A. Lamentation, in which the speaker demonstrates grief
B. Praise and admiration for the dead
C. Consolation and solace
D. All of these
A. How women are portrayed in literary texts
B. The psychologies of female writers
C. How women have been socially oppressed in literary texts
D. All of these
A. Stark and sterile
B. Flowery and ornate
C. Futuristic and technologically advanced
D. Ancient and sophisticated
A. Passive readers and critics of literary texts.
B. Involved in critical conversations about literary texts.
C. Capable of realizing that the viewpoints of some critics are more important than others.
D. Aware that hamlet is a remarkable work of literature.
A. Character
B. Setting
C. Plot
D. All of these
A. Marxist criticism
B. Reader-response criticism
C. Psychoanalytic criticism
D. New criticism
A. She is mature and realistic.
B. She is immature and has difficulty recognizing the difference between fact and fiction.
C. She is a matchmaker trying to set up romances between her friends, all the while unable to find true love herself.
D. B and c
A. The psychologies of individual authors.
B. The typographical structures of literary texts.
C. Translation issues.
D. How children relate to their parents in terms of literary texts.
A. “to be or not to be, that is the question.”
B. “and the world didn’t even think of stopping for me.”
C. “i played about the front gate, pulling flowers.”
D. “i wandered lonely as a cloud.”
A. A hypothesis about how literary texts can be understood
B. A methodology for applying ideas to literary texts
C. The practice of interpreting literary texts
D. A trend in university english departments