A. psychoanalytic criticism.
B. Marxist criticism.
C. New Criticism.
A. An understanding of the various conceptions and understandings of gender that have carried throughout various cultures
B. An understanding of gender as a human construct
C. An understanding of how standard histories of western societies are presented in terms of heterosexual identity
D. All of these.
A. Marxist criticism
B. Reader-response criticism
C. Psychoanalytic criticism
D. New Criticism
A. Pound’s “In a Station of the Metro”
B. Bishop’s “One Art”
C. Auden’s “Paysage Moralisé”
D. William Shakespeare’s “Sonnet 18”
A. Typically poetic and fanciful language
B. Ancient languages
C. Complicated and difficult language
D. Common, everyday language
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 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. All novelists are painters at heart.
B. George du Maurier felt that black-andwhite illustrators could be as important as novelists and painters.
C. George du Maurier attacked the social position of the novelist in his illustrations.
D. George du Maurier was a tremendous influence on Victorian novelists.
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. logical in terms of plot and structure.
B. complex in terms of plot and structure.
C. without any sort of moral insight.