COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2015-2016. FEBRUARY EXAMS. No material is allowed. (3) NAC.RES. PART A: choose the correct answer in each case. Use the multiple choice form follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 1. Post-structuralist writing has a preference for a) scientific objectivity. b) pun and word-play. ¢) traditional symbols 4d) abstraction and generalisation 2. Derrida’s notion of ‘doubling commentary” consists in a) paraphrasing the text's contents b) applying creative writing to literary criticism. ¢) focusing on the author's style. 4) adopting a comparative approach. 3. A basic assumption of new historicism is that a) history and literature are incompatible areas of study. b) literary texts should be given priority over non-literary texts. c) the history of English literature begins with Shakespeare. 4) literary and non-literary texts should be read in parallel. 4. The best definition of co-text is a) “a translation of an original” b) “ahistorical commentary of a literary work”. c) “a text that belongs to the same genre as another one”, 4) “anondliterary text examined together with a literary text” 5. The main object of study of gynooriticism is a) the portrayal of women in androtexts. b) gender violence and its causes. c) women’s literature d) women’s liberation movements since the late 19" century. 6. Elizabeth Bishop's “Roosters” could be considered a) a parody of a news report. b) a fable of the oppression of women c) a poetic manifesto against the Vietnam war. 4) a prose poem with a peculiar layout.7. The main attack on feminism in the 1980s was based on a) its political involvement. b) its failure to study the canonical classics. c) the commercial success of The Madwoman in the Attic. d) its almost exclusive focus on white heterosexual women. 8. According to Butler, lesbianism a) is nota stable identity. b) is essential to female sensitivity. ¢) defines the identity of some women. ) has to do with genetic inheritance. 9. In Said’s view, the idea of the Orient a) constitutes a vindication of Eastern cultures. b) has nothing to do with Orientalism. ¢) is a Western construct or projection. d) is an ideal that Western writers should aspire to. 10. Which of the following concepts is rejected by post-colonial theory? a) Othemess. b) Universalism. c) Hybridity. 4d) Cultural polyvalency. 14. Thomas's phrase “the synagogue of the ear of com" a) connects two verse lines through enjambment. b) alludes to the Nazi Holocaust. c) is an example of synaesthesia (visual-aural). 4d) is a metaphor drawing on religious and natural images. 12. At the end of Heart of Darkness, Marlow has an important encounter with a) a doctor concemed about his mental health b) his aunt in Brussels. c) Kurtz's “Intended”. 4) Kurtz's African mistress. END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY From our superior vantage point, we can clearly see into a sort of dugout, possibly a shell crater, a “nest” of soldiers. They lie heaped together, wearing the camouflage “baitle dress” intended for winter war- fare.” They are in hideously contorted positions, all dead. We can make out at least eight bodies. These ashtray uniforms were designed to be used in guerrilla warfare on the country's one snow-covered moun- tain peak. The fact that these poor soldiers are wearing them here, on the plain, gives further proof, if proof were necessary, either of the childish- ness and hopeless impracticality of this inscrutable people, our opponents, or of the sad corruption of their leaders. 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX. 200 WORDS). Write about the following aspects of the text: genre, poetic voice or speaker, imagery and layout (i.e. how the poem's elements are arranged). (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX. 250 WORDS). How could the fragment above be approached from a new historicist perspective? Bring into relation the fragment and the theory that you have studied. (Up to 2 points).COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2016-2017. SEPTEMBER EXAMS. No material is allowed. (2) NAC.EU.RES. PART A: choose the correct answer in each case. Use the multiple choice form, LI the f the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 4. The scepticism characteristic of post-structuralism derives from a) confidence in the scientific method. b) philosophy. ©) the Apocryphal Gospels. d) the moral crisis following World Wer II. 2. Deconstruction could be defined as a) applied post-structuralism b) an antecedent of structuralism. ¢) a reaction to feminist theory. d) the practice of identifying cohesive patterns in literary texts. 3. New Historicism consists in a) studying how literary authors have come down in history b) setting works of literature in their historical contexts ¢) determining the accuracy of historical novels. ) studying literary and non-literary texts in parallel. 4. As defined by Foucault, discourses operate a) only in totalitarian regimes. b) at various levels of society (family, government, and so on). ©) exclusively as democratic principles chosen by a majority. ) only in the form of written laws or rules. 5. Gynocriticism does not concer itself primarily with a) female literary tradition b) female creativity. c) writing by women. d) androtexts. 6. The term “phallocentric” can be considered synonymous with a) sexually aggressive. b) male-dominated. ©) exclusively male. d) homoerotic.7. Which of the following could be considered an alternative to “compulsory heterosexuality” (as expressed in the title of a famous essay by Adrienne Rich)? a) Casual sex. b) Male heterocentrism. c) Patriarchal homophobia d) Lesbian existence. 8. Butler's vision of identity as impersonation is characteristically a) essentialist. b) postmodernist. c) Saussurean. 4) populist. 9. According to Fanon, a crucial project for colonised peoples is a) maintaining their loyalty to the metropolis. b) refusing to use the language of the colonisers. ©) reclaiming their own past. d) excluding Western literature from their educational programmes. 10. The post-colonial critic Chinua Achebe famously attacked Heart of Darkness for its a) alleged racism b) flawed use of point of view. c) sexist portrayal of female characters. 4) open ending. 41. The poetic speaker / persona of Bishop's poem “In the Waiting Room” is a) a lesbian activist b) a woman who has fallen in love with her dentist. c) Aunt Consuelo. d) a woman reminiscing on an episode of her childhood. 42. Which of the following is not one of the spatial / temporal settings of The Awakening? a) The late 19" century. b) Montmartre, in Paris. ©) Grand Isle. d) New Orleans. END OF PART A. PART B FOLLOWS ON THE NEXT PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated, Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. the page and continue on the reverse side. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY You should have heard him say, ‘My ivory.’ Oh, yes, | heard him. ‘My Intended, my ivory, my station, my river, my—' everything belonged to him. It made me hold my breath in expectation of hearing the wilderness burst into a prodigious peal of laughter that would shake the fixed stars in their places. Everything belonged to him—but that was a trifle. The thing was to know what he belonged to, how many powers of darkness claimed him for their own. That was the reflection that made you creepy all over. It was impossible—it was not good for one either—trying to imagine. He had taken a high seat amongst the devils of the land—I mean literally. 4) CONTEXT (MAX, 70 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX, 70 WORDS EACH QUESTION). (i) Comment on the association of “him” with “the wilderness” and “the darkness”. (ii) Describe the narrative point of view in the source text, and the narrator's role in this particular extract. (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX, 200 WORDS EACH QUESTION). (i) Could we say that the character alluded to in the extract is an example of “hybridity”? (ji) Summarise why the source text has been the object of critical controversy. (Up to 2 points)COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI 2016-2017. FEBRUARY EXAMS. No material is allowed. (2) NAC.RES-EU. PART A: choose the correct answer in each case. Use the multiple choice form. follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 1. The *Discontinuities” studied by post-structuralists are a) changes in meaning of words. b) breaks in the text that evidence what is repressed ¢) Old ideas that are no longer considered valid. d) changes in literary criticism 2. According to Jacques Derrida, a critical reading must “produce” a) an explanation of the text according to its grammatical aspects. b) a rational explanation of the author's intentions in consonance with her / his biography. ©) a signifying structure involving something in the text unperceived by the author. 4) a historical reading based on the context of the author, the text and the culture they belong to. 3. “Never until [...] / [...] I must enter again the round / Zion of the water bead / ‘And the synagogue of the ear of com” expresses a) the speaker's faith in the afterlife with metaphors, b) the speaker's Jewish faith with paradoxes. c) the speaker's atheism with religious metaphors 4d) the speaker's need to return to his old faith with religious metaphors 4. In New Historicist essays, an “anecdote” is a) a funny story to entertain the reader. b) a curious, irrelevant historical detail about the period studied in the essay. c) a powerful dramatic document that works like a co-text d) an eyewitness account 5. In “The Historical Text as Literary Artifact" (1978), Hayden White a) criticises New Historicism and its methods of approaching texts. b) emphasises the distinction between historical and literary texts. c) advocates for the separation of literature and history. 4) deconstructs the traditional opposition between historical and literary texts. 6. In “Twelve O'Clock News", the words on the left of the text a) are metaphors for the prose sections on the right. b) are totally unrelated to the prose sections on the right. ©) are real objects described metaphorically on the right. 4d) are the objects described objectively and exactly on the right.7. Feminist critics a) strive to make women powerful and marginalise and victimise men b) are not really interested in the social aspects of literary texts c) focus on the favourable representations of women in literature. 4d) challenge representations of women as “Other” or “lacking” something. 8. In Eve K. Sedgwick's view, the act of coming “out of the closet” a) amounts to crossing a boundary once and for all. b) is meaningful for gay men only. c) may result, paradoxically, in reinforcing patriarchy. 4) is determined by a variety of social situations. 9. Judith Butler holds that a) the opposing terms “gay” and “straight” must be defended at all costs. b) the opposing categories of “gay” and “straight” are politically irrelevant. c) the categories “gay”, “straight” and others are part of the structures of power that oppress gays and lesbians. 4d) the binary opposition of “gay” and “straight” was created by queer theory. 10. Kate Chopin's The Awakening is studied by feminist critics because it a) supports the idea that women had to avoid being themselves and had to adapt to the patriarchal rules of 19""-century American society. b) deals with the gradual awakening of Edna Pontellier to sensuality and freedom from oppressive patriarchal limitations and conventions. ©) portrays Edna Pontellier as a selfish, childish woman who abandons her family in an irresponsible pursuit of unobtainable freedom. 4) deals with the gradual awakening of Edna Pontellier to sensuality and freedom and her success in living independently. 11. Conrad's portraying Marlow as a Buddha in Heart of Darkness a) points to the novella having a diffuse meaning, like a parable, intended to enlighten his friends on the yaw! b) sets the action of the text in the Orient. c) marginalises even more the Africans and Africa in Western imagination. 4d) js totally irrelevant and it is just an element of exoticism to add colour to this novella of adventures in Africa. 12. In his essay, John H. Miller a) agrees with Achebe's reading of Heart of Darkness and he adds arguments to it. b) does not mention Achebe's essay at all and focuses on a religious and conservative reading of Heart of Darkness. c) criticises Achebe’s essay and feminist readings and defends Heart of Darkness as a critique of capitalism including its racism and sexism. 4) studies Heart of Darkness from a New Historicist point of view and shows how Conrad criticises the African social structures that oppressed Africans. END OF PART A. PART B FOLLOWS ON THE NEXT PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY Marlow ceased and sat apart, indistinct and silent, in the pose of a meditating Buddha. Nobody moved for a time. “We have lost the first of the ebb',” said the Director, suddenly. | raised my head. The offing? was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed sombre under an overcast sky—seemed to lead into the heart of an immense darkness. ‘Ebb: the flow of water away from the shore between high and low tides. Offing: the part of the sea that is very far or beyond anchoring ground (seen from the shore or a ship near the shore) 1) CONTEXT (MAX. 70 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX. 70 WORDS EACH QUESTION). (i) Who is the narrator in this fragment? Where is this fragment in the text it belongs to? Discuss the characteristics of this narrator in the novella, (ii) Comment on the relevance of the description of the river in the fragment in connection with the location it refers to, the location of the main narration and the title of the novella. (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX. 100 WORDS EACH QUESTION). (i) How can this fragment be used to refute Chinua Achebe’s ideas on the text? (ii) In connection with this, notice and discuss the fact that Marlow is compared with a Buddha, the location of the action in this fragment, and the description of the river that you discussed above. (Up to 2 points).COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI 2015-2016. SEPTEMBER EXAMS. No material is allowed. (2) NAC.EU.RES. PART A: choose the best answer in each case. Use the multiple choice form, follow its instructions, and make sure that you hand in the multiple choice form and all the ages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. Marks are not deducted for wrong answers in the multiple choice section. MAX: 6 MARKS (0.5 each) 1. Post-structuralism relies largely on a) the scientific method. b) objective knowledge ©) philosophical scepticism. 4d) observation followed by logical deduction. 2. According to Barthes, “the death of the author’ results in the a) reassessment of women's literature. b) prevalence of orality. c) birth of the reader. 4d) interdependence of text and context. 3. In order to study a literary text, Greenblatt typically uses a historical document, to which he refers as the a) “anecdote” b) “equal weighting” c) “paratext’. 4) “intertext” 4, Foucault's theoretical ideas could be considered a) exceptional within New Historicism b) conservatively humanist. c) anti-establishment d) Europeanist and anti-American. 5. According to Toril Moi, the term “feminist” is a) political b) cultural. ©) biological. ) synonymous with “feminine” 6. As defined by Cixous, the notion of “écriture feminine” is a) equivalent to Kristeva's “symbolic” b) anarchic and transgressive. c) definitely anti-essentialist. 4d) natural to men as well as women.7. Lesbian feminism emerged because mainstream feminism a) was too radical. b) was prioritising the experience of Afro-American women. ©) condemned heterosexism. 4) was ignoring lesbian experience. 8. Queer Studies reject the identification of homosexuality with a) intense sensitivity. b) psychological trauma. c) Eastern societies 4) the sexually marginalised “Other’, 9. Which of the following aim(s) is characteristic of post-colonial criticism? a) Questioning the validity of universalism. b) Reclaiming the precolonial past. ¢) Eroding colonialist ideology. 4) All of the above. 10. What aspect of identity is often emphasised in post-colonial writing? a) Hybridity. b) Essentialism. c) Purity d) Loyalty. 11. Thomas's expression “the shadow of a sound” is an example of a) assonance. b) binary opposition ©) aporia. d) synaesthesia 12. At the beginning of Heart of Darkness, when Marlow calls the setting “one of the dark places of the world”, he is referring to the a) Roman Empire. b) Thames area (and, by extension, London/Britain) ©) Belgian colonies 4) Central Station in Congo. END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side. MAX.: 4 MARKS. TEXT FRAGMENT FOR THE COMMENTARY Why should I be my aunt, or me, or anyone? What similarities boots, hands, the family voice I felt in my throat, or even the National Geographic and those awful hanging breasts~ held us alll together or made us all just one? How--I didn't know any ‘word for it~how “unlikely”. How had I come to be here, like them, and overhear a cry of pain that could have got loud and worse but hadn't? 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point.) 2) FORM AND CONTENT (MAX. 200 WORDS). Explain the following aspects of the text: its genre, poetic voice, visual elements and theme. (Up to 1.5 points.) 3) THEORY AND CRITICISM (MAX. 250 WORDS). Consider the fragment above in the light of queer studies. You may focus on sexuality and identity. (Up to 2 points.)COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2014-2015. SEPTEMBER EXAMS. No material is allowed. (2) NAC.EU. RES. PART A: choose the correct answer in each case. Use the multiple choice form follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 1. Roland Barthes’ concept of the “modem scriptor” is opposed to that of a. Author. b. text. c. reader, d. critic, 2. According to Derrida, reading must not a. concer itself with paradox. b. concern itself with internal contradictions. c. transgress the text. d. ignore authorial intention. 3. New-historicist critics “defamiliarise” canonical texts, that is, they a. identify historical inaccuracies in them. b. set them in their historical contexts. c. study their historical repercussion. d. isolate them from alll previous criticism. 4. Michel Foucault's notion of “discourse” refers to a. a way of speaking. b. a way of writing . the dominant ideology/-ies of a given society. d. controversial texts that question the establishment. 5. According to Sandra Gilbert and Susan Gubar, women writers a.have never lacked the empowerment to write. b.have traditionally been represented as angels or monsters by male writers. c.experience the “anxiety of influence” as male writers do. d.have been misrepresented only in fairy tales. 6. Julia Kristeva's “symbolic” aspect of language is associated with a. a fixed unified self. b. Plato's chora c. displacement, slippage, condensation d. écriture feminine.7. A consequence of anti-essentialism in literature and criticism is a. an increasing use of relativism as critical and intellectual too. b. confirming the established canon . focusing on female narrators. d. idealising 19" century fiction 8. Cultural “polyvalency” can be considered the opposite of cultural a. hybridity. b. colonialism. c. essentialism d. fluidity. 9. The “Adopt” phase of postcolonial literature consists in colonised writers a. unquestioningly accepting the authority of European models. b. combining European forms with non-European subject-matter. c. combining non-European forms with European subject-matter. d. affirming cultural independence and remaking European forms. 10. Dylan Thomas's phrase “the synagogue of the ear of com” is an example of a. simile. b. synaesthesia c. synechdoque. d. metaphor. 11. In Toni Morrison's The Bluest Eye, Claudia and Frieda plant marigolds a. after Pecola's death. b. with Pecola’s help. c. where Pecola’s baby is buried. d. thinking of Pecola’s uncertain future. 12. The main narrator of Joseph Conrad's Heart of Darkness is a. Kurtz, the ivory dealer. b. also a character. c. not involved with the events told. d. a sailor who made the journey to Congo with Marlow, END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY L.] But | felt: you are an /, you are an Elizabeth, you are one of them. ‘Why should you be one, too? I scarcely dared to look to see what it was | was. I gave a sidelong glance —I couldn't look any higher— at shadowy gray knees, trousers and skirts and boots and different pairs of hands lying under the lamps. 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX. 200 WORDS). Explain the following aspects of the text: its genre, poetic voice or speaker, visual and aural elements, syntax and poetic devices, theme, and how its form interrelates with its content. (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX. 250 WORDS). Consider the fragment above in the light of gender theory and criticism. (Up to 2 points)TINSTRUCGIONES: Responda a las preguntas 1-12 en la hola de lectura Optica y las ‘preguntas 13-16 en la ultima hoja del examen. Entregue SOLO la hoja de lectura éptica Yia titima hoja (con las respuestas 13-16 y su nombre). Cada acierto = 0,5; cada error OrespuestaenblancoenLAPARTETEST=-025. PART ONE Read the following extract carefully and indicate the correct answer (A= TRUE, B = FALSE) according to the excerpt or the complete text it’s been taken from. In general there has been a reluctance to consider historical narratives as what they most manifestly are: verbal fictions, the contents of which are as much invented as they are found and the forms of which have more in common with their counterparts in literature than they have with those in the sciences. [...] Considered as potential elements of a story, historical events are value-neutral. Whether they find their place finally in a story that is tragic, comic, romantic, or ironic [...] depends upon the historian’s decision to configure them according to the imperatives of one plot structure [...] rather than another. The same set of events can serve as components of a story that is tragic or comic, as the case may be, depending on the historian's choice of the plot structure that he considers more appropriate. 1. This text was written by Hayden White. b 2. The author suggests in this extract that all literary texts are historical. ab 3. The author asserts that the value of historical texts is subjective and culturally determined b 4, The school of thought this text belongs to is called Critical Historicism ... b PART TWO Read the following extracts—literary texts (1) and (2)—and then indicate the right answer to the questions below each (a, b or c)- Literary text (1) Deep with the first dead lies London's daughter, Robed in the long friends, The grains beyond age, the dark veins of her mother, Secret by the unmourning water Of the riding Thames. After the first death, there is no other. 5. This is: a. __ the last stanza of Elizabeth Bishop's poem b. _ the first stanza of Dylan Thomas's poem c. the last stanza of Dylan Thomas's poem 6. The last line of the fragment is characterized by its ambiguous meaning a. that can be subject to a deconstructive reading according to Barry. b. that maintains the meaning of the whole poem, according to Ryan. c. realized only through the lenses of a new historical approach.7. Whois “London's daughter"? a Alady dying. b. A victim of war. ©. London's maturity. 8. The stanza is full of a. hyperboles. b. personifications. c.— similes Literary text (2) SEETHECATITGOESMEOWMEOWCOMEANDPLA YCOMEPLAYWITHJANETHEKITTENW ILLNOTPLAYPLA YPLAYPLA They come from Mobile. Aiken. From Newport News. From Marietta. From Meridian. And the sounds of these places in their mouths make you think of love. When you ask them where they are from, they tilt their heads and say “Mobile” and you think you've been kissed. They say “Aiken” and you see a while butterfly glance off a fence with a torn wing. They say “Nagadoches” and you want to say “Yes, | will” You don't know what these towns are like, but you love what happens to the air when they open their lips and let the names ease out. 9 In this fragment, the narrative voice is a. a third person unknown omniscient narrator. b, Pecola's c Claudia’s. 10. The “they” included in this fragment refers to: a. white inhabitants. b. African-American women with no prospects of social improvement. c. __ wanting-to-be-like-white black people. 11. This fragment is the beginning of a chapter in which Pecola lives a traumatic experience in a new neighbourhood. Who are involved in this event? a. _agroup of older boys and Maureen. b. a black boy and a cat ¢. awhite girl and an African-American teacher, 12. The chapter this fragment belong to represents: a. Toni Morrison's attempt to criticize racism within the black community. b. Joseph Conrad's aim at differentiating United States’ geographical differences. c. Toni Morrison's interest in exposing the powerlessness of language.PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. Swiss linguist Ferdinand de Saussure noted that every basic unit of communication has two elements: the signifier and the signified. What is this basic unit of communication he is referring to? 14. This general term covers the use of poetic language to represent objects, actions, feelings, thoughts, ideas, or states of mind with the aim of creating mainly visual images in the reader's mind. 15. If something is described this way, it refers to the process or moment of crossing a boundary or threshold, or of being caught between one space/system/category and another. 16. Term found in Achebe’s text meaning the direct opposite or contrast or opposition between two things.INSTRUCCIONES: Responda a las preguntas 1-12 en la hoja de lectura éptica y las | ‘preguntas 13-16 en la ultima hoja del examen. Entregue SOLO la hoja de lectura éptica ‘Ya Ultima hoja (con las respuestas 13-16 y su nombre). Cada acierto = 0,5; cada error © respuesta en blanco enlapartetest=-025, PART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, FALSE) according to the excert or the complete text it's been taken from. Lesbians have historically been deprived of a political existence through “inclusion” as female versions of male homosexuality. To equate lesbian existence with male homosexuality because each is stigmatized is to erase female reality once again. Part of the history of lesbian existence is, obviously, to be found where lesbians, lacking a coherent female community, have shared a kind of social life and common cause with homosexual men. But there are differences: women’s lack of economic and cultural privilege relative to men; qualitative differences in female and male relationships — for example, the patterns of anonymous sex among male homosexuals, and the pronounced ageism in male homosexual standards of sexual attractiveness. 1. This is an extract from “Compulsory Heterosexuality and Lesbian Continuum” by Adrienne Rich. ab 2. According to the author, making no distinction between male and female homosexuality results in the invisibility of lesbianism. a b 3. The “political existence’ of lesbians refers to their presence in political parties and public institutions. ab 4, The author concludes the essay to which the text belongs by proposing a lesbian variety of feminism. ab PART TWO Read the following extracts—literary texts (1) and (2)—and then indicate the right answer to the questions below each (a, b or c)- Literary text (1) Ll shall not murder The mankind of her going with a grave truth Nor blaspheme down the stations of the breath With any further Elegy of innocence and youth Deep with the first dead lies London's daughter, Robed in the long friends, The grains beyond age, the dark veins of her mother, Secret by the un mourning water Of the riding Thames. After the first death, there is no other. 5. Which of the following images echoes the poem's title? a. Grains beyond age. b. Stations of the breath. c. _Unmourning water.6. The second stanza above differs from the lines preceding it in that a. __it comprises only one sentence. b. the first person singular is not used. c. there is no rhyme, 7. Inthe extract above, the river Thames. a. mourns the child's death, unlike the poet. b. is a symbol of “the second death’’ ¢. __ is a personification of nature's indifference. 8. According to Peter Barry, the statement “After the first death, there is no other” a. _ is made by the child b. contains a Biblical allusion. ©. contradicts and refutes itself. Literary text (2) Three merry gargoyles. Three merry harridans. Amused by a long-ago time of ignorance. They did not belong to those generations of prostitutes created in novels, with great and generous hearts, dedicated, because of the horror of circumstance, to ameliorating, the luckless, barren life of men, taking money incidentally and humbly for their “understanding.” Nor were they from that sensitive breed of young girl, gone wrong at the hands of fate, forced to cultivate an outward brittleness in order to protect her springtime from further shock, but knowing full well she was cut out for better things, and could make the right man happy. Neither were they the sloppy, inadequate whores who, unable to make a living at it alone, turn to drug consumption and traffic or pimps to help complete their scheme of self- destruction, avoiding suicide only to punish the memory of some absent father or to sustain the misery of some silent mother. 9. The three prostitutes portrayed above a. prevent Pecola's father from raping her. b. are among the few who do not reject Pecola. . look after Pecola during her pregnancy. 10. The relationships established among Pecola and the prostitutes exemplify a. the lesbian continuum. b. the Oedipal struggle. c. the anxiety of influence. ah The way the prostitutes behave towards men a. shocks Cholly. b. defies compulsory heterosexuality. c. defies patriarchal authority. 12. The main idea in the excerpt above is that these prostitutes a. are socially and economically deprived b. area bad influence on Pecola. c. are unconventional women, because of their attitude.PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. An aspect of discourse characterised, according to Julia Kristeva, by “displacement, slippage, condensation’. It suggests a loose, randomised, unconstrained way of making connections. 14. According to Gilbert and Gubar, “a radical fear that she [a woman writer] cannot create, that because she can never become ‘precursor’, the act of writing will isolate 15. An adjective meaning “all-seeing” and applied by the post-structuralist cultural historian Miche! Foucault to the constant surveillance of individuals by the state. 16. The quality or condition of being different from what is accepted, privileged and powerful in Western societies. This concept is used by several critical discourses, such as feminism, queer studies or post-colonINSTRUCCIONES:| fps PART ONE Read the following extract carefully and indicate the correct answer (TRUE = A, FALSE = B) according to the excerpt or the complete text it’s been taken from. The earlier historicism tends to be monological; that is, it is concerned with discovering a single political vision, usually identical to that said to be held by the entire literate class or indeed the entire population [...]. This vision, most often presumed to be internally coherent and consistent, [...] has the status of an historical fact. It is not thought to be the product of the historian’s interpretation [...]. [T]his vision can serve as a stable point of reference, [...] Literature is conceived to mirror the period's beliefs [...] from a safe distance. The new historicism erodes the firm ground of both criticism and literature. It tends to ask questions about its own methodological assumptions and those of others. [...] Moreover, recent criticism has been less concerned to establish the organic unity of literary works and more open to such works as [...] places of dissent{{] and shifting interests, occasions for the jostling of orthodox and subversive impulses. 1. The author of the excerpt is Stephen Greenblatt ab 2. New Historicism is concerned to find the coherent essence of literary works. en eee ab 3. According to the author, New Historicism undermines fixity in critical and literary practice......... en) 4, Earlier historicism subverted standard critical interpretations of familiar tOXES..eeccccecccceessssssssnsessseeeeeeeeeeeeceseeetteettiensenssnssesessseee ab PART TWO. Read the following extracts -literary texts (1) and (2)- and then indicate the right answer to the questions below each (a, b or c). Literary text (1) Three merry gargoyles. Three merry harridans. Amused by a long-ago time ignorance. [...] These women hated men, all men, without shame, apology, or discrimination. They abused their visitors with a scorn grown mechanical from use. Black men, white men, Puerto Ricans, Mexicans, Jews, Poles, whatever—all were inadequate and weak, all came under their jaundiced eyes and were the recipients of their disinterested wrath. They took delight in cheating them. 5. Who are “these women"? a. Frieda, Claudia and Pecola. b. China, Marie and Poland, the three prostitutes. ¢. The Black-American women who lived in the neighborhood. 6. The author of this work is: a. Elizabeth Bishop. b. Toni Morrison. ©. Adrienne Rich. 7. Which of the following is not a central theme in this novel? a. Internalised racism b. Sexual abuse. c. The exploitation of Africa and Africans by white colonialism 8. In the novel, the women referred to in the fragment represent: a. how women are programmed to be perfect wives or perfect mothers. b. a microcosm of women who challenge on a daily basis the victimized reality of most of the women in the novel. c. a model family for Claudia and Frieda. Literary text (2) The crown of red set on your little head is charged with all your fighting blood Yes, that excrescence makes a most virile presence, plus all that vulgar beauty of iridescence. Now in mid-air by twos they fight each other. Down comes a first flame-feather, and one is flying, with raging heroism defying even the sensation of dying9. The author of this text is: a. Elizabeth Bishop. b. Dylan Thomas ¢. Toni Morrison. 10. This extract is written in a. Unrhymed tercets. b. Partially rhymed tercets. c. Rhymed tercets. 11. The “red” colour (line 1) connotes a. Blood, violence, death b. Blood, sex, love. c. Death and social power. 12. The poem is a critique of: a. Male culture b. The lack of religious principles. ¢. Cultural colonizationApellidos y nombre .. DNI. Centro Asociado. PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. A term that indicates the struggle for identity by male poets who feel threatened by the achievements of _their_—_ predecessors: 14. A critical practice that looks for possible meanings in a text which may contradict its surface or apparent meaning: 15. In contemporary critical theory, an instance of language or utterance that colludes with power and involves the speaker/writer-subject and listener/reader-object. 16. An adjective which describes a system of male authority which oppresses women through its social, political and economic institutions.éHizo usted las Pruebas de Evaluacién Continua (PEC)? Si NoO) PART ONE Read the following extract carefully and indicate the correct answer: TRUE (a) or FALSE (b) on the Optical Reader Sheet (Hoja de lectura optica) according to the excerpt or the complete text it's been taken from. [...] a text is not a line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God) but a multidimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centers of culture. [...] the writer can only imitate a gesture that is always anterior, never original. His only power is to mix writings, to counter the ones with the others, in such a way as never to rest on any one of them. [...] To give a text an Author is to impose a limit on that text, to furnish it with a final signified, to close the writing [...] [However] writing refus[es] to assign a ‘secret’, an ultimate meaning, to the text [...], [it] liberates what may be called an anti-theological activity, an activity that is truly revolutionary since to refuse to fix meaning is, in the end, to refuse God [...] we know that to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author. 1. The extract is from Of Grammatology by Jaques Derrida True (a) False (b) 2. The extract's source makes the text more important than the author who wrote it. True (a) False (b) 3. Clearly, the critic thinks that the idea of the Author restricts the reader's freedom of interpretation of a text. True (a) False (b) 4, According to the extract, the Author's originality must be respected. True (a) False (b) PART TWO Read the following extracts—literary texts (1) and (2)—and then indicate the right answer to the questions below each (a, b or c) on the Optical Reader Sheet Literary text (1) At last! One of the elusive natives has been spotted! He appears tobe — rather, tohave been — a unicyclist-courier, who may have met his end by typewriter falling from the height of the escarpment because eraser of the deceptive illumination. Alive, he would have been small, but undoubtedly proud and erect, with the thick, bristling black hair typical of the indigenes.5. The extract is from Elizabeth Bishop's a. “Exchanging Hats’. b. “12 O'Clock News’. c. “Roosters”. 6. The paragraph on the right a. __ is part of a news bulletin b. __ is totally unrelated to the words “typewriter eraser” c. describes in metaphoric terms the object indicated on the left. 7. The extract belongs to a a. aprose poem telling the author's experiences as a journalist in Vietnam b. _ aprose poem that denounces how language twists reality ideologically. c. aprose poem that celebrates how language makes war beautiful 8. The speaker in the paragraph is a. a_ventriloquized voice imitating American attitudes towards the Vietnamese. b. a ventriloquized voice praising the Vietnamese c. ajournalist describing what he sees in the Vietnamese War. Literary text (2) He paused. “Mind,” he began again, lifting one arm from the elbow, the palm of the hand outwards, so that, with his legs folded before him, he had the pose of a Buddha preaching in European clothes without a lotus-flower "Mind, none of us would feel exactly like this. What saves us is efficiency — the devotion to efficiency. But these chaps were not much account, really. They were no colonists; their administration was merely a squeeze, and nothing more, | suspect. They were conquerors, and for that you want only brute force nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. It was just robbery with violence, aggravated murder on a great scale, and men going at it blind —as is very proper for those who tackle a darkness. The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much.” 9. Who is the narrator in the extract above? a, An omniscient narrator that can be identified with Conrad. b. The first, anonymous narrator telling what Marlow narrated about Africa. ©. Marlow, telling what Kurtz explained to him when they first met.APELLIDOS: NOMBRE: DNI: 10. The identification of this man with a Buddha shows that a. his narrative is devised to enlighten his friends about the horrors of colonialism in Africa b. shows that he has a very negative, racist view of Africans. c. he has adopted exotic customs from the Far East. 11. The person who looks like a Buddha and speaks about Africa is a, Kurtz, who behaves like a native, but he shows his hate for the natives. b. the first narrator, who is cold and distant, not caring about what he tells. c. Marlow, who uses understatement and sarcasm about the brutality of colonialism to criticise it. 12. This fragment a. shows Marlow's moral and psychological depravity as regards Africans. b. offers material to challenge Chinua Achebe's ideas about Marlow and Conrad. ¢. confirms that “Joseph Conrad was a thoroughgoing racist’ PART THREE Read the following definitions and provide a matching term. Make sure your name is on this page and you hand in THE WHOLE EXAM INCLUDING THE HOJA DE LECTURA OPTICA! 13. When a series of events are organised in a historical narrative in a way that they resemble a tragedy or any other literary genre, they are 14. A term used by Chinua Achebe to indicate how Africa relates with Europe in Conrad's Heart of Darkness. 15. A term that includes all kinds of relationships among women, ranging from friendship, through political activism, to genital sex 16. Harold Bloom's anxiety of influence is based on Freud's psychoanalytical theory that a boy wants to kill his father and have sex with his mother, i.e. theNombre, apellidos y DNI: C. Asociado: PART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, b = FALSE). The colonization of the non-European globe began when European countries with navies began to discover that many foreign countries that had eluded contact with Europe until then were inferior militarily. It was a fairly simple matter, the Europeans found, to conquer and colonize them. This was the case from India to Africa to America. This extraordinary venture in conquest had some positive consequences that are difficult to separate from the numerous painful and deleterious consequences that attended them. Entire indigenous populations disappeared; civilizations and cultures were destroyed; people who had enjoyed freedom became slaves; their pillaged natural resources such as gold would make Europe a storehouse of wealth down to the present. Europe brought modern political forms and institutions to the conquered countries, along with educational systems and common languages that bound the world together for the first time. 1. Europeans found it difficult to conquer and colonize non-Europeans ab 2. The non-European globe stretched at least from India to America. ab 3. Gold was plundered from these societies creating European wealth that still exists today, ab 4. For the first time, Europe divided the world through education and language. ab PART TWO. Read the following extracts -literary texts (1) and (2)- and then indicate the right answer to the questions below each (a, b or c). Literary text (1) As you all know, tonight is the night of the full moon, half the world over. But here the moon gooseneck seems to hang motionless in the sky. It gives very lamp little light; it could be dead. Visibility is poor.Nombre, apellidos y DNI: C. Asociado: Nevertheless, we shall try to give you some idea of The lay of the land and the present situation. The escarpment that rises abruptly from the central plain is in heavy shadow, but the elaborate terrace- typewriter ing of its southem glacis gleams faintly in the dim light, like fish scales. What endless labor those small, peculiarly shaped terraces represent! And yet, on them the welfare of this tiny principality depends. Astlight landslide occurred in the northwest about pile of mss. an hour ago. The exposed soil appears to be of poor quality: almost white, calcareous, and shaly. There are believed to have been no casualties. 5. The text is an example of: a. awar dispatch b. a prose poem c. lyric poetry 6. The left-hand word typewriter can be matched to: a. this tiny principality b. those small, peculiarly shaped terraces c. Asiight landslide 7. The extract is taken from the following longer work: a. ‘In the Waiting Room” by Elizabeth Bishop b. Heart of Darkness by Joseph Conrad c. “12 O'Clock News” by Elizabeth Bishop 8. Accentral theme of the longer work is: a. armed aggression and its human consequences b. the presidency of Lyndon B. Johnson c. Vietnamese tourismNombre, apellidos y DNI: C. Asociado: Literary Text (2) Never [..] Shall | let pray the shadow of a sound Or sow my salt seed In the least valley of sackcloth to mourn The majesty and burning of the child's death. | shall not murder The mankind of her going with a grave truth Nor blaspheme down the stations of the breath With any further Elegy of innocence and youth. Deep with the first dead lies London's daughter, Robed in the long friends, The grains beyond age, the dark veins of her mother, Secret by the unmourning water Of the riding Thames. After the first death, there is no other. 9. the unmourning water refers to: a. the speaker's tears b. the river Thames ©. London rain 10.the shadow of a sound/Or sow my salt seed can be said to be an example of a. synesthesia b. alliteration c. allusion 14. The mankind of her going is an example of : a. metaphor b. simile c. satire 12. The extract is taken from: a. ‘In the Waiting Room” by Elizabeth Bishop b. The Bluest Eye by Toni MorrisonNombre, apellidos y DNI: C. Asociado: c. “A Refusal to Moum the Death, by Fire, of a Child in London” by Dylan Thomas. PART THREE Read the following definitions and provide a matching term. 13.A term proposed by Barthes that refers to a specific literary figure. This figure is constituted through the act of writing itself and ‘is bor simultaneously with the text’: Term: 14.*A telling of some true or fictitious event or connected sequence of events, recounted by a narrator to a narratee (although there may be more than one): Term: 15."To weaken, remove power from a person": Term: 16.A historical document which is contemporary with and studied alongside a literary document: Term:COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2016-2017. SEPTEMBER EXAMS. No material is allowed. (1) NAC.EU. PART A: choose the correct answer in each case. Use the multiple choice form, LI the f the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 4. Like philosophy, post-structuralism a) recognises facts as its only object of study. b) accepts what is “common sense” unquestioningly. ©) is sceptical and calls assumptions into question d) concems itself with theory, and not literary texts themselves. 2. According to the critic Terry Eagleton, deconstruction consists in a) focusing on content and ignoring form. b) focusing on the text's syntax. c)_ showing whether the author’s purposes have been tuffilled. d) reading a text “against itself’. 3. How does New Historicism treat non-literary texts? a) They are relevant only for the study of contemporary literature. b) They are studied in parallel with literary texts, c) They are only considered if metaphorically rich. d) It concerns itself exclusively with writers’ letters and diaries. 4, Foucault's notion of discourse can be defined as a) the use of different voices in poetry. b) the use of dialogue in fiction ©) the style associated with an author, genre or period. d) an ideology / ideologies that determine(s) social life 5. According to Toril Moi, the term feminist is by definition a) biological b) natural. ¢) cultural 4) political 6. Cixous relates écriture feminine with a) solidarity among women. b) the female body. c) women’s higher linguistic competence. d) women’s private writings.7. Rich's concept of lesbian continuum a) desexualises lesbianism. b) designates female friendships exclusively. ¢) designates sexual behaviour exclusively. 4d) has no social / political implications. 8, It has been feared that accepting “queer theory" as a comprehensive term might a) be only valid for the study of fiction. b) prioritise the experience of homosexual men ¢) focus exclusively on lesbian feminism. 4d) prevent its application to the study of literary texts. 9. By principle, post-colonial criticism rejects a) hybridity b) the notion of constructed identities. c) 19" century literature. d) universalism. 10. It could be argued that, in Heart of Darkness, Conrad portrays the Congolese natives as a) inefficient civil servants. b) supporters of colonialism. ¢) superior in their military skills d) the Other. 411. Which of the following images is not featured in Thomas's poem “A Refusal to Mourn..." a) “The sea tumbling in hamess”. b) “A sort of dugout, possibly a shell crater” ©) “The ear of corn’. d) “The dark veins of her mother’. 12. In Bishop's poem “In the Waiting Room”, Aunt Consuelo’s presence helps the poetic speaker to a) overcome her fear of the dentist. b) read articles in an issue of National Geographic. ) intuit or realise her sexual identity. 4d) understand why the world is at war. END OF PART A. PART B FOLLOWS ON THE NEXT PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated, Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. the page and continue on the reverse side. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY That summer at Grand Isle she began to loosen a little the mantle of reserve that had always enveloped her. There may have been—there must have been—influences, both subtle and apparent, working in their several ways to induce her to do this; but the most obvious was the influence of Adéle Ratignolle. The excessive physical charm of the Creole had first attracted her, for Edna had a sensuous susceptibility to beauty. Then the candor of the woman's whole existence, which every one might read, and which formed so striking a contrast to her own habitual reserve—this might have furnished a link. Who can tell what metals the gods use in forging the subtle bond which we call sympathy, which we might as well call love. 4) CONTEXT (MAX, 70 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX, 70 WORDS EACH QUESTION). (i) How does the extract contribute to the characterisation of both women? (ii) Describe the narrator in the source text and consider the information conveyed in the extract at hand. (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX. 200 WORDS EACH QUESTION). (i) Connect the extract above with the concept of “lesbian continuum.” (ii) In what way(s) does Edna and Adéle's friendship defy patriarchy? (Up to 2 points)COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2016-2017. FEBRUARY EXAMS. No material is allowed. (1) NAC. PART A: choose the correct answer in each case. Use the multiple choice form. follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 1. Post-structuralists believe that language a) should not be examined closely. b) grants access to knowledge. c) defines reality. 4d) is an orderly system. 2. Barthes's modem scriptor a) is the text's “father”, b) is the key to interpreting the text. c) precedes the text. 4) is simultaneous with the text. 3. According to Hayden White, historical narratives a) are strictly a record of the actual events. b) are both epic and tragic. c) have nothing in common with literary texts. 4) work in ways that are comparable to fiction. 4. A characteristic goal of New Historicism consists in a) identifying ideological tensions within texts b) discovering Shakespeare's lost plays. c) focusing exclusively on the literary text. 4) redefining the literary canon 5. The notion of patriarchy is primarily associated with a) surveillance in prisons b) classist prejudice c) female authors finding inspiration in their male predecessors. 4) male authority, socially and politically sanctioned. 6. As defined by Cixous, écriture feminine a) is an expression of female physiology. b) is a sub-genre of lyrical poetry ¢) concems itself mostly with etymology. 4) follows grammatical rules and conventions strictly.7. Rich’s concept of lesbian continuum a) designates a wide variety of relationships among women. b) excludes sexual relationships. ¢) refers exclusively to sexual relationships. 4) is mainly applied to black lesbian women . 8. In Kosofsky Sedgewick’s view, the act of coming “out of the closet” a) amounts to crossing a boundary once and for all. b) is meaningful for gay men only. c) may result, paradoxically, in reinforcing patriarchy. 4) is determined by a variety of social situations. 9. Post-colonial criticism concerns itself with a) historical, rather than fictional narratives. b) representations of the non-European as the “Other”. c) defining the essences of coloniser and colonised. d) defending the purity of colonised communities. 10. According to Achebe, Conrad depicts Africa as a) a mirror image of the colonisers’ world. b) a peaceful refuge for Europeans. c) an idealised Eden. d) adehumanised setting. 14. The last verse line of Thomas's “A Refusal to Mourn...” a) “After the first death, there is no other’ b) “Deep with the first dead lies London's daughter’ c) “How could the night have come to grief?” 4) “Shall | let pray the shadow of a sound”, is 12. Bishop's “In the Waiting Room” alludes to a) young girls in Africa. b) a girl in Massachusetts. ©) a dentist in New Jersey 4) a journalist from the National Geographic. END OF PART A. PART B FOLLOWS ON THE NEXT PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY “I would give up the unessential; | would give my money, | would give my life for my children; but | wouldn't give myself. | can’t make it more clear; it’s only something which 1am beginning to comprehend, which is revealing itself to me.” “I don't know what you would call the essential, or what you mean by the unessential,” said Madame Ratignolle, cheerfully; “but a woman who would give her life for her children could do no more than that—your Bible tells you so. I'm sure | couldn't do more than that.” “Oh, yes you could!” laughed Edna. 1) CONTEXT (MAX. 70 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX. 70 WORDS EACH QUESTION). (i) How are Edna and Mme. Ratignolle characterised in the extract, and what do they represent? (ii) Describe the narrator in the source text; why is the narrator practically absent from this extract, and what effect does that have? (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX. 100 WORDS EACH QUESTION). (i) Connect the extract above with the concept of “social castration.” (ii) Why are the extract (and its source) especially interesting for gynocriticism? (Up to 2 points)COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI 2015-2016. SEPTEMBER EXAMS. No material is allowed. (1) NAC.EU. PART A: choose the best answer in each case. Use the multiple choice form, follow its instructions, and make sure that you hand in the multiple choice form and all the ages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. Marks are not deducted for wrong answers in the multiple choice section. MAX: 6 MARKS (0.5 each) 1. Which of the following features are absent from post-structuralist writing? a) Scientific coolness. b) An emotive tone. ©) A flamboyant style. d) A taste for pun and word-play. 2. Derrida's deconstructive reading regards texts as a) unified wholes. b) emblems of an authoritative centre. c) fragmented, self-divided and centreless. 4d) valuable expressions of individual experience. 3. Before New Historicism, Shakespeare studies focused on a) historical contexts and cohesive textual devices (such as figures of speech or images). b) the political message of plays. c) gathering biographical data about the poet/playwright 4) questioning the authorship of certain plays. 4, Foucault's main areas of study include a) French Romanticism and Realism b) State policy and sexuality. ©) classical mythology and literature d) independence movements in French and British colonies. 5. In gender studies, the concept “patriarchy” is best defined as a) a set of ideas/cultural models based on the acceptance of sexual inequality. b) women's fight against sexist discrimination c) the body of literature written by male authors 4d) the privileged status of the father within the family. 6. Kristeva’s “semiotic” could be considered equivalent to a) Gilbert and Gubar’s “social castration”. b) Showalter’s definition of “androtext”. ¢) Cixous's “écriture feminine’. d) Rich's “lesbian continuum’.7. Zimmermann argued that pioneering feminist writing was a) suitable for the study of sexuality in literature. b) anti-essentialist in its spirit c) inclusive of all forms of diversity. 4d) ignoring the experience of lesbian women. 8. According to Sedgwick, subject identity is a) fluid and complex. b) essentially bisexual c) an immutable essence. 4) fixed in childhood. 9. Said’s “Orientalism” consists in a) vindicating Eastern cultures as exotic and picturesque. b) championing comparative studies involving Western and Eastern literatures. c) exposing the European tendency to identify the East with “the Other” 4) attacking the foreign policy of the United States. 10. Which of the following canonical works could be of interest to a post-colonial scholar? a) Emily Bronté’s Wuthering Heights. b) E.M. Forster's A Passage to India. c) Joseph Conrad's Heart of Darkness. 4) All of the above. 14. Which of the following images is not associated with the roosters in Bishop's poem? a) “Stupid eyes". b) “Protruding chests”. c) “Strong veins”. 4) “Crown of red”, 12. Thomas's verse line “After the first death, there is no other” is an instance of a) contradiction. b) binary opposition. ) parallelism 4) imagery patter. END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side. MAX.: 4 MARKS. TEXT FRAGMENT FOR THE COMMENTARY Cholly and Mrs. Breedlove fought each other with a darkly brutal formalism that was paralleled only by their lovemaking. Tacitly they had agreed not to kill each other. He fought her the way a coward fights a man-with feet, the palms of his hands, and teeth. She, in turn, fought back in a purely feminine way—with frying pans and pokers, and occasionally a flat iron would sail towards his head. They did not talk, groan or curse during these beatings. There was only the muted sound of falling things, and flesh on unsurprised flesh. 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 marks.) 2) FORM AND CONTENT (MAX. 200 WORDS). Explain the following aspects of the text: its genre, point of view, characterisation, images and theme. (Up to 1.5 marks.) 3) THEORY AND CRITICISM (MAX. 250 WORDS). Consider the fragment above in the light of feminist theory and criticism. You may focus on patriarchal violence and gender identity. (Up to 2 marks.)COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2015-2016. FEBRUARY EXAMS. No material is allowed. (1) NAC.EU. PART A: choose the correct answer in each case. Use the multiple choice form follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 1. The post-structuralist image of a “decentred universe” expresses the a) validity of Renaissance humanism. b) superiority of Westem norms. ¢) lack of absolutes or fixed points. d) usefulness of scientific knowledge. 2. Post-structuralism is associated with textualism, that is, the belief that a) text, context and author are equally important. b) the text gives us valuable information about its author. c) the text should always be set in its context. d) the text should be the only focus of attention. 3. Greenblatt uses the term anecdote to refer to a) the historical context, which should be ignored. b) a historical document brought into relation with the literary text. c) the comic scenes in Shakespeare's tragedies ) an interesting episode of the author's biography. 4. Foucault's notion of discourse refers to a) away of thinking or writing, b) both prose and dialogue. c) the language reflecting the various facets and levels of a dominant ideology. 4d) the relevance of philosophy in essay writing. 5. The unpunctuated fragments in The Bluest Eye could be examples of a) Cixous's écriture feminine. b) flash-back (analepsis).. ©) characterisation through analogy 4) Kristeva's symbolic. 6. How does feminism deal with the canon? a) The canon is old-fashioned and should be ignored. b) The canon should be revised to include more literature by women. c) The canon should only be taught in schools. d) Misogynistic texts in the canon should be ignored.7. Rich's lesbian continuum encompasses all of the following except a) help networks among women. b) supportive female friendships. c) lesbian sex. d) female rivalry. 8. “In the Waiting Room” is of interest to queer theory because it tells us about a) lesbian women and gay men. b) agir's discovery of lesbian desire. ©) a lesbian relationship. 4) a lesbian woman trapped in a heterosexual relationship. 9. In its earliest stage, post-colonial criticism concemed itself with a) establishing connections with feminist criticism. b) exploring the representation of colonial countries. c) the study of post-colonial literature. 4) colonial history and policies, ignoring literature 10. One of the fiercest attacks on Heart of Darkness has come from a) Bill Ashcroft. b) Homi Bhabha c) Gayatri Spivak. d) Chinua Achebe 14. The first two stanzas of Thomas's “A Refusal to Mourn...” a) are part of an only sentence. b) contain disturbing images of the Blitz. c) are made up of iambic pentameters. 4) do not have a consistent rhyming pattern, 12. The ideal of beauty for a little girl like Pecola is a) Jean Harlow. b) Judy Garland. c) Shirley Temple. 4) Elizabeth Taylor. END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY Each screaming “Get up! Stop dreaming!” Roosters, what are you projecting? You, whom the Greeks elected to shoot at on a post, who struggled when sacrificed, you whom they labeled “Very combative . ..” what right have you to give commands and tell us how to live, Cry “Here!” and “Here!” and wake us here where are unwanted love, conceit and war? 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX. 200 WORDS). Explain the following aspects of the text: its genre, Poetic voice(s), visual and aural elements, syntax and poetic devices and theme. (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX. 250 WORDS). Consider the fragment above in the light of feminist theory and criticism. You may focus on the impositions and violence of patriarchy. (Up to 2 points).COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2014-2015. SEPTEMBER EXAMS. No material is allowed. (1) NAC.EU. PART A: choose the correct answer in each case. Use the multiple choice form follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 1. Some critics consider post-structuralism is a continuation of structuralism because it postulates that a) language reflects the world the way it is. b) linguistic processing presents a distorted picture of the world c) our perception of the world is structured through language. 4) our philosophy of the world is not centered on meaning. 2. Post-structuralist writing a) originates in linguistics. b) uses straightforward language in search for structure. ) relies on philosophy and emotive language. d) relies on linguistics and orderly exposition, 3. Fill in the blank in this sentence according to Derrida’s ideas: “Critical reading must the text": a) reproduce b) interpret ©) produce d) translate 4. According to Showalter, the first phase of women’s literature is: a) feminist phase b) female phase c) feminine phase 4) femininity phase 5. In general terms, Anglo-American feminist literary criticism believes that a) psychoanalysis is the best theoretical tool for interpretation. b) literature should represent women's lives and experiences. ) traditional critical concepts are not useful. 4d) literature is not a mirror to reality. 6. Lesbian and gay literary theory emerged as a distinct field in the a) 1980s. b) 1990s. c) 1970s d) 2000s.7. The American critic Stephen Greenblatt coined the term a) Cultural materialism b) Marxist criticism c) Deconstruction d) New Historicism 8. The concept of the"archival continuum” is based on the view of a) History-as-literature b) Literaiure-as-text ©) History-as-text 4) Text-as-literature 9. Postcolonial criticism wants to challenge the concept of a) a timeless and universal significance of literature. b) national, ethnic and sexual differences in literary texts. ¢) post-structuralist language. 4d) regional culture in literary representations. 10. Which of these quotes belong to Marlow at the beginning of Heart of Darkness? a) “I was struck by the fire of his eyes and the composed languor of his expression” b) “The horror! The horror!” c) ‘What can you expect of a man who out of sheer nervousness had just flung overboard a pair of new shoes!” 4) “The conquest of the earth, which means the taking it away from those who have a different complexion [...] is not a pretty thing” 14. Who loses her front tooth as a symbol of the loss of beauty in The Bluest Eye? a) Claudia b) Pecola c) Pauline d) Frieda 12. The external structure of Toni Morrison's novel follows a) four decisive phases of American history. b) the parts of the day during which all the action takes place. c) the year's seasons 4d) periods in Pecola’s life, from childhood to maturity. END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Please write 1) CONTEXT, 2) FORM AND CONTENT, and 3) THEORY AND CRITICISM, before you answer each section, not exceeding the limit of words for each part. Start writing on this side of the page and continue on the reverse side, MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY L..1 Deep from protruding chests in green-gold medals dressed, planned to command and terrorize the rest, the many wives who lead hens’ lives of being courted and despised: deep from raw throats a senseless order floats all over town. A rooster gloats over our beds from rusty iron sheds and fences made from old bedsteads, [...] 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point). 2) FORM AND CONTENT (MAX. 200 WORDS). Explain the following aspects of the text: the visual and aural elements, and how its form interrelates with its content. (Up to 1.5 points). 3) THEORY AND CRITICISM (MAX. 250 WORDS). Consider the fragment above in the light of feminist theory and criticism. (Up to 2 points).TINSTRUCGIONES: Responda a las preguntas 1-12 en la hola de lectura Optica y las ‘preguntas 13-16 en la ultima hoja del examen. Entregue SOLO la hoja de lectura éptica Yia titima hoja (con las respuestas 13-16 y su nombre). Cada acierto = 0,5; cada error OrespuestaenblancoenLAPARTETEST=-025. PART ONE Read the following extract carefully and indicate the correct answer (A= TRUE, B = FALSE) according to the excerpt or the complete text it’s been taken from. Lesbian existence comprises both the breaking of a taboo and the rejection of a compulsory way of life. It is also a direct or indirect attack on male right of access to women. But it is more than these, although we may first begin to perceive it as a form of naysaying to patriarchy, an act of resistance. Lesbians have historically been deprived of a political existence through “inclusion” as female versions of male homosexuality. To equate lesbian existence with male homosexuality because each is stigmatized is to erase female reality once again 1. This text was written by Sandra Gilbert and Susan Gubar. ab 2. The author(s) consider(s) lesbianism as a way of life conveying a political statement. ab 3. The author(s) suggest(s) an alliance between male and female homosexuals... ab 4. According to the text the fragment belongs to, male right of access to women is present in a compulsory way of life for women that is unquestioned by Western society. ab PART TWO Read the following extracts—literary texts (1) and (2)—and then indicate the right answer to the questions below each (a, b or c). Literary text (1) “True, by this time it was not a black space any more. It had got filled since my boyhood with rivers and lakes and names. It had ceased to be a blank space of delightful mystery—a white patch for a boy to dream gloriously over. It had become a place of darkness. But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land. And as | looked at the map of it in a shop- window, it fascinated me as a snake would a bird—a silly little bird. Then I remembered there was a big concern, a Company for trade on that river. Dash it alll | thought to myself, they can't trade without using some kind of craft on that lot of fresh water—steamboats! Why shouldn't | try to get charge of one? | went on along Fleet Street, but could not shake off the idea. The snake had charmed me.” 5. What place is the narrator referring to in the map? a. The British colonies in Africa. b. The areas washed by the river Congo. c. Zambia, formerly called North Rhodesia. 6. Which of these sentences is true?a. The first person narrator of this fragment is the only narrator of the novel. b. Marlow is the narrator of this fragment but not the only narrator in the novel c. Kurtz is the main narrator of the novel and the one telling the story. The river in the shape of a snake is: a. The river Thames. b. The river Congo. c. Ariver to be discovered yet. The motivation for the narrator lies in: a. a desire to explore. b. economic ambition c. _awish to conquer. Literary text (2) ‘What made people look at them and say, “Awwwww," but not for me? The eye slide of black women as they approached them on the street, and the possessive gentleness of their touch as they handled them. If | pinched them their eyes—unlike the crazed glint of the baby doll’s eye—would fold in pain, and their cry would not be the sound of an icebox door, but a fascinating ory of pain ‘When | learned how repulsive this disinterested violence was, that it was repulsive because it was disinterested, my shame floundered about for refuge. The best hiding place was love. Thus the conversion from pristine sadism to fabricated hatred, to fraudulent love. It was a small step to Shirley Temple. 9. 10, 1 12, Was the narrator's objective to be like Shirley Temple? a Yes. b. Only when she grew up. (Gear No} ‘Who is the narrator referring to with “them” from the first line on in this paragraph? a. Beautiful dolls. b. Little girls like the narrator. c. _ Little girls that resembled Shirley Temple. The text is deep down talking about: a. racial features and self-esteem. b. _ envyand physical violence. ©. acceptance and community building ‘The fragment reflects on the reproduction of inter-racial mother-daughter relations: a. between African-American daughters and their mothers. b. between African-American women and white girls. c. between African-American girls and coloured dolls.PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. The Imaginary Orient represents the most deeply-rooted and persistent images of the Other, but, according to Said, another kind of Orient should be taken into account to complete the vision of Orientalism: a form of discourse supported by institutions, language, academic study, principles, bureaucracy and a certain way of doing things How does he refer to this kind of Orient? 14. A process of systematic stereotyping of and discrimination against people because they are old. 15. An implicit reference, perhaps to another work of literature or art, to a person or an event. It is often a kind of appeal to a reader to share some experience with the writer. 16. A term coined by structuralist linguistics that indicates what you can physically perceive through sound or a graphic mark in contrast with what the sound or graphic mark conceptually refers to,INSTRUCCIONES: Responda a las preguntas 1-12 en la hoja de lectura éptica y las | ‘preguntas 13-16 en la ultima hoja del examen. Entregue SOLO la hoja de lectura éptica ‘Ya Ultima hoja (con las respuestas 13-16 y su nombre). Cada acierto = 0,5; cada error O respuesta en blancoenlapartetest=-05. 0 PART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, FALSE) according to the excerpt or the complete text it’s been taken from. On the one hand, therefore, the woman writer's male precursors symbolize authori other hand, despite their authority, they fail to define the ways in which she experiences her own identity as a writer. More, the masculine authority with which they construct their literary personae, as well as the fierce power struggles in which they engage in their efforts of self- . seem to the woman writer directly to contradict the terms of her own gender n. Thus the “anxiety of influence” that a male poet experiences is felt by a female poet as an even more primary “anxiety of authorship" — a radical fear that she cannot create, that because she can never become “precursor” the act of writing will isolate or destroy her. 1. This is an extract from The Madwoman in the Attic by Susan Gubar and Adrienne Rich. a ob 2, The authors contest Harold Bloom's concept of ‘anxiety of influence’. a = b 3. The authors argue that male “precursors” are equally valid for female writers. ab 4, The term “anxiety of authorship” is closely associated with the idea of patriarchy. a ob PART TWO Read the following extracts—literary texts (1) and (2)—and then indicate the right answer to the questions below each (a, b or c). Literary text (1) In her loneliness, she tumed to her husband for reassurance, entertainment, for things to fill the vacant places. Housework was not enough; there were only two rooms, and no yard to keep or move about in. The women in the town wore high-heeled shoes, and when Pauline tried to wear them, they aggravated her shuffie into a pronounced limp. Cholly was kindness still, but began to resist her total dependence on him. They were beginning to have less and less to say to each other. He had no problem finding other people and other things to occupy him—men were always climbing the stairs asking for him, and he was happy to accompany them, leaving her alone. 5. This paragraph has been taken from a section of The Bluest Eye where a. _Pauline’s story is told consistently in the third person. b. _Pauline’s story is told, with her own voice and the narrator's alternating. c. _ Pauline’s story is told from the perspective of her daughter. 6. Pauline is unsure of her physical appearance ‘a. __ and yields to the pressures of “white fashion”. b. and reacts against models of feminity imposed by cinema. c. _ but she feels empowered by Cholly’s solid affection.How does the relationship between Pauline and Cholly evolve? a. _ It progressively deteriorates into resentment and physical violence. b. __Itimproves after Pecola's birth c. Pauline eventually leaves Cholly, so that he has to take care of their children alone. 8 How does Pauline feel about her daughter Pecola? a. Shes proud of her resilience. b. She has the natural instinct to protect her. c. Deep down, she cannot help rejecting her. Literary text (2) The sea-reach of the Thames stretched before us like the beginning of an interminable waterway. In the offing the sea and the sky were welded together without a joint, and in the luminous space the tanned sails of the barges drifting up with the tide seemed to stand still in red clusters of canvas sharply peaked, with gleams of varnished sprits. A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back still seemed condensed into a mournful gloom, brooding motionless over the biggest, and the greatest, town on earth. [...] Marlow sat cross-legged right aft, leaning against the mizzen-mast. He had sunken cheeks, a yellow complexion, a straight back, an ascetic aspect, and, with his arms dropped, the palms of hands outwards, resembled an idol. The director, satisfied the anchor had good hold, made his way aft and sat down amongst us. 9. 10, 1 12, This excerpt has been taken from a. the opening of Joseph Conrad's Heart of Darkness. b. the end of Marlow’s narration in Joseph Conrad's Heart of Darkness. cc. Marlow’s report of her Congo experiences given to Kurtz's “intended”. The narrator in this extract is a Kurtz, b. Marlow. c. neither Kurtz nor Marlow. Marlow is about to a. begin a rally against racism. b. start the narration of his journey to Congo. c. praise King Leopold of Belgium According to Chinua Achebe, the river Thames is presented by Conrad a. —_ as the idealised foil of the dangerous river Congo. b. _ as an image of the negative consequences of industrialisation. c. as a symbol of life.PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. The view that there is something natural, essential, universal and unchangeable in identity notions. Feminist studies, for example, have rejected this view, arguing that femininity is constructed. 14. An alternative to “classic’ feminism based on the assumption that lesbianism should be regarded as the most complete form of feminism. 15. To detach a canonical literary text from the accumulated weight of previous literary scholarship in order to have a new perception of it (this practice is typical of New Historicism). 16. The direct political control of one country or society by another (e.g. the long history of British rule in India).PART ONE Read the following extract carefully and indicate the correct answer (TRUE = A, FALSE = B) according to the excerpt or the complete text it’s been taken from. [Il we acquiesce in the patriarchal Bloomian model, we can be sure that the female poet does not experience the “anxiety of influence” in the same way that her male counterpart would, for the simple reason that she must confront precursors who are almost exclusively male, and therefore significantly different from her. Not only do these precursors incamate patriarchal authority [...], they attempt to enclose her in definitions of her person and her potential which, by reducing her to extreme stereotypes (angel, monster) drastically conflict with her own sense of her self — that is, of her subjectivity, her autonomy, her creativity. On the one hand, therefore, the woman writer's male precursors symbolize authority; on the other hand, despite their authority, they fail to define the ways in which she experiences her own identity as a writer. More, the masculine authority with which they construct their literary personae, as well as the fierce power struggles in which they engage in their efforts of self-creation, seem to the woman writer directly to contradict the terms of her own gender definition. Thus the ‘anxiety of influence” that a male poet experiences is felt by a female poet as an even more primary “anxiety of authorship” — a radical fear that she cannot create, that because she can never become “precursor” the act of writing will isolate or destroy her. 1. This excerpt is part of Compulsory Heterosexuality and Lesbian Existence ab 2. In response to the male version of literary rivalry represented by Bloom's “anxiety of influence’, the text defends a female ‘anxiety of authorship” ab 3. The text challenges the patriarchal definition of literary authority.....a 4. The text reveals the tension between creativity and ethnicity in the woman poet. a b PART TWO Read the following extracts -literary texts (1) and (2)- and then indicate the right answer to the questions below each (a, b or c).Literary text (1) They were called criminals, and the outraged law, like the bursting shells, had come to them, an insoluble mystery from the sea. All their meager breasts panted together, the violently dilated nostrils quivered, the eyes stared stonily uphill. They passed me within six inches, without a glance, with that complete, deathlike indifference of unhappy savages. Behind this raw matter one of the reclaimed, the product of the new forces at work, strolled despondently, carrying a rifle by its middle. He had a uniform jacket with one button off, and seeing a white man on the path, hoisted his weapon to his shoulder with alacrity. This was simple prudence, white men being so much alike at a distance that he could not tell who | might be. He was speedily reassured, and with a large, white, rascally grin, and a glance at his charge, seemed to take me into partnership in his exalted trust. After all, | also was a part of the great cause of these high and just proceedings 5. The extract is taken from: a. ‘In the Waiting Room" by Elizabeth Bishop. b. The Bluest Eye by Toni Morrison. c. Heart of Darkness by Joseph Conrad 6. The “product of the new forces at work” (line 6) refers to: a. the enslaved Africans working for the company. b. the negative results of colonization on other Africans. c. the colonisers who have the authority in Africa. 7. One of the major themes of the whole work is: a. The exploitation of Africa and Africans by white colonialism and imperialism b. The critique of cannibalism and savagery on the part of the Africans, c. The religious principles of Western colonisers. 8. What does the text tell us about the narrator's attitude? a. He does not empathise with the Africans. b. The narrator thinks that the Company is engaged in a "great cause" or that its proceedings are "high and just”. c. He condemns the white man’s colonial enterprise in an ironic and cynical language. Literary text (2) ink-bottle We have also received reports of a mysterious, oddly shaped, black structure, at an undisclosed distanceto the east. Its presence was revealed only because its highly polished surface catches such feeble moonlight as prevails. The natural resources of the country being far from completely known to us, there is the possibility that this may be, or may contain, some powerful and terrifying “secret weapon”. On the other hand, given what we do know, or have leamed from our anthropologists and sociologists about this people, it may well be nothing more than a numen, or a great altar recently erected to one of their gods, to which, in their present historical state of superstition and helplessness, they attribute magical power, and may even regard as a “savior,” one last hope of rescue from their grave difficulties. 9. This extract is taken from: a. Elizabeth Bishop's “Roosters”. b. Elizabeth Bishop's “In The Waiting Room’. c. Elizabeth Bishop's “12 O'clock News". 10. What does the “ink-bottle” on the left of the page represent? a. Writing as a “secret weapon”. b, Dead American soldiers in the Vietnam war. c. The absence of proper illumination. 11. What is the intention of the whole work: a. to criticise the way the American media represent the Vietnam war. b. to criticise the way the Vietnamese media represent the Vietnam war. c. to defend the official discourse and the ideology of the American government. 12. The longer text from which the above extract is taken can be described as: a. a philosophical treatise. b. a prose poem. c.a short story.Apellidos y nombre... DNI. Centro Asociado. PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. A critical practice that places literary and non-literary texts in conjunction and interprets the former through the latter. 14. A cultural ideology that presumes desire between men and women is the only possible and normative sexual expression in society. 15. A term that includes a range —through each woman's life and throughout history— of woman-identified experiences, embracing many forms of primary intensity between and among women. 16. The syntactical continuation of the verse into the next one or following verses in order to form a sentence.éHizo usted las Pruebas de Evaluacién Continua (PEC)? Si NoO) PART ONE Read the following extract carefully and indicate the correct answer: TRUE (a) or FALSE (b) on the Optical Reader Sheet (Hoja de /ectura 6ptica) according to the excerpt or the complete text it’s been taken from. Reading [...] cannot legitimately transgress the text toward something other than it [...] or toward a signified outside the text whose content could take place, could have taken place outside of language, that is to say, in the sense that we give here to that word, outside of writing in general. That is why the methodological considerations that we risk applying here to an example are closely dependent on general propositions that we have elaborated above; as regards the absence of the referent or the transcendental signified. There is nothing outside the text. 1. This is an extract from “The Death of the Author” by Jacques Derrida. True (a) False (b) 2. Language and writing are used as synonymous in the extract. True (a) False (b) 3. According to the extract, each text has only one valid meaning. True (a) False (b) 4. The extract's last sentence encapsulates the main idea of the source. True (a) False (b) PART TWO Read the following extracts—literary texts (1) and (2)—and then indicate the right answer to the questions below each (a, b or c) on the Optical Reader Sheet Literary text (1) In the morning a low light is floating in the backyard, and gilding from undemeath the broccoli, leaf by leaf; how could the night have come to grief? gilding the tiny floating swallow’s belly and lines of pink cloud in the sky, the day's preamble like wandering lines in marble. The cocks are now almost inaudibleThe sun climbs in, following “to see the end,” faithful as enemy, or friend. 5. The extract is a. the conclusion of Elizabeth Bishop's “Roosters” b. _aresponse to Elizabeth Bishop's “Roosters”. c. from Elizabeth Bishop's “12 O'Clock News”. 6. _ One of the most striking aspects of these stanzas is a. __ that they are totally disconnected from the rest of the poem. b. __ that they convey a sense of danger. c. the imagery of light 7. The line “how could the night have come to grief?” a. __ indicates Magdalen’s stigmatization as a sinner, evoked in the poem. b. clearly refers to the death of one of the cocks earlier in the poem. c. is parallel, in its syntax, with the previous line. 8. The line “faithful as enemy, or friend” a. __ indicates the two possible attitudes of the Sun and the reader to the ideas of the poem. b. clearly refers to hens and roosters. c. __ invites a pessimistic reading of the whole poem. Literary text (2) "Get out," she said, her voice quiet. "You nasty little black bitch. Get out of my house.” The cat shuddered and flicked his tail Pecola backed out of the room, staring at the pretty milk-brown lady in the pretty gold-and green house who was talking to her through the cat's fur. The pretty lady's words made the cat fur move; the breath of each word parted the fur. Pecola tured to find the front door and saw Jesus looking down at her with sad and unsurprised eyes, his long brown hair parted in the middle, the gay paper flowers twisted around his face Outside, the March wind blew into the rip in her dress. She held her head down against the cold. But she could not hold it low enough to avoid seeing the snowflakes falling and dying on the pavement. 9. “The pretty milk-brown lady” is a. Mrs, MacTeer, Claudia and Frieda’s mother. b. Geraldine, who can’t bear the sight of Pecola c. Mrs Breedlove, angry at seeing her daughter in the house where she works as a maidAPELLIDOS: NOMBRE: DNI: 10. 11 12. Pecola is in the lady's house because she a. _ has been deceived by her son. b. often meets the three prostitutes there. c. __ is looking for her mother. The cat in the lady's house a. __ is eventually killed by her son. b. awakens her sexual desire. c. is eventually poisoned by Pecola This episode illustrates a. how snowflakes can be an image of relief. b. that Pecola associates the Christian faith with white people. c. how Pecola faces various forms of rejection. PART THREE Read the following definitions and provide a matching term. Make sure your name is ‘on this page and you hand in THE WHOLE EXAM INCLUDING THE HOJA DE LECTURA OPTICA! A sort of "creative paralysis" that women writers experience and have to overcome. This is the result of patriarchal prejudice, which has considered writing inappropriate for women, and also of the comparative scarcity of female role models in literary history. A wide variety of female behaviour, running, for instance, from informal mutual help networks set up by women within particular professions or institutions, through supportive female friendships and, finally, to sexual relationships. A method based on the parallel reading of literary and nonliterary texts, usually of the same historical period A particular and long-standing way to identify the East as ‘Other’ and inferior to the West.Nombre, apellidos y DNI: C. Asociado: PART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, b = FALSE). Post-structuralism [...] distrusts the very notion of reason, and the idea of the human being as an independent entity, preferring the notion of the ‘dissolved’ or ‘constructed’ subject, whereby what we may think of as the individual is really a product of social and linguistic forces — that is, not an essence at all, merely a ‘tissue of textualities’. [..] Post-structuralism emerged in France in the late 1960s.The two figures most closely associated with this emergence are Roland Barthes and Jacques Derrida. [...] Barthes's work around this time began to shift in character and move from a structuralist phase to a post-structuralist phase. The difference can be seen by comparing two different accounts by Barthes of the nature of the narrative, one from each phase, namely the essay “The Structural Analysis of Narrative” [1966] and The Pleasure of the Text [1973]. [...] [The difference between the 1966 essay and the 1973 book is a shift of attention from the text seen as something produced by the author to the text seen as something produced by the reader. Post-structuralism has confidence in reason. a b 2. Post-structuralism favours the idea that linguistic and social forces create the individual. a ob 3. Barthes's writing in the 1960s abandoned both structuralism and post- structuralism. ab 4. Barthes ultimately believes that the reader produces the text. ipa)Nombre, apellidos y DNI: C. Asociado: PART TWO. Read the following extracts -literary texts (1) and (2)- and then indicate the right answer to the questions below each (a, b or c). Literary text (1) One evening coming in with a candle I was startled to hear him say a little tremulously, ‘I am lying here in the dark waiting for death.’ The light was within a foot of his eyes. | forced myself to murmur, ‘Oh, nonsense!’ and stood over him as if transfixed Anything approaching the change that came over his features | have never seen before, and hope never to see again. Oh, | wasn't touched. | was fascinated. It was as though a veil had been rent. | saw on that ivory face the expression of somber pride, of ruthless power, of craven terror—of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision—he cried out twice, a cry that was no more than a breath— ‘The horror! The horror!” “I blew the candle out and left the cabin. The pilgrims were dining in the messroom, and | took my place opposite the manager, who lifted his eyes to give me a questioning glance, which | successfully ignored. He leaned back, serene, with that peculiar smile of his sealing the unexpressed depths of his meanness. A continuous shower of small flies streamed upon the lamp, upon the cloth, upon our hands and faces. Suddenly the manager's boy put his insolent black head in the doorway, and said in a tone of scathing contempt: “Mistah Kurtz—he dead.’ 5. The highlighted pronouns him, his, he refer to: a. the narrator b. Kurtz c. The manager's boy 6. as though a veil had been rent is an example of: a. allegory b. narrative c. simileNombre, apellidos y DNI: C. Asociado: 7. The extract is taken from the following longer work a. The Bluest Eye by Toni Morrison b. Heart of Darkness by Joseph Conrad ¢. “12 0'Clock News” by Elizabeth Bishop 8. A central theme of the longer work is: a. death b. the brutal exploitation of a region of Africa by a European power c. redemption through art Literary Text (2) Cholly was free. Dangerously free. Free to feel whatever he felt — fear, guilt, shame, love, grief, pity. Free to be tender or violent, to whistle or weep. Free to sleep in doorways or between the white sheets of a singing woman. Free to take a job, free to leave it. He could go to jail and not feel imprisoned, for he had already seen the furtiveness in the eyes of his jailer, free to say, “No, suh,” and smile, for he had already killed three white men. Free to take a woman's insults, for his body had already conquered hers. Free even to knock her in the head, for he had already cradled that head in his arms. Free to be gentle when she was sick, or mop her floor, for she knew what and where his maleness was. He was free to drink himself into a silly helplessness, for he had already been a gandy dancer, done thirty days on a chain gang, and picked a woman's bullet out of the calf of his leg. He was free to live his fantasies, and free even to die, the how and the when of which held no interest for him. In those days, Cholly was truly free. 9. Immediately after this passage, Cholly: a. loses his freedom and goes to jail b. meets Pauline c. marries Pauline 10. The text portrays Cholly as: a. a loving husband and father b. a brutal abuser of his daughter c. a civil rights activistNombre, apellidos y DNI: C. Asociado: 11. main theme of the longer work is: a. the American Civil War b. the Ku Klux Klan c. the psychological disintegration of a young African American girl 12. The extract is taken from: a. ‘In the Waiting Room” by Elizabeth Bishop b. The Bluest Eye by Toni Morrison c. Heart of Darkness by Joseph Conrad PART THREE Read the following definitions and provide a matching term. 13.A verb which means “to restate a text, passage, or work giving the meaning in another form’: Term: 14."The patter of events and situations in a narrative or dramatic work’: Term: 15."A mode of writing that exposes the failings of individuals, institutions, or societies to ridicule and scorn”: Term: 16.An adjective which describes “a system of male authority which oppresses women through its social, political and economic institutions”: Term:COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2014-2015. JAN.-FEB.EXAMS. No material is allowed. (2) NAC2+EU PART A: choose the correct answer in each case. Use the multiple choice form, follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 4. Which of the following titles does not belong to the post-structuralist movement? a. Jacques Derrida's Of Grammatology. b. Roland Barthes’ Image, Music, Text. c. Ferdinand de Saussure's Course in General Linguistics. d. Roland Barthes’ The Pleasure of the Text. 2. The term aporia refers to a. the self-contradictory nature of a text. b. the opposition of two mutually exclusive concepts. c. the discussion of a controversial idea. d. conceptual interconnections between texts 3. The concept of “equal weighting” suggests that a. literary and historical texts have similar status b. all texts should be approached without prejudice. c. texts by women writers should not be marginalized 4. civil rights should not be ignored by criticism. 4. In New Historicism, historical texts should be considered a. works of literature. b. examples of literary criticism. c. “co-texts”. d. contexts. 5. Elaine Showalter’s “feminine phase” is characterised by women’s a. imitation of male artistic norms. b. reaction against male artistic norms. c. study of “gynotexts”. d. study of “androtexts”, 6. As opposed to their French counterparts, Anglo-American feminist critics a. are disciples of Jacques Lacan. b. are heavily influenced by post-structuralism c. show interest in traditional critical concepts. d. write exclusively about language, representation and psychology.7. Adrienne Rich's concept of “lesbian continuum” overlaps with that of a. “lesbian existence” b. “homo hierarchy’. c. ‘woman identified woman” d. “transcendental signifier’ 8. Bonnie Zimmerman argued that a. gay men had discriminated against lesbians. b. the experiences of gay men and women are essentially the same. ©. “classic” feminism had ignored black women. d. “classic” feminism had ignored lesbianism. 9. Which of the following critics is not associated with post-colonialism? a. Hohmi Bhabha. b. Gayatri Spivak. c. Eve Kosofsky Sedgwick 4d. Edward Said 40. Which of the following do post-colonialist critics do? a. Question universalism in literature. b. Acknowledge indebtedness to the metropolis. c. Proclaim the universal quality of Western values. d. Vindicate the spirit of Orientalism. 14. Elizabeth Bishop's line “the day's preamble / like wandering lines in marble” is a a. tenor b. vehicle. c. simile, 4d. paradox. 12. Which of the following concepts could be productively applied to the analysis of Toni Morrison's The Bluest Eye? a. Orientalism in European culture. b. Modern Seriptor c. Lesbian existence. 4. Lesbian continuum END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.full paragraphs in correct English. PART B: this part of the exam must be written i Make sure that you discuss all the aspects indicated. Write your answers in the blank boxes only. You may use draft paper but you should not hand it in. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY | shall not murder The mankind of her going with a grave truth Nor blaspheme down the stations of the breath With any further Elegy of innocence and youth Deep with the first dead lies London's daughter, Robed in the long friends, The grains beyond age, the dark veins of her mother, Secret by the unmourning water Of the riding Thames. After the first death, there is no other 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point).Il) FORM and CONTENT (MAX. 200 WORDS). Explain briefly these aspects of the text: its genre, poetic voice or speaker, visual and aural elements in the poem, syntax and poetic devices, theme, and how its form interrelates with its content. (Up to 1.5 points).Il) THEORY & CRITICISM (MAX. 250 WORDS). Consider the fragment above in relation to the whole text and its title, from the point of view of Deconstruction/post-structuralist analysis. (Up to 2 points). END OF THE EXAMCOMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA (CTLLI) 2014-2015. JAN.-FEB. EXAMS. No material is allowed. (1) NAC1 PART choose the correct answer in each case. Use the multiple choice form, follow its instructions, and make sure that you hand in the multiple choice form and all the pages of the exam including this one. You must have 7 correct answers out of 12 in order to pass and have PART B marked as well. MAX: 6 POINTS (0.5 each) 1. . Sandra Gilbert and Susan Gubar’s “anxiety of authorshi “Reading against the grain” implies a. laying emphasis on innovation. b. exposing the “textual subconscious” c. desoribing an author's style d. identifying cohesive devices. Post-structuralism derives from a. art history. b. cultural studies. c. philosophy. d. translation studies. Michel Foucault referred to the Panopticon as an image of a. an all-powerful and all-seeing state. b. Victorian repression. ¢. political conservatism. d. the new-historicist approach to texts. Which of the following statements about “écriture feminine” is not true? a. Itis transgressive by nature. b. Itdoes not conform to conventional grammar. c. It may be thought of as a reflection of female physiology. d. The term was coined by Julia Kristeva a. is synonymous with “anxiety of influence’. b. pays homage to the work of Harold Bloom c. is the product of women’s fear that they cannot create. d. was inspired by the life of Charlotte Bronté Adrienne Rich defined “lesbian continuum” as a. genital sexual experience between women b. a range of woman-identified experience. c. a variety of compulsory heterosexuality. d. synonymous with “lesbian existence”7. The defining feature of lesbianigay criticism is a. addressing exclusively a gay readership b. making sexual orientation central to literary analysis. c. having no political intention d. having no connection with gender studies. 8. According to Edward Said, which is the main assumption behind Orientalism? a. It derives from Romanticism. b. It manifests itself in both literature and the pictorial arts. c. The East is the West's “inferior” Other. d. The colonies must fight against the Empire. 9. Abasic concem of post-colonial critics is a. the correspondence between texts and co-texts. b. the representation of the non-European. c. the study of legal and political language. d. the use of dialects in literature. 10. In Elizabeth Bishop's poems, the roosters can be considered to stand for a. patriarchal authority b. religious hypocrisy c. female solidarity. d. harmony in nature. 11.In Dylan Thomas' phrase “the round Zion / of the water bead” we find a. only one metaphor. b. a metaphor within another metaphor. ¢. no metaphors, but a simile. d. a metaphor that reappears in the second half of the poem. 12. The city compared to a “whited sepulchre” in Joseph Conrad's Heart of Darkness is a. London. b. Brussels. c. Rome. d. Kinshasa. END OF PART A. PART B FOLLOWS ON THE FOLLOWING PAGE.PART B: this part of the exam must be written in full paragraphs in correct English. Make sure that you discuss all the aspects indicated. Write your answers in the blank boxes only. You may use draft paper but you should not hand it in. MAX.: 4 POINTS. TEXT FRAGMENT FOR THE COMMENTARY Quiet as it’s kept, there were no marigolds in the fall of 1941. We thought, at the time, that it was because Pecola was having her father’s baby that the marigolds did not grow. A little examination and much less melancholy would have proved to us that our seeds were not the only ones that did not sprout; nobody's did. Not even the gardens fronting the lake showed marigolds that year. But so deeply concerned were we with the health and safe delivery of Pecola’s baby we could think of nothing but our own magic: if we planted the seeds, and said the right words over them, they would blossom, and everything would be all right. 1) CONTEXT (MAX. 100 WORDS). Indicate the author and the title of the text and explain their historical, literary and cultural contexts. (Up to 0.5 point).ll) FORM and CONTENT (MAX. 200 WORDS). Explain briefly these aspects of the text: its genre, narrator, imagery and characters (only those alluded to in the fragment). (Up to 1.5 points).Il) THEORY & CRITICISM (MAX. 250 WORDS). Consider the fragment above with the concept of “lesbian continuum” in mind and situating the fragment within the novel. (Up to 2 points). END OF THE EXAMPART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, b = FALSE) according to the excerpt or the complete text it’s been taken from. Yet if reading must not be content with doubling the text, it cannot legitimately transgress the text toward a referent (a reality that is metaphysical, historical, psychobiographical, etc.) or toward a signified outside the text whose content could take place, could have taken place outside of language, that is to say, [...] outside of writing in general. [...] [We propose] the absence of the referent or the transcendental signified. There is nothing outside the text [there is no outside-text; il n'y a pas de hors-texte]. [...] There has never been anything but writing. [...] The entire history of texts, and within it the history of literary forms in the West, should be studied from this point of view. [...] Literary writing has, almost always and almost everywhere, according to some fashions and across very diverse ages, lent itself to this transcendent reading, in that search for the signified which we here put in question, not to annul it but to understand it within a system to which such a reading is blind. 1. The author of the excerpt is Roland Barthes. a ob 2. Referent, signified and transcendent reading are equated in the excen ab 3. The author of the text is well known for his method of deconstruction... ab 4. According to the text, meaning is solely textual ab PART TWO Read the following extracts -literary texts (1) and (2) and then indicate the right answer to the questions below each (a, b or c). Literary text (1) After this | got embraced, told to wear flannel, be sure to write often, and so on—and | left. In the street—I don’t know why—a queer feeling came to me that | was an impostor. Odd thing that |, who used to clear out for any part of the world at twenty-four hours’ notice, with less thought than most men give to the crossing of the street, had a moment—I won't say of hesitation, but of startled pause, before this commonplace affair. The best way I can explain it to you is by saying that, for a second or two, | felt as though, instead of going to the centre of a continent, | were about to set off for the centre of the earth5. The author of this excerpt is: a. Dylan Thomas b. Joseph Conrad ¢. Toni Morrison 6. The reason of the narrator's uneasiness in relation to his journey is: a. He is going to an unexplored continent b. The difficulty of the exploratory task he has to perform so far away c. The prejudices attached to an unknown culture “The centre of the earth” in the last line becomes a metaphor for: a. Africa's blackness b. The richness of the colonized territory c. The point of view of the colonized people 8. The narration in this extract reflects: a. Marlow’s journey diary entry b. A retrospective account of Marlow’s experience c. The author's autobiographical memoir Literary text (2) Wherever it erupts, this Funk, they wipe it away; where it crusts, they dissolve it; wherever it drips, flowers, or clings, they find it and fight it until it dies. They fight this battle all way to the grave. The laugh that is a little too loud; the enunciation a little too round; the gesture a little too generous. They hold their behind in for fear of a sway too free; when they wear lipstick, they never cover the entire mouth for fear of lips too thick, and they worry, worry, worry about the edges of their hair. They never seem to have boyfriends, but they always marry. Certain men watch them, without seeming to, and know that if such a git is in his house, he will sleep on sheets boiled white, hung out to dry on juniper bushes, and pressed flat with heavy iron. There will be pretty paper flowers decorating the picture of his mother, a large Bible in the front room. 9. The excerpt belong to : a. The Bluest Eye b. Heart of Darkness c. Elizabeth Bishop's prose poem 40. The pronoun “they” refers to a. Frieda and Claudia's family members b. Working class African-American women c. Middle class African American womenApellidos y nombre .. DNI.... . Centro asociado.. 11. Why do they want to repress the “funk”? a. To get a better job and position in society b. To erase a strong bond to African American identity c. To make it less difficult to get married 12. How can we interpret the link between this attitude and Pecola's? a. They both wish to assimilate into white society b. They both want to change their bodies to be more desirable by men c. They both look for a good social position outside the neighborhood PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. Term coined by Edward Said naming the ensemble of western, usually though not exclusively, European discourses and other forms of representation of non-western cultures. 14. A critical practice that looks for hidden meanings in a text which may contradict its surface or apparent meaning. 15. The pattem of events or main story in a narrative or drama. The arrangement of the action and incidents in a story. 16. A cultural ideology that presumes desire between men and women is the only possible and normative sexual expression in society.PART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, b = FALSE) according to the excerpt or the complete text it’s been taken from. | will outline some of the principles that | think a Black feminist critic could use. Beginning with a primary commitment to exploring how both sexual and racial politics and Black and female identity are inextricable elements in Black women’s writings, she would also work from the assumption that Black women writers constitute an identifiable literary tradition. The breadth of her familiarity with these writers would have shown her that not only is theirs a verifiable historical tradition that parallels in time the tradition of Black men and white women writing in this country, but that thematically, stylistically, aesthetically, and conceptually Black women writers manifest common approaches to the act of creating literature as a direct result of the specific political, social, and economic experience they have been obliged to share. The author of the excerpt is Adrienne Rich. 2. The text looks for inclusion in the African American and white women’s literary tradition... a 3. The fragment highlights the specificities related to literary creation originated from the interrelation between ethnicity and gender . seoeeeee 4. The article was originally a reaction to Feminist critics’ discrimination.. a PART TWO Read the following extracts literary texts (1) and (2)- and then indicate the right answer to the questions below each (a, b or c). Literary text (1) The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there—there you could look at a thing monstrous and free. It was unearthly, and the men were—No, they were not inhuman. Well, you know, that was the worst Of itthis suspicion of their not being inhuman. It would come slowly to one. They howled and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity—like yours—the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you—you so remote from the night of first ages—could comprehend.5. The narrator of this extract is called: a. Marven b. Marlow cc. Kurtz 6. The expression “No, they were not inhuman’ in line 3 refers to: a. The lions they were hunting b. African inhabitants c. The Indian tribe they approached 7. The implied addressee “you” in the narration includes: a. The reader as part of the inhabitants of the explored land b. The reader as a white European explorer c. The reader as the narrator's companion in the journey 8. This specific critic has reread this work from a postcolonial perspective: a. Edward Said b. Chinua Achebe cc. Homi Bhabha Literary text (2) | said to myself: three days and you'll be seven years old. Iwas saying it to stop the sensation of falling off the round, tuming world into cold, blue-black space. But I felt: you are an /, you are an Elizabeth, you are one of them. Why should you be one, too? I scarcely dared to look to see what it was | was. I gave a sidelong glance —I couldn't look any higher— at shadowy gray knees, trousers and skirts and boots and different pairs of hands lying under the lamps. 9. This excerpt belongs to the poem: a. “12 O'Clock News” b. “Exchanging Hats” c. “The Waiting Room"Apellidos y nombre .. DNI.... Centro asociado. 10. What was the thing in front of her the poetic voice “scarcely dared to look" in line 117: a. People's faces b. Amagazine c. The dim light 11. The sensation of “falling off” is happening at: a. The dentist b. The street c. The church 12. The poetic voice is describing a revelatory moment a. About discovering her ethnic identity b. About coming to terms with her femininity ¢. About her consciousness as a child and an individual PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. The direct political control of one country or society by another and refers first of all to historical episodes, like the long history of British rule in India 14. A term that indicates the struggle of women authors to face the uneasiness of lacking female models in literary history on which to support their right to write within a masculinist literary tradition. 15. A narrative in which the agents and action, and sometimes the setting, are designed to make sense on the “literal” level of signification and also to signify a second, more abstract order of agents, concepts and event, implying political, historical or ideological level. 16. A kind of criticism initiated by Greenblatt that suggests a method based on the parallel reading of literary and non-literary texts, usually of the same historical period, which are given equal weight.PART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, b = FALSE) according to the excerpt or the complete text it’s been taken from. I have chosen to use the terms lesbian existence and lesbian continuum because the word lesbianism has a clinical and limiting ring. Lesbian existence suggests both the fact of the historical presence of lesbians and our continuing creation of the meaning of that existence. | mean the term lesbian continuum to include a range—through each woman's life and throughout history—of woman-identified experience, not simply the fact that a woman has had or consciously desired genital sexual experience with another woman. [W]e [can] expand it to embrace many more forms of primary intensity between and among women, including the sharing of a rich inner life, the bonding against male tyranny, the giving and receiving of practical and political support [...]. The author of the excerpt is Adrienne Rich. The excerpt is part of “Toward a Black Feminist Criticism”. According to the text lesbian continuum is a synonym for lesbian existence... The text defends a critical approach to heterosexuality as a political institution ReORs coos PART TWO Read the following extracts literary texts (1) and (2)~ and then indicate the right answer to the questions below each (a, b or c). Literary text (1) The sea-reach of the Thames stretched before us like the beginning of an interminable waterway. In the offing the sea and the sky were welded together without a joint, and in the luminous space the tanned sails of the barges drifting up with the tide seemed to stand still in red clusters of canvas sharply peaked, with gleams of varnished sprits. A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back still seemed condensed into a mournful gloom, brooding motionless over the biggest, and the greatest, town on earth 5. The interesting narrative strategy in this extract is: a. the description of the ships on the sea as in a painting b. the use of the elements of the sea and the town c. the depiction of the dark city and the luminous river 6. This extract is found: a. at the beginning of Heart of Darkness b. at the end of The Bluest Eye c. at the beginning of The Bluest Eye7. The importance of the river Thames in the book lies in a. the fact of being the main character in the story b. the idea of representing the progress of life c. the contrast built with the river Congo 8. The narrative voice in the excerpt is that of: a. the author b. a character in a boat c. an observer on a bridge Literary Text (2) Their breasts were horrifying Iread it right straight through. Iwas too shy to stop. And then | looked at the cover: the yellow margins, the date. Suddenly, from inside, came an oh! of pain —Aunt Consuelo's voice— not very loud or long I wasn't at all surprised; even then | knew she was a foolish, timid woman, I might have been embarrassed, but wasn't. What took me completely by surprise was that it was me: my voice, in my mouth Without thinking at all Iwas my foolish aunt, |-we—were falling, falling, our eyes glued to the cover of the National Geographic, February, 1918. 9. This extract comes from the poem: a. “Roosters” b. “In the Waiting Room” ©. “12 O'Clock News” 10. Aunt Consuelo's “oh! of pain” (line 7) is caused by: a. the doctor touching the wound b. the pains of childbirth c. the dentist's work on her teethApellidos y nombre .. DNI.... Centro asociado. 11. The importance of the magazine's cover and the date in the poem relates to: a. their capacity to provide boundaries of identity b. their ability to place the reader at the beginning of the century c. the setting that makes us understand upcoming events 12. Identify the figure of “falling, falling” (line 20) in the text: a. paradox b. simile c. metaphor PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. A critical practice that places literary and non-literary texts in conjunction and interprets the former through the latter: 14. A historical document which is contemporary with and studied alongside a literary document: 15. A perspective that considers heterosexuality as the normative sexual inclination and identity in a society: 16. The direct political control of one country or society by another and refers first of all to historical episodes, like the long history of British rule in India:PART ONE Read the following extract carefully and indicate the correct answer (a = TRUE, b = FALSE) according to the excerpt or the complete text it’s been taken from. For whites, this specialized lack of knowledge is inextricably connected to their not knowing in any concrete or politically transforming way that Black women of any description dwell in this place. Black women’s existence, experience, and culture and the brutally complex systems of oppression which shape these are in the “real world” of white and/or male consciousness beneath consideration, invisible, unknown. This invisibility, which goes beyond anything that either Black men or white women experience and tell about in their writing, is one reason it is so difficult for me to know where to start. It seems overwhelming to break such a massive silence. Even more numbing, however, is the realization that so many of the women who will read this have not yet noticed us missing either from their reading matter, their politics, or their lives. It is galling that ostensible feminists and acknowledged lesbians have been so oblivious to the implications of any womanhood that is not white womanhood and that they have yet to. struggle with the deep racism in themselves that is at the source of their ignorance. [...] At the present time | feel that the politics of feminism have a direct relationship to the state of Black women’s literature 1. The excerpt is part of Compulsory Heterosexuality and Lesbian Existence. 2. “Lack of knowledge” (line 1) refers to knowledge of Black male writers... 3. The text defends the creation of an autonomous Black feminist movement 4. The excerpt argues that feminism has considered all womanhood as white. aooo coos PART TWO Read the following extracts literary texts (1) and (2)~ and then indicate the right answer to the questions below each (a, b or c). Literary text (1) Cholly was free. Dangerously free. Free to feel whatever he felt —fear, guilt, shame, love, grief, pity. Free to be tender or violent, to whistle or weep. Free to sleep in doorways or between the white sheets of a singing woman. Free to take a job, free to leave it. He could go to jail and not feel imprisoned, for he had already seen the furtiveness in the eyes of his jailer, free to say, “No, suh,” and smile, for he had already killed three white men. Free to take a woman's insults, for his body had already conquered hers. Free even to knock her in the head, for he had already cradled that head in his arms. Free to be gentle when she was sick, or mop her floor, for she knew what and where his maleness was. He was free to drink himself into a silly helplessness, for he had already been a gandy dancer, done thirty days on a chain gang, and picked a woman's bullet out of the calf of his leg. He was free to live his fantasies, and free even to die, the how and the when of which held no interest for him. In those days, Cholly was truly free.5. The complete text portrays Cholly as: a a loving husband and father b. a brutal abuser of his daughter ©. a civil rights activist 6. A main theme of the complete work is: a. colonization b. the Ku Klux Klan c. __ the psychological disintegration of a young African American girl 7. The extract is taken from: a. ‘Inthe Waiting Room” by Elizabeth Bishop b. The Bluest Eye by Toni Morrison c. Heart of Darkness by Joseph Conrad 8. Inthe complete work, the Dick and Jane reading book serves as: a. an ideal representation of American families b. a realistic portrait of school days cc. amodel for Cholly’s behaviour Literary Text (2) In the moming a low light is floating in the backyard, and gilding from underneath the broccoli, leaf by leaf; how could the night have come to grief? gilding the tiny floating swallow’s belly and lines of pink cloud in the sky, the day's preamble like wandering lines in marble. The cocks are now almost inaudible. The sun climbs in, following ‘to see the end,” faithful as enemy, or friend 9. “The sun climbs in” is an example of: a. hyperbole b. onomatopoeia c. metaphor 10. “like wandering lines in marble” is an example of: a. alliteration b. onomatopoeia c. simileApellidos y nombre .. DNI.... Centro asociado. 11. The extract is taken from: a. Elizabeth Bishop's “In the Waiting Room” b. Elizabeth Bishop's “Roosters” ¢. Dylan Thomas’ “A refusal to mourn the death, by fire, of a child in London” 12. According to Michael Ryan, the complete text a. offers a critique of male culture from a woman's perspective b. can be read as the story of a girl realizing her lesbian identity c. is a symbol of Christ's sacrifice PART THREE Read the following definitions and provide a matching term. GIVE IN ONLY THIS PAGE (make sure your name is on it) AND THE HOJA DE LECTURA OPTICA! 13. An expression which refers to the (male) writer's fear that his works are fatally overshadowed even “owned” in some way- by those of previous (male) authors: 14. The practice of viewing reality from a _—_ heterosexual _ perspective: 15. A type of criticism that shows how Wester literature frequently avoids addressing colonization and imperialism: 16. A process of systematic stereotyping of and discrimination against people because they are old:Nombre, apellidos y DNI: C. Asociado: INSTRUCTI page. Each answer is worth PART ONE Read the following extract carefully and indicate the correct answer (T = TRUE, F = FALSE). The “overall coherence” of any given “series” of historical facts is the coherence of the story, but this coherence is achieved only by a tailoring of the “facts” to the requirements of the story form [...] The historical narrative does not image the things it indicates; it calls to mind images of the things it indicates, in the same way that a metaphor does. When a given concourse of events is emplotted as a “tragedy,” this simply means that the historian has so described the events as to remind us of that form of fiction which we associate with the concept “tragic.” [...] What all this points to is the necessity of revising the distinction conventionally drawn between poetic and prose discourse in discussion of such narrative forms as historiography and recognizing that the distinction, as old as Aristotle, between history and poetry obscures as much as it illuminates about both 1. Ina sequence of historical facts, “overall coherence” means the same as the coherence of the story TOF 2. The historical narrative images the things it refers to. TOF 3. The distinction between poetry and prose needs to be revised. TOF 4. This distinction has existed since before Aristotle. T F PART TWO, Read the following definitions and provide a matching term. 1. The practice of viewing reality from a heterosexual perspective. Term: 2. A process of systematic stereotyping of and discrimination against people because they are old. Term: 3. The direct opposite OR a contrast or opposition between two things. Term: 4. Atype of criticism that shows how Westem literature frequently avoids addressing colonization and imperialism Term:Nombre, apellidos y DNI: C. Asociado: PART THREE Read the following extracts -literary texts (1) and (2)- and then indicate the right answer to the questions below each (a, b or c). Literary Text (1) I shall not murder The mankind of her going with a grave truth Nor blaspheme down the stations of the breath With any further Elegy of innocence and youth. Deep with the first dead lies London’s daughter, Robed in the long friends, The grains beyond age, the dark veins of her mother, Secret by the unmourning water Of the riding Thames. After the first death, there is no other. 4. The mankind of her going is an example of: a. metaphor b. hyperbole c. assonance 2. The extract is taken from the following longer work: a. Dylan Thomas’ “A refusal to moum the death, by fire, of a child in London” b. Elizabeth Bishop's “Roosters” ¢. Elizabeth Bishop's “In the Waiting Room” 3. The rhyme scheme is: a. aba aba b. irregular c. abe abc 4, The fragment reflects on: a. The River Thames b. London c. The death of a young girlNombre, apellidos y DNI: C. Asociado: Literary Text (2) Cholly died in the workhouse; Mrs. Breedlove still does housework. And Pecola is somewhere in that little brown house she and her mother moved to on the edge of town, where you can see her even now, once in a while. The birdlike gestures are worn away to a mere picking and plucking her way between the tire rims and the sunflowers, between Coke bottles and milkweed, among all the waste and beauty of the world — which is what she herself was. All of our waste which we dumped on her and which she absorbed. And all of our beauty, which was hers first and which she gave to us. All of us — all who know her — felt so wholesome after we cleaned ourselves on her. We were so beautiful when we stood astride her. 5. The pronoun “her” refers to a. Mrs. Breedlove b. Pecola c. the beauty of the world 6. The passage is taken from the following longer work: a, Heart of Darkness by Joseph Conrad b. The Bluest Eye by Toni Morrison c. “Roosters” by Elizabeth Bishop 7. The passage is an example of: a. a prose poem b. a prose extract c. astanza 8 Amain theme of the longer work from which the passage is taken is: a. colonization b. black self-hatred as a result of white racism c. travelNombre, apellidos y DNI: C. Asociado: INSTRUCTI page. Each answer is worth PART ONE Read the following extract carefully and indicate the correct answer (T = TRUE, F = FALSE). Tdo not know where to begin. Long before | tried to write this | realized that | was attempting something unprecedented, something dangerous, merely by writing about Black women writers from a feminist perspective and about Black lesbian writers from any perspective at all. These things have not been done. Not by white male critics, expectedly. Not by Black male critics. Not by white women critics who think of themselves as feminists. And most crucially not by Black women critics, who, although they pay the most attention to Black women writers as a group, seldom use a consistently feminist analysis or write about Black lesbian literature. All segments of the literary world — whether establishment, progressive, Black, female, or lesbian — do not know, or at least act as if they do not know, that Black women writers and Black lesbian writers exist 1. The author realizes s/he is doing something dangerous. T F 2. The author is attempting to write about white homosexual writers. T F 3. The author is attempting something unprecedented. T F 4. The literary establishment recognizes the existence of Black lesbian writers. T F PART TWO. Read the following definitions and provide a matching term. 1. A term used in New Historicism to refer to a construct which is made of words and based on invention rather than reality: Term: 2. A term which refers to the (male) writer's fear that his works are fatally overshadowed — even ‘owned’ in some way — by those of previous (male) authors: Term: 3. Accritical practice that challenges and re-writes the canon, seeking to rediscover women- authored texts: Term: 4. The evocation of one sense in terms of another, e.g. a smooth sound, a warm colour: Term:Nombre, apellidos y DNI: C. Asociado: PART THREE Read the following extracts -literary texts (1) and (2)- and then indicate the right answer to the questions below each (a, b or c). Literary text (1) The old river in its broad reach rested unruffied at the decline of day, after ages of good service done to the race that peopled its banks, [...] nothing is easier for a man who has, as the phrase goes, “followed the sea” with reverence and affection, than to evoke the great spirit of the past upon the lower reaches of the Thames. The tidal current runs to and ro in its unceasing service, crowded with memories of men and ships it had borne to the rest of home or to the battles of the sea. It had known and served all the men of whom the nation is proud, from Sir Francis Drake to Sir John Franklin, knights all, titled and untitled—the great knights-errant of the sea. [...] They had sailed from Deptford, from Greenwich, from Erith—the adventurers and the settlers; kings’ ships and the ships of men. [...] Hunters for gold or pursuers of fame, they all had gone out on that stream, bearing the sword, and often the torch, . . . The dreams of men, the seed of commonwealths, the germs of empires. The sun set; the dusk fell on the stream, and lights began to appear along the shore. [..] aid Marlow suddenly, “has been one of the dark places of the earth.” 4. The old river refers to: a. the Seine b. the Thames c. the Nile 2. the seed of commonwealths is an example of: a. metaphor b. allegory c. narrative 3. The extract is taken from the following longer work: a. The Bluest Eye by Toni Morrison b. Heart of Darkness by Joseph Conrad c. “12 0'Clock News” by Elizabeth Bishop 4. Accentral theme of the longer work is: a. sexuality b. the brutal exploitation of a region of Africa by a European power c. redemption through artNombre, apellidos y DNI: C. Asociado: Literary Text (2) In the morning a low light is floating in the backyard, and gilding from underneath the broccoli, leaf by leaf, how could the night have come to grief? gilding the tiny floating swallow's belly and lines of pink cloud in the sky, the day's preamble like wandering lines in marble. The cocks are now almost inaudible. The sun climbs in, following “to see the end,” faithful as enemy, or friend. 1 4, The subject/agent of the present participle gilding (|. 3) is a. the morning b. alow light c. the backyard The sun climbs in is an example of: a. hyperbole b. onomatopoeia . metaphor/personification like wandering lines in marble is an example of. a. alliteration b. onomatopoeia c. simile The extract is taken from: a. Elizabeth Bishop's “In the Waiting Room” b. Elizabeth Bishop's “Roosters” c. Dylan Thomas’ “A refusal to moum the death, by fire, of a child in London”NACIONAL/Res/SEPTIEMBRE 2010 [fiPO EXAMEN: TEST] Nombre, apellidos y DNI: Centro Asociado: Each answer is worth 0.5 marks. Possible maximum marks: 8. Proportion of final total mark: 80%. Part One Read the following extract carefully and indicate the correct answer (A = TRUE, B= FALSE), The author is a modern figure, a product of our society insofar as [...] it discovered the prestige of the individual [...], the ‘human person.’ It is thus logical that in literature it should be this positivism, the epitome and culmination of *capitalist ideology. which has attached the greatest importance to the ‘person’ of the author. The author still reigns in histories of literature, biographies of writers, interviews, magazines, as in the very consciousness of men of letters anxious to unite their person and their work through diaries and memoirs. The image of literature to be found in ordinary culture is tyrannically centred on the author, his person, his life, his tastes, his passions, while criticism still consists for the most part in saying that Baudclaire’s work is the failure of Baudelaire the man, Van Gogh’s his madness, Tchaikovsky's his vice. 1. Modern society has produced the figure of the author. A B 2. Ordinary culture has ignored the author A B 3. Men of letters wish to bring together their life and writing A B 4. Criticism links Van Gogh to his madness. A B Part Two Read the following definitions and match them to the correct term below (a, b, ¢ or a). 5. The process by which a text is organized into a plot, Term: 6. A reference to another work of literature or art, to @ person or an event. Term: 7. A system which emphasizes private initiative and individual effort and enterprise. Term: 8. An instance of language or utterance that involves the speaker/writer-subject and listener/reader-object. Term: ‘Terms: a, capitalism, b. discourse, c, emplotment, d. allusion,Part Three Literary text (1) Read the following extract and indicate the right answer to the questions below. The escarpment that rises abruptly from the central plain is in heavy shadow, but the elaborate terrace- typewriter ing of its southern glacis glee intly in the dim light, like fish seales. What endless labor those small, peculiarly shaped terraces represent! And yet, on them the welfare of this tiny principality depends. A slight landslide occurred in the northwest about pile of mss. an hour ago. The exposed soil appears to be of poor quality: almost white, calcareous, and shaly. There are believed to have been no casualties. 9, like fish scales is an example of a. allusion b. simile c. metaphor 10. The extract is taken from the following longer work a. Elizabeth Bishop’s “12 O'Clock News” b. Dylan Thomas’ “A refusal to mourn the death, by fire, of a child in London” ¢. Joseph Conrad's Heart of Darkness 11, them refers to: a. fish scales b. terraces c. casualties 12. The style of the extract and longer work is meant to imitate: a. Acritical essay b. Anews bulletin c. Amemoir Literary text (2) Read the following extract and then indicate the right answers to the questions below. The three whores lived in the apartment above the Breedloves’ storefront. [...] They did not belong to those generations of prostitutes created in novels, with great and generous hearts, dedicated, because of the horror of circumstance, to ameliorating, the luckles barren life of men, taking money incidentally and humbly for their “understanding” [...] Neither did they have respect for women, [...]. Their only respect was for what they would have described as “good Christian colored women.” The woman whosereputation was spotless, and who tended to her family, who didn’t drink or smoke or run around. 13. A main theme of the longer work is: a. Wester colonization of Africa b. Slavery c. The psychological and physical abuse of a young girl and its impact. 14, The extract is from the following longer work: a. Adrienne Rich’s “Compulsory Heterosexuality b. Joseph Conrad’s Heart of Darkness ©. Toni Morrison’s The Bluest Eye nd Lesbian Existence”, 15. their refers to: a. men b. generous hearts €. generations of prostitutes 16, the barren life of men is an example of: a. hyperbole b. metaphor c._alliterNACIONAL/OR/SEPTIEMBRE 2010 [fiPO EXAMEN: TEST] Nombre, apellidos y DNI: Centro Asociado: Each answer is worth 0.5 marks. Possible maximum marks: 8. Proportion of final total mark: 80%. Part One Read the following extract carefully and indicate the correct answer (A = TRUE, B= FALSE), Dover Wilson’s work is a distinguished example of the characteristic assumptions and methods of the mainstream literary history practiced in the first half of our century, [....} [T]he new historicism, [is] set apart from [...] the dominant historical scholarship of the .]. The earlier historicism tends to be monological; that is, it is concerned with iscovering a single political vision, usually identical to that said to be held by the entire literate class or indeed the entire population [...]. The new historicism erodes the firm ground of both criticism and literature. It tends to ask questions about its own methodological assumptions and those of others [...]. Moreover, recent criticism has been less concerned to establish the organic unity of literary works and more open to such works as [...] places of dissent{...] and shifting interests, occasions for the jostling of orthodox and subversive impulses. “The Elizabethan playhouse, playwright, and player,” writes Louis Adrian Montrose [...}, “exemplify the contradictions of Elizabethan society and make those contradictions their subject. If the world is a theatre and the theatre is an image of the world, then by reflecting upon its own artifice, the drama is holding the mirror up to nature.” 1. Dover Wilson's work does not represent mainstream literary history of the first part of the twentieth century. A B 2. Earlier historicism tends to expose a coherent political vision, A B 3. The new historicism resembles the dominant historical scholarship. A B 4, For Louis Montrose, Elizabethan theatre tries to cover up the contradictions of Elizabethan society. A B Part Two Read the following definitions and match them to the correct term below (a, b, ¢ or a). 5. A construct which is made of words and based on invention rather than reality. Term: 6. A mode of writing that exposes the failings of individuals, institutions, or societies to ridicule and scorn. Term:7. A system which emphasizes private initiative and individual effort and enterprise, Tert 8. A long narrative poem celebrating the great deeds of one or more legendary heroes in a grand ceremonious style, Term: ‘Terms: a, satire, b. verbal fictions, c. epic, d. capitalism Part Three Literary text (1) Read the following extract and indicate the right answer to the questions below. Why should I be my aunt, or me, or an What simil: boots, hands, the family voice felt in my throat, or even the National Geographic and those awful hanging breasts held us all together or made us all just one? How ~ I didn’t know any word for it— how “unlikely”... How had I come to be here, like them, and overhear accry of pain that could have got loud and worse but hadn’t? The waiting room was bright and too hot. It was beneath a big black wave, another, and another 1g Then I was back in it. The war was on. Outside, in Worcester, Massachusett were night and slush and cold, and it was still the fifth of February, 1918. 9, The subject/agent of the line held us all together is: al b. anyone c. similarities 10. The extract is taken from the following longer work: a, Mary McCarthy's war memoirsb. Dylan Thomas’ “A refusal to mourn the death, by fire, of a child in London” c. Elizabeth Bishop’s “In the Waiting Room” 11. One of the main themes of the longer wor a, The growing self-awareness of the speaker b, Waris a terrible thing ©. The role of National Geographic in US. culture 12, The adverb here refers to: a. Africa b. National Geographic head office c. adentist’s waiting room Literary text (2) Read the following extract and then indicate the right answers to the questions below. I came upon a boiler wallowing in the grass, then found a path leading up the hill. It turned aside for the boulders, and also for an undersized railway-truck lying there on its back with its wheels in the air. One was off. The thing looked as dead as the carcass of some animal, I came upon more pieces of decaying machinery, a stack of rusty rails. To the left a clump of trees made a shady spot, where dark things seemed to stir feebly. I blinked, the path was steep. A horn tooted to the right, and I saw the black people run. A heavy and dull detonation shook the ground, a puff of smoke came out of the cliff, and that was all, No change appeared on the face of the rock. They were building a railway, The cliff was not in the way or anything; but this objectless blasting was all the work going on. 13. In the opening clause “I came upon a boiler wallowing in the grass, the word wallowing” is an example of: aA present participle with a literal meaning b. A present participle with a metaphorical meaning c. A present participle functioning as a noun 14, The extract is from the following longer work: a, Toni Morrison’s The Bluest Eye b. Joseph Conrad’s Heart of Darkness c. Elizabeth Bishop’ 15. The longer work is: a, Anautobiographical work b. A fictional narrative written in the first person ©. A prose poem 16. The sentence “The thing looked as dead as the carcass of some animal” refers to: a. aboiler b. apath ¢. an undersized railway trackNACIONAL/2* SEMANA/FEBRERO 2010 Nombre y DNI: Centro Asociado: Each answer is worth 0.5 marks, Possible maximum marks: 8. Proportion of final total mark: 80%, Part One Read the following extract carefully and indicate the correct answer (A = TRUE, B= FALSE). [1}f we acquiesce in the patriarchal Bloomian model, we can be sure that the female poet does not experience the “anxiety of influence” in the same way that her male counterpart would, for the simple reason that she must confront precursors who are almost exclusively male, and therefore significantly different from her. Not only do these precursors incarnate patriarchal authority [...], they attempt to enclose her in definitions of her person and her potential which, by reducing her to extreme stereotypes (angel, monster) drastically conflict with her own sense of her self — that is, of her subjectivity, her autonomy, her creativity, On the one hand, therefore, the woman writer's male precursors symbolize authority; on the other hand, despite their authority, they fail to define the ways in which she experiences her own identity as a writer, 1. The female poet experiences the “anxiety of influence” exactly like her male counterpart A B Male literary precursors symbolize authority for the woman writer A B 3. The Bloomian model is a feminist model A B 4, Male precursors reduce the female poet to stereotypes, such as angel or monster. A B Part Two Read the following definitions and match them (o the correct term below (a, b, ¢ or d). 1. The male author’s fear that he is not his own creator and that previous male authors have priority over his writings. Term: 2. A critical approach to literature which challenges the univers discourse and standards, Term: ity of white3. A story, play, poem, picture, etc, in which the meaning or message is represented symbolically. Term: 4, The belief that heterosexuality is the only ‘normal’ mode of sexual and social relations. ‘Terms: a. anxiety of influence, b. heterocentricity, ¢. allegory, d. ethnic studies Part Three Literary text (1) Read the following extract from a work by Elizabeth Bishop and indicate the right answer to the questions below. 1 said to myself: three days And you'll be seven years old, I was saying it to stop the sensation of falling off the round, turning world into cold, blue-black space. But I felt: you are an /, You are an Elizabeth, You are one of them. Why should you be one, too? I scarcely dared to look to sce what it was I was, I gave a sidelong glance -I couldn't look any higher- at shadowy gray knees, trousers and skirts and boots and different pairs of hands lying under the lamps. Tknew that nothing stranger had ever happened, that nothing stranger could ever happen 1. Both extract and the longer work are about: a. a young girl’s moment of self-recognition b. African safaris c. family life 2. The metre (métrica) of this extract is: a. iambic b. inregular ©. octosyllabic3. The extract is from the following longer work: a. “Rooster b. “12 O'Clock News” c. “In the Waiting Room” 4, The speaker of the extract is located in: a. Africa b. a dentist's waiting room c. the offices of National Geographic Literary text (2) Read the following extract from a work by Elizabeth Bishop and then indicate the right answers to the questions below. As you all know, tonight is the night of the full ‘moon, half the world over. But here the moon gooseneck seems to hang motionless in the sky. It gives very lamp little light; it could be dead. Visibility is poor. Nevertheless, we shall try to give you some idea of the lay of the land and the present situation. ‘The escarpment that rises abruptly from the central plain is in heavy shadow, but the elaborate terrace- typewriter _ ing of its southem glacis gleams faintly in the dim light, like fish scales. What endless labor those small, peculiarly shaped terraces represent! And yet, on them the welfare of this tiny principality depends, 1. The words in the left-hand margin, gooseneck lamp, are connected to: a. the lay of the land b. the world c. the moon The extract is from the following longer work: a. “Exchanging Hats” b. “12.0°Clock News” c. “Roosters” 3. The words in the left-hand margin, typewriter, are connected to: a. those small, peculiarly shaped terraces b. heavy shadow c._ this tiny principality 4. A central theme of the longer work is: a. hunger b. farming c. the effects of warNACIONAL/I* SEMANA/FEBRERO 2010 Nombre y DNI: Centro Asociado: Each answer is worth 0.5 marks. Possible maximum marks: 8. Proportion of final total mark: 80%, Part One Read the following extract carefully and indicate the correct answer (A = B=FALSE). Considered as potential elements of a story, historical events are value-neutral. Whether they find their place finally in a story that is tragic, comic, romantic, or ironic [...] depends upon the historian’s decision to configure them according to the imperatives of one plot structure [...] rather than another. The same set of events can serve as components of a story that is tragic or comic, as the case may be, depending on the historian’s choice of the plot structure that he considers most appropriate. [...] The important point is that most historical sequences can be emplotted in a number of different ways, so as to provide different interpretations of those events and to endow them with different meanings. [...] How a given historical situation is to be configured depends on the historian’s subtlety in matching up a specific plot structure with the set of historical events that he wishes to endow with a meaning of a particular kind. This is a literary, that is to say a fiction-making operation. 1. Historical sequences can only be emplotted in a single way. A B 2. The historian arranges his/her material to conform to literary A B patterns, 3. History and fiction are unrelated. A B 4. The historian decides whether a set of events ii tragic or comic, A B Part Two Read the following definitions and match them to the correct term below (a, b, ¢ or d). 1. A way of reading that notices what the writer “commands and what he does not command of the ... language that he uses”. Term: 2. A critical practice which stresses and examines cultural difference and diversity in literature. Term:3. A ctitical practice that places literary and non-literary texts in conjunction and interprets the former through the latter. Term: 4, The woman author's fear that she is unable to create or that writing will destroy her Term: ‘a. new historicism b. deconstruction c. anxiety of authorship d. post- colonialism Part Three Literary text (1) Read the following extract from Dylan Thomas’ poem “A refusal to mourn the death, by fire, of a child in London” and then indicate the right answer to the questions below (a, b or ¢). Never until the mankind making Bird beast and flower Fathering and all humbling darkness Tells with silence the last light breaking And the still hour Is come of the sea tumbling in harness ‘And I must enter again the round Zion of the water bead And the synagogue of the ear of corn Shall I let pray the shadow of a sound Or sow my salt seed In the least valley of sackcloth to moum. The majesty and burning of the child’s death 1. Fathering, humbling, tumbling are all examples of: a. nouns b. present participles functioning as adjectives ©. verbs “my salt seed” is an example a, metaphor b. allegory c. narrative 3. The rhyme-scheme of the poem is: a. irregular b. abe-abe c. in rhyming couplets4. Dylan Thomas’ poem is about: a. war b. the death of a child and its wider significance c. love Literary text (2) Read the following extract from Elizabeth Bishop's poem “Roosters” and then \dicate the right answers to the questions below (a, b or c). At four o'clock in the gun-metal blue dark we hear the first crow of the first cock just below the gun-metal blue window and immediately there is an echo off in the distance, then one from the backyard fence, then one, with horrible insistence, grates like a wet match from the broccoli patch, flares,and all over town begins to catch. Cries galore come from the water-closet door, from the dropping-plastered henhouse floor, where in the blue blur their rusting wives admire, the roosters brace their cruel feet and glare with stupid eyes while from their beaks there rise the uncontrolled, traditional cries, rrates like a wet match” (1. 10) is an example of: a. aparadox . a simile c. hyperbole 2. The “roosters” are compared in this extract to: a, working farm animals b. doves of peace ¢. brutal military personnel“their rusting wives admire” (1. 17) refers a. farmers’ wives b. the cows in the next farm c. the hens 4, In this extract (and much of the poem), the speaker criticizes: a. fe b. patriarchal and military culture ©. Christianity