the upper classes
A. A historical narrative and a historical novel are the same thing.
B. A historical narrative tells only part of the story surrounding a historical event; a historical novel tells the whole story.
C. A historical novel focuses on providing the reader with only the central truth of a historical event, while a historical narrative attempts to tell the entire truth of a historical event.
D. Faruqi actually argues that historical novels do not exist.
A. The political and social meanings of literary texts
B. Characters who are sympathetic to issues facing the working classes
C. The relationship between economics and the production of literary texts
D. All of these
A. Hamlet desires his mother, not Ophelia.
B. Hamlet desires revenge, not Ophelia.
C. Hamlet desires Ophelia, but only when she is unattainable.
D. Hamlet desires attaining the throne of Denmark, of which Ophelia is a symbol.