A. Wolfgang Iser
B. William Wimsatt
C. Cleanth Brooks
D. Harold Bloom
A. Wolfgang Iser
B. William Wimsatt
C. Cleanth Brooks
D. Harold Bloom
A. The reader fills in the gaps imposed by an author’s intention.
B. The reader is sublimated beneath the author.
C. The reader is less important than the author’s context.
D. The reader is totally subject to the author’s intention.
A. A theory of practical actions developed by William James
B. An idea used to guide conduct towards clear objectives
C. A concept derived from the ancient Greek word pragma, meaning action
D. All of the above.
A. An infant’s inability to speak prior to the mirror stage
B. The referential relationships among symbols, signifiers, and signs
C. The multi-layered nature of language in a literary work
D. The formulaic shift between economic and political themes
A. A humanity-centered view of the universe
B. A school of theory devoted to the revival of Classical (ancient Greek and Roman) literature
C. A theory that values restraint, form, and imitation
D. All of the above.
A. A term used to describe how texts include a variety of styles
B. A term used to explain the use of multiple points of view in literature
C. A term that explains resistance to a monolithic text
D. All of the above.
A. Aristotle
B. Viktor Shklovsky
C. Cleanth Brooks
D. Stanley Fish
A. To formulate relationships among an author, a reader, and a literary work
B. To understand the role of sexuality, gender, race, and ethnicity in literary study
C. To evaluate the role of historical context in the interpretation of literature
D. All of the above.
A. No fixed, stable meaning is possible.
B. Language must be studied in conjunction with history in order to create meaning.
C. There is no potential for multiple and differing meanings in a work of literature.
D. Literature is timeless, and thus meaning does not change.
A. As an aesthetic object that is independent of historical context
B. As an aesthetic object that is influenced by historical context
C. As a historical object that is also aesthetic
D. As a historical object that is not necessarily aesthetic