Answer the questions below by choosing One answer (A, B, C, or D) to each question (fill in the box that corresponds to the letter of the answer you have chosen on your answer sheet).

1. The rise of Theory in the 1960s marks a break with a   A. humanistic   B. moralistic   C. ideological   D.  A & B        tradition in criticism.
2. Modern critical theories are essentially  A. author-centred  B. relativistic  C. sceptical   D. B&C.
3. "Code" in Roman Jakobson's diagram of linguistic communication refers to   A.  writing  B. history  C. structure  D. meaning.
4. Romantic poets argue that sublime poetry has  A. physical effects  B. physiological effects  C. psychological effects  D. A, B, & C.
5. They also believe that sublime poetry contains A. great emotions  B. great ideas and great emotions  C. great ideas and great values  D. lofty expressions of genuine, passionate love.
6. "Emotion", in Romantic usage, alludes to  A. the bodily sensation, pleasing or painful, which accompanies perception  B. an intuitive form of knowledge as distinct from scientific reason  C. A & B  D. neither A nor B.
7. According to William Wordsworth , the poet conjures up in himself passions which  A. are far from being the same as those produced by real events  B. nearly resemble the passions produced by real events C. exist only in imagination  D. A & B.
8. For Reader-Response critics, the text is  A. a determinate structure  B. an indeterminate structure  C. neither completely determinate nor completely indeterminate  D. established in accordance with the reader's wishes.
9. According to Wolfgang Iser, the concept of the implied reader is a  A. textual structure  B. social structure  C. psychological concept  D. A, B, & C.
10. Iser argues that the reader's communication with the text is a process of  A. self-production  B. self-correction  C. self-inspection  D. self-destruction.
11. Freud finds in Hamlet a conflict between  A. two conscious impulses  B. a conscious impulse and a repressed one  C. two unconscious impulses  D. principles and reality.
12. According to Freud, our drives  A. can express themselves in indirect forms  B. cannot express themselves at all  C. can express themselves freely and directly  D. can express themselves only in writing.
13. "Libido" refers to  A. sexual desire  B. psychic drive or energy, especially that which is associated with the sexual instinct  C. pleasure in general  D. ideals.
14. Freud attribute the Oedipus complex  to children of about the ages A. two to five  B. three to five  C. two to ten  D. three to ten.
15. For Formalists, attention should be focused on the words on the page as  A. expression of universal human experience  B. expressions of the ironic  C. expressions of a specific social message  D. a self-sufficient entity.
16. According to Formalists,  A. the ideologies of writers determine the nature of their writings  B. texts are determined by the author's ideology and by the historical context in which they are produced  C. texts are independent of these influences  D. literature is a form of moral experience.
17. The purpose of art, according to Shklovsky, is to impart the sensation of things  A. as they are known  B. as they are perceived  C. as they should be  D. A, B, & C.
18. Poetic language, Shklovsky argues, should be   A. difficult  B. strange  C. strange and difficult  D. strange but not difficult.
19. Saussure's account of the system of language asserts that the object of study is  A. individual  B. social  C. both social and individual  D. none of the above.
20. Saussure notes that the relationship between the signifier and the signified is arbitrary. This means that it is A. Natural  B. inevitable  C. subjective  D. not based on a natural or necessary reason.
21. The signifier, according to Saussure,  A. has one, permanent signified  B. always has more than one signified  C. can have more than one signified  D. can have a limitless number of signifieds.
22. Semiotics is the study of  A. signs within the system of language as an abstract system  B. signs in relation to psychology  C. signs within society  D. A, B, & C.
23. 'Diachrony' designates   A. a language-state  B. an evolutionary phase  C. A & B  D. neither A nor B.
24. The sign is a two-sided  A.  social entity  B. linguistic entity  C. historical entity  D. none of the above.
25. Saussure's main concern is to give an explanation of  A. the literary system  B. langue  C. parole  D. A, B & C.
26. 'Language is essentially figurative and not  referential'.  This statement best describes discourse according to  A. Formalists  B. Structuralists  C. Post-Structuralists  D. Romanticists.
27. Phonocentrism  is  A. equivalent to logocentrism  B. an example of logocentrism  C. totally different  from logocentrism  D. inclusive of logocentrism.
28. By 'differance' Derrida means that  A. language is a system of binary oppositions  B. speech is different from writing   C. full meaning is never present  D. the sign consists of a signifier and a signified.
29. Derrida is critical of  A. the concept of unity  B. the concept of centre  C. the concept of presence  D. A, B & C.
30. The middle classes did NOT emerge as significant in literary culture until  A. the seventeenth century  B. the eighteenth century  C. the nineteenth century  D. the twentieth century.
31. The principles of modern feminism were laid down by  A. Virginia Woolf  B. Simone de Beauvoir  C. Elaine Showalter  D. Julia Kristeva.
32. Feminists believe that to break the patriarchal power in society it is necessary to  A. enter the domain of men's social practices  B. challenge men at the level of theory  C. remain outside male definitions of the female  D. oppose the limitations imposed on women's education.
33. The driving out of unwanted emotions (pity and fear) is called  A. 'moderation'  B. 'purgation'  C. 'purification'  D. none of the above.
34. The emphasis on unity belongs with  A. organicist  thought  B. Romanticism  C. Formalism  D. A, B & C.
35. Dreams, according to Freud, are the effects of compromises in the psyche between  A. desires and expectations  B. desires and prohibitions  C. desires and actions  D. desires and illusions.
36. The signifier, according to Saussure, is  A. a visual image  B. an acoustic image  C. a symbol  D. a sensory element.
37. 'The female is female by a certain lack of qualities'- who says this?  A. Plato  B. Aristotle  C. Lacan  D. Freud.
38. The author of 'The Laugh of the Medusa' is A. Tillie Oslen  B. Helene Cixous  C. Kate Millett  D. Julia Kristeva.
39. The term 'Oedipus Complex' applies to A. boys  B. boys and girls in general  C. boys and girls whose parents are separated  D. boys and girls whose parents are excessively prohibitive.
40. The psychoanalytic theories of . . . . . suggest that female language and passion are revolutionary, subversive and 'heterogeneous'. A. Jacques Lacan  B. Julia Kristeva  C. Jacques Lacan   and Julia Kristeva   D. Jacques Lacan, Julia Kristeva and Richard Hoggort.

 
Answer the questions below by choosing one answer (A, B, C or D) to each question (fill in the box that corresponds to the letter of the answer you have chosen on your answer sheet). (2 points for each question)


1. A new version of the Battle of the Books between the Ancients and the Moderns has been raging in recent years: the former complain that the Moderns behave as if literary theory never existed before A. Barthes and Saussure B. Barthes and Jakobson C. Barthes and Derrida  D. Barthes and Iser reared their brazen heads.
2. The Moderns appear to regard traditional critics as prehistoric moles working in the dark before the dawn of    A.        formalism, structuralism and semiotics B. structuralism, semiotics and deconstruction C. semiotics, deconstruction and subjective criticism D. deconstruction, subjective criticism and psychoanalytic theory.
3. It's been suggested that the methods and assumptions adopted by critics merely reflect their interests or their 'will to power'. This view, according to Raman Selden, is A. logocentric B. unrealistic C. Romantic D. None of the above.
4. According to Raman Selden, we may interpret the existence of different critical traditions as A. an endlessly fascinating struggle for supremacy B. an endlessly fascinating struggle for supremacy or a series of attempts to establish a knowledge of the literary process C. an endlessly fascinating struggle for supremacy or a series of attempts to establish a knowledge of the role of the reader in the circuit of communication D. an attempt to provide a scientific account of literature.
5. One of the following questions is not included in the set of fundamental questions we usually raise about literature and its contexts—which one?      A. Can critical analysis, interpretation or reading avoid implicit theory?       B.        What are the formal and structural properties of texts? C. Is literature a part of history D. What mental processes, whether the writer's or the reader's, contribute to the production of literary texts?
6. Affective criticism A. is based on the rhetorical view that emotional effects can be produced only by piling up phrase upon phrase B. emphasizes the necessity of piling up phrase upon phrase, but it also recognizes the plain sublime, in which simple words can stir deep emotions in the reader C. emphasizes the necessity of piling up phrase upon phrase, but it also recognizes the silent or plain sublime, in which simple words or even total silence can stir deep emotions in the reader D. places all emphasis on expressing emotions, regardless of what these emotions are or what the language (style, form, etc) used is.
7. Wordsworth A. establishes a clear-cut dichotomy between poetry as emotional knowledge and science as intellectual knowledge B. resists the temptation to establish a clear-cut dichotomy between poetry as emotional knowledge and science as intellectual knowledge C. He does not say anything about this point D. insists on confining poetry to verifiable and factual statements about the psychological benefits of the excitement of feelings.
8. The sublimity of poetry, according to Romantics, rests essentially on A. emotional power B. the greatness of thought C. A & B D. emotional power, the greatness of thought and the expression of personal experience.
9. William Wordsworth argues that A. the understanding of the reader must be enlightened B. his affections must be strengthened C. his affections must be strengthened and purified D. all of the above.
10. He also argues that poetry takes its origin from A. personal experience B. laws and customs C. divine inspiration or the contemplation of the goings-on of the universe  D.  emotion recollected in tranquility.
11. According to Reader-Response critics, the reader A. can make the text mean what s/he likes B. cannot make the text mean what s/he likes C. That depends on linguistic knowledge D. That depends on the reader's activity of reading.
12. Reader-Response critics focus on the reception of the text A. in the present only B. in both the past and the present C. That depends on the issues the text tackles D. That depends on the historical references the text displays.
13. According to Wolfgang Iser, the concept of the implied reader is a A. social structure B. textual structure C. psychological concept D. A, B, & C.
14. Iser argues that the reader's communication with the text is a process of A. self-correction B. self-inspection C. self-production D. self-destruction.
15. He also argues that fictional texts A. constitute their own objects B. copy something already in existence C. usually constitute their own objects, but sometimes they copy something already in existence D. sometimes constitute their own objects, but in most cases they copy something already in existence.
16. Western though has often recognized that the rational part of the human mind is in A. correlation B. connection C. contention D. conjunction     with passion and imagination.
17. According to Freud, our drives A. cannot express themselves at all B. can express themselves in indirect forms C. can express themselves freely and directly. D. can express themselves only in writing.
18. 'Neurosis' means A. excessive violence B. Psychic drive or energy, especially that which is associated with the sexual instinct C. loss of memory D. none of the above.
19. The libido, Freud argues, needs to be discharged   A. to ensure pleasure   B. to prevent pain   C. to ensure pleasure and prevent pain D. to get rid of fantasies.
20. Freud attributes the Oedipus complex to children of about the ages A. two to five B. two to ten C. three to five D. three to ten.
21. The term 'Oedipus Complex' was originally applied to boys; the equivalent in girls is called   A. Electra Complex B. Electral Complex C. Elentra Complex D. Elentral Complex
22. Which part of the mind acts as a censor on wishes? A. the ego B. the superego   C. the id.
23. In the present, the concept of unity is considered A. realistic B. pragmatic C. axiomatic D. problematic.
24. The belief in the 'unity' of literary texts is a hangover from our A. Romantic inheritance B. New Critical inheritance C. Romantic and New Critical inheritance D. none of the above.
25. For Formalists, attention should be focused on the words on the page as A. a self-sufficient entity B. expressions of a universal human experience C. expressions of the ironic D. expressions of a specific social message.
26. Formalists believe that A. the elaboration of devices is subordinated to content B. content is subordinated to the elaboration of devices C. formal devices and content are of equal importance D. the elaboration of devices is important in poetry only.
27. They also "believe that we can develop a properly rigorous and objective analysis of a text only by A. isolating that text from its author B. isolating that text from its context C. isolating that text from its author and context D. studying the ways in which the text absorbs biography, history, language, and so on, into its structure.
28. The purpose of art, according to Shklovsky, is to impart the sensation of things A. as they are known B. as they should be C. as they are perceived D. A, B & C.
29. The technique of art, Shklovsky argues, is A. to make objects unfamiliar B. to make forms difficult C. to increase the difficulty of length of perception D. A, B & C.
30. Saussure argues that in order to isolate a linguistic system it is necessary to A. cut a synchronic slice from the diachronic flow of language B. cut a diachronic slice from the synchronic flow of language.
31. Saussure notes that the relationship between the signifier and the signified is arbitrary. This means that it is A. natural B. inevitable C. not based on a natural or necessary reason D. subjective.
32. The signifier, according to Saussure, A. has one, permanent signified B. always has more than one signified C. can have more than one signified D. can have a limitless number of signifieds.
33. The sign is a two-sided A. social entity B. linguistic entity C. historical entity D. none of the above.
34. Structuralists treat signification as A. an unstable and unsystematic process B. a stable and systematic process.
35. According to Saussure, A. linguistics is a part of semiology B. semiology is a part of linguistics.
36. According to Derrida, we  A. can  B. cannot     break free from the conceptual universe we inherit.
37. 'Differance' alludes to A. spatial differences B. temporal deferment C. A & B.   D. neither spatial differences nor temporal deferment.
38. The distinction between signifier and signified, according to Derrida, remains within the heritage of A. logocentrism B. phonocentrism C. A&B. D. None of the above.
39. A. Elaine Showalter B. Kate Millett C. Helene Cixous D. Simone de Beauvoir examines the writings of British women novelists since the Brontes.
40. 'Gynocriticism' deals with A. the distinctive themes, structure and genres of women's writings B. the nature of female creativity and female language, and the historical problems facing women as writers C. the distinctive themes, structure and genres of women's writings, the nature of female creativity and female language, and the historical problems facing women as writers D. the distinctive themes, structure and genres of women's writings, the nature of female creativity and female language, and the historical problems facing women in capitalist societies.

 
Answer the questions below by choosing One answer (A, B, C, or D) to each question (fill in the box that corresponds to the letter of the answer you have chosen on your answer sheet).

1. In Roman Jakobson's diagram of linguistic communication, we interpret writing as A. the code  B. the message  C. both the code and the message  D. the code, message and context.
2. Some critics attempt to discover the code or codes underlying particular kinds of 'message'. These critics are called  A. Romantics  B. Formalists  C. Structuralists  D. Post-Structuralists.
3. Other critics place subjective experience at the centre of the literary stage. These critics are known as  A. Romantics  B. Formalists  C. Structuralists  D. Post-Structuralists.
4. Modern critical theories are essentially  A. relativistic  B. sceptical  C. A & B   D. neither relativistic nor sceptical.
5. Affective criticism began to flourish in the  A. late Victorian Period  B. late Georgian period  C. late Victorian and Georgian period  D. none of the above.
6. The sublimity of poetry, according to Romantics, rests essentially on  A. emotional power  B. the greatness of thought  C. A & B  D. emotional power, the greatness of thought and the expression of personal experience.
7. "Emotion", in Romantic usage, alludes to  A. the bodily sensation, pleasing or painful, which accompanies perception  B. an intuitive form of knowledge as distinct from scientific reason  C. A & B  D. neither A nor B.
8. According to William Wordsworth, the poet conjures up in himself passions which  A. are the same as those produced by real events  B. nearly resemble those produced by real events  C. are far from being the same as those produced by real events  D. are far from being the same as, yet do resemble, those produced by real events.
9. William Wordsworth argues that  A. the understanding of the reader must be enlightened  B. his affections must be strengthened  C. his affections must be strengthened and purified  D. all of the above.
10. According to Reader-Response critics, the reader  A. can make the text mean what s/he likes  B. cannot make the text mean what s/he likes  C. that depends on linguistic knowledge  D. that depends on the reader's activity of reading.
11. Reader-Response critics focus on the reception of the text  A. in the present only  B. in both the past and the present  C. that depends on the issues the text tackles  D. that depends on the historical references the text displays.
12. According to Wolfgang Iser, the concept of the implied reader is a  A. textual structure  B. social structure  C. psychological concept  D. A, B, & C.
13. Iser argues that the reader's communication with the text is a process of  A. self-production  B. self-correction  C. self-inspection  D. self-destruction.
14. He argues that fictional texts  A. constitute their own objects  B. copy something already in existence  C. usually constitute their own objects, but sometimes they copy something in existence  D. sometimes constitute their own objects, but in most cases they copy something already in existence.
15. Western thought has often recognized  that the rational part of the human mind is in  A. correlation  B. connection  C. contention  D. conjunction  with passion and imagination.
16. According to Freud, our drives  A. can express themselves in indirect forms  B. cannot express themselves at all  C. can express themselves freely and directly  D. can express themselves only in writing.
17. 'Neurosis' means  A. excessive violence  B. Psychic drive or energy, especially that which is associated with the sexual instinct  C. loss of memory  D. none of the above.
18. The libido, Freud argues, needs to be discharged  A. to ensure pleasure  B. to prevent pain  C. to ensure pleasure and prevent pain  D. to get rid of fantasies.
19. Freud attributes the Oedipus complex  to children of about the ages A. two to five  B. three to five  C. two to ten  D. three to ten.
20. The term 'Oedipus Complex' was originally applied to boys; the equivalent in girls is called  A. Electra Complex  B. Electral Complex  C. Elentra Complex  D. Elentral Complex.
21. Which part of the mind acts as a censor on wishes? A. the ego  B. the superego  C. the id.
22. In the present, the concept of unity is considered  A. realistic  B. pragmatic  C. axiomatic  D. problematic.
23. The belief in the 'unity' of literary texts is a hangover from our A. Romantic inheritance  B. New critical inheritance  C. Romantic and New critical inheritance  D. none of the above.
24. For Formalists, attention should be focused on the words on the page as  A. expression of universal human experience  B. expressions of the ironic  C. expressions of a specific social message  D. a self-sufficient entity.
25. Formalists believe that  A. the elaboration of devices is subordinated to content  B. content is subordinated to the elaboration of devices  C. formal devices and content are of equal importance  D. the elaboration of devices is important in poetry only.
26. They also believe that we can develop  a property rigorous and objective analysis of a text only by  A. isolating that text from its author  B. isolating that text from its context  C. isolating that text from its author and context  D. studying the ways in which the text absorbs biography, history, language, and so on, into its structure.
27. The purpose of art, according to Shklovsky, is to impart the sensation of things  A. as they are known  B. as they are perceived  C. as they should be  D. A, B, & C.
28. The technique of art, Shklovsky argues, is  A. to make objects unfamiliar  B. to make forms difficult  C. to increase the difficulty of length of perception  D. A, B & C.
29. Saussure argues that in order to isolate a linguistic system it is necessary to A. cut a synchronic slice from the diachronic flow of language  B. cut a diachronic slice from the synchronic flow of language.
30. Saussure notes that the relationship between the signifier and the signified is arbitrary. This means that it is A. natural  B. inevitable  C. subjective  D. not based on a natural or necessary reason.
31. The signifier, according to Saussure,  A. has one, permanent signified  B. always has more than one signified  C. can have more than one signified  D. can have a limitless number of signifieds.
32. The sign is a two-sided  A.  social entity  B. linguistic entity  C. historical entity  D. none of the above.
33. Structuralists treat signification  as  A. an unstable and unsystematic process  B. a stable and systematic process.
34. According to Saussure, A. linguistics is a part of semiology  B. semiology is a part of linguistics.
35. According to Derrida, we  A. can  B. cannot  break free from the conceptual universe we inherit.
36. 'Différence' alludes to A. spatial differences  B. temporal deferment  C. A & B  D. neither spatial differences nor temporal deferment.
37. The distinction between the signifier and the signified, according to Derrida, remain within the heritage of  A. logocentrism B. phonocentrism  C. A & B.
38. The author of The Second Sex is  A. Tillie Oslen  B. Kate Millett  C. Hélène Cixous  D. Simone de Beauvoir.
39. Feminists believe that to break the patriarchal power in society it is necessary to  A. enter the domain of men's social practices  B. challenge men at the level of theory  C. remain outside male definitions of the female  D. oppose the limitations imposed on women's education.
40. The author of 'Professions for Women' is  A. Virginia Woolf  B. Elaine Showalter  C. Julia Kristeva  D. Simone de Beauvoir.