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Final Test Four -- Part One

50 Questions  I  By Melkinsey2000
FiNAL TEST FOUR -- PART ONE

  
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1.  Wallace Stevens's poetry was simple, using brief stanzas that were usually unrhymed; however, as a modernist, he frequently invented his own words and the ideas in his poems were often abstract, making it difficult to understand.
A.
B.
2.  Ideas concerning more diverse, permissive and tolerant lifestyles were fueled by the emergence of _____________, lead by Sigmund Freud.  
A.
B.
C.
D.
3.  In Edna St. Vincent Millay's "Apostrophe to Man," Millay is addressing a civilization of people who she believes is truly wise, as the last lime "Homo called sapiens," (which means "man called wise") would imply.
A.
B.
4.  Based on the introduction to modernism that was presented in class, choose the general conflicts that exist in modernism.  
A.
B.
C.
D.
E.
F.
5.  Willa Cather's "The Sculptor's Funeral" begins, as many modern texts do, arbitrarily, without explanations concerning characters and plot
A.
B.
6.  Modernist writers were being published in hundreds of literary magazines between 1914-1945
A.
B.
7.  Robert Frost's poetry can be seen as a _____ to high modernism's fondess for obscurity and difficulty.
A.
B.
C.
D.
8.  Racial inequality/injustice was no longer an issue from 1914-1945
A.
B.
9.  In Willa Cather's "The Sculptor's Funeral," Jim Laird (the lawyer) represents the potential loss of hope that the modern world may inflict on those who seek to experience higher culture
A.
B.
10.  William Carlos Williams was a sentimental celebrant of American life; he embraced the bygone rural America in his poetry
A.
B.
11.  Zora Neale Hurston's work was popular with the male intellectural leaders of the Harlem Renaissance community
A.
B.
12.  In Countee Cullen's "Incident," the glee of a potential friendship for the narrator, who is a child, with another child is shattered by racism
A.
B.
13.  J. Alfred Prufrock and his emotions in in T.S. Eliot's "The Love Song of J. Alfred Prufrock," are representative of the anxiety, alienation and indecision of modern society as a whole
A.
B.
14.  From the list below, choose all themes and/or characteristics that are common in modernism.
A.
B.
C.
D.
E.
F.
G.
15.  Class inequality, which continued to be issue from 1914-1945, was fueled by _______ ideas that existed in Europe and were embraced by some Americans.
A.
B.
C.
D.
16.  Many modernists saw the modern world as a place of ruin, and in Willa Cather's "The Sculptor's Funeral," Harve's delapitdated family home is representative of the ruin of the modern world and the world that Harve had escaped in his adult life.
A.
B.
17.  American literature written between 1914 and 1945 that deals with the new, modern world is part of the modernism genre of literature
A.
B.
18.  Sherwood Anderson's Winesburg, Ohio is a "novel in ________" because it appears to encompasses many short stories, such as "Hands" and "Mother," rather than being a text that provides continuity.
A.
B.
C.
D.
19.  Ezra Pound was a poet committed to art for _____ sake, careless of convention, and continually shocking the respectable middle class.
A.
B.
C.
D.
20.  Though the piecing together of sepearate stories may seem a modern characteristic in Sherwood Anderson's novel Winesburg, Ohio, the chapters, such as "Hands" and "Mother" do not have modernist traits because the chapters are not complicated or fragmented. The reader knows everything that they need to know without having to piece together any unknown parts of each story.
A.
B.
21.  Regionalism, racial equality and gender equality are familiar themes in modern literature
A.
B.
22.  Zora Neale Hurston claimed that she wrote to "uplift her race" because her race needed to be uplifted
A.
B.
23.  E.E. Cummings's "i sing of Olaf glad and big" is a satire (sarcasm/ridicule) on war and patriotism
A.
B.
24.  Based on class discussion, in Willa Cather's "The Sculptor's Funeral," Harve represents the modernists and their appreciation for high culture and artistic achievement while those in his hometown (Sand City) represent the modern world that the modernists saw as lacking in high culture and indifferent to artistic achievement.
A.
B.
25.  E.E. Cummings is best known for his modernist characteristic of playing with form, in that he experimented with
A.
B.
C.
D.
E.
F.
26.  The Americanized version of Freud's psychoanalysis was the belief that emotional wholeness could be attained at once if people recognized and overcame their inhibitions
A.
B.
27.  One of the modern characteristics of Susan Glaspell's play Trifles is that the main characters at the center of the plot never appear
A.
B.
28.  Between 1914 and 1945, U.S. readers preferred modernist texts
A.
B.
29.  Modernist works represent the transformation of traditional society under the pressures of ________.    
A.
B.
C.
D.
30.  The rose in the title "A Rose for Emily" is representative of A) a rose that Homer gave to Emily  B) Faulkner's tribute to Emily C) a mysterious rose that would be place on her grave each year after her death D) a rose that Emily wore in her hair
A.
B.
C.
D.
31.  Choose all the characteristics that may typically apply to modernist literature.
A.
B.
C.
D.
E.
F.
G.
H.
I.
J.
K.
32.  Robert Frost wrote the kind of traditional, accessible poetry that modernists argued could no longer be written
A.
B.
33.  Robert Frost is a poet in the main tradition of modern poetry, seeking and embracing non-traditional, experimental forms of poetry
A.
B.
34.  In William Faulkner's "Barn Burning" Faulkner uses _______ to show Sarty's thoughts. This is an example of Faulkner playing with form.
A.
B.
C.
D.
35.  For Robert Frost, poetry was a "momentary stay against confusion."
A.
B.
36.  In Langston Hughes's "Mother to Son," the staircase is a methaphor for her life, which has not been easy
A.
B.
37.  Theater (productions and performances) were new to America during the interwar period, and developed rapidly into a mainstream, popular form of literature
A.
B.
38.  In Ernest Hemingway's "The Snows of Kilimanjaro," there is some indication that Hemingway, as a modernist, believed that wealth leads to artistic decay
A.
B.
39.  Carl Sandburg's aim was to celebrate the working people of America in poems that they could understand; he was uninhibitted by form, not caring for rhyme or regular meter. His experimenting with form was his most modern charateristic as a poet.
A.
B.
40.  “High modernism” often represents modernity as an experience of ____ or ____.
A.
B.
C.
D.
41.  ______ ______ ______, used in the selections we read by Ernest Hemingway and William Faulkner, is a narrative mode that seeks to portray an individual's point of view by giving the written equivalent of the character's thought processes, either in a loose interior monologue, or in connection to his or her actions.
A.
B.
C.
D.
42.  William Faulkner, as a modernist, often told stories from the point of view of characters that included sages (wise ones), children, criminals, the insane and even the dead. Sometimes he did this all within one book.
A.
B.
43.  Dramatic irony occurs in Susan Glaspell's Trifles because the male characters do not know that the trifling concerns/details (or petty concerns/details) are what solve the case. However, the audience (and the female characters) do know this.
A.
B.
44.  As a modernist, William Faulkner experimented with chronology, though "A Rose for Emily" is not an example of this. "A Rose for Emily" begins with Emily's birth and ends with Emily's death
A.
B.
45.  Issues, such as isolation, domestic violence and gender roles are highlighted by Susan Glaspell's altering of traditional form in Trifles
A.
B.
46.  Carl Sandburg once said that he wrote "simple poems for ______ people."
A.
B.
C.
D.
47.  Who began to migrate in large numbers out of the south to work in factories up north that were providing supplies for the wars?
A.
B.
C.
D.
48.  In her play Trifles, one of the ways in which Susan Glaspell experiments with form is by writing a one act play rather than a play with multiple acts
A.
B.
49.  The period between World War I and World War II in which modernism developed is known as the ________ period.
A.
B.
C.
D.
50.  Many modernist writers were expatriates, or Americans who REMAINED in the U.S. because they found that countries outside of the U.S. lacked high culture and were indifferent to artistic achievement.
A.
B.
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