A. 17th century; Enlightenment
B. 18th century; Enlightenment
C. 18th century; Romanticism
D. 19th century; Romanticism
A. As a path to redemption
B. As a necessary control
C. As a voyeuristic activity
D. As a model for contemporary police work
A. That it is necessary to contain mad women
B. That it is an artificial patriarchal tool
C. That men also are mad
D. That female madness is a serious obstacle to women’s liberation
A. Agnes
B. Ambrosio
C. Baptiste
D. Matilda
A. Radcliffe wants to emphasize the happy ending of the marriage of Emily and Valancourt.
B. It frees Radcliffe from a strict adherence to common life, allowing her to place Emily in challenging situations.
C. Radcliffe considers her work a continuation of the sentimental novel of the 18th century.
D. It acknowledges the lack of supernatural plot tricks.
A. The ancestral home of Ann Radcliffe
B. The ancestral home of HoraceWalpole
C. One of the settings in “The Mysteries of Udolpho”
D. The inspiration for “The Castle of Otranto”
A. People are foolishly superstitious.
B. A world devoid of supernatural phenomena is a better world.
C. A belief in ghosts is a belief in imagination.
D. The personification of nature is regressive.
A. The erratic movement of time and place
B. The readers’ unwavering empathy for Frankenstein
C. The reliable narrator
D. The mix of language in terms of voice, diction, and rhythm
A. Sigmund Freud
B. Edmund Lewis
C. Edmund Burke
D. Mary Shelley
A. The anticipation of the violation of one’s person versus an act of physical violence
B. Plotted revenge versus random violence
C. The male Gothic versus the female Gothic
D. The persistence of the past in the present versus the betrayal in the present of the paternal protector