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اسئله أبو بكر (4-5) النقد الادبي

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اسئله أبو بكر (4-5) النقد الادبي السلام عليكم ورحمة الله وبركاته موفقين جميعـآ عدد الأسئلة: 51 - بعد إنهاء حل الكويز يمكنك تحميله بصيغة PDF. - سوف تحصل على نقطة إضافية في التقييم عن كل إجابة صحيحة.
1) Unlike Plato, Aristotle has always proved ………………….in Western literary and philosophical systems
	a.Easier to incorporate
	b.More difficult to incorporate
	c.There was no difference at all.
	d.All false
2) Aristotle’s analysis of Tragedy in the Poetics …………..the foundation of artistic, dramatic and literary practice.
	a. Are not any more
	b. Are still today
	c. Are rarely considered
	d. All false
3) One of the following statements is TRUE:
	a. Western scholars disliked Plato’s discussion of poetry or disagree with it.
	b. Western scholars are usually full of praise for Aristotle.
	c. Both A and B are true
	d. All false
4) …………has, for centuries, been considered in Western cultures as the unchallenged authority on poetry and literature; the ‘czar of literary criticism,’ to borrow the expression of Gerald Else.
	a. Plato
	b. Aristotle
	c. Shakespeare
	d. Socrates
5) The Poetics has for centuries functioned as the most authoritative book of literary criticism – the Bible of literary criticism. The Poetics was written by:
	a. Plato
	b. Aristotle
	c. Shakespeare
	d. Socrates
6) In Poetics, Aristotle defines Tragedy as a/an…….of an action that is serious, complete, and of a certain magnitude;
	a. Translation
	b. Description
	c. Imitation
	d. Narration
7) Every Tragedy, therefore, must have ………..parts, which parts determine its quality.
	a. Four
	b. Five
	c. Six
	d. Seven
8) .......................Due to Aristotle, Tragedy is the “imitation of an action (mimesis) according to the law of
	a. Probability
	b. Necessity
	c. Either
	d. Neither
9) Aristotle says that tragedy is an imitation of action, ……..a narration. Tragedy “shows” you an action rather than “tells” you about it.
	a. Not
	b. And
	c. And sometimes
	d. All false
10) Tragedy arouses.............
	a. Pity
	b. Beauty
	c. Fear
	d. A and C
11) Aristotle defines plot as.............
	a. The start of incidents
	b. The arrangement of incidents
	c. The story behind sadness
	d. All false
12) 12. The plot in order to be considered good must be “a whole,” with a beginning, middle, and end. The beginning, called by modern critics the …………., must start the cause-and-effect chain.
	a. Critical moment
	b. Beginning moment
	c. Moment of incident
	d. Incentive moment
13) The middle, or climax, must be caused by ……….. and itself causes the incidents that follow it.
	a. Earlier incidents
	b. The climax itself.
	c. Either
	d. Neither
14) ............... must be caused by the preceding events but not lead to other incidents
	a. The end
	b. The resolution
	c. Either
	d. Neither
15) (Aristotle calls the cause-and-effect chain leading from the incentive moment to the climax ……….(desis
	a. The solution
	b. The relief
	c. The tying up
	d. all false
16) In modern terminology, the Tying Up is called the..........
	a. Complication
	b. Contradiction
	c. Coherence
	d. Unraveling
17) Aristotle calls the cause-and-effect chain from the climax to the resolution the.............
	a. Complication
	b. Contradiction
	c. Coherence
	d. Unraveling
18) In modern terminology, the Unraveling is called the........
	a. Dénouement
	b. Definition
	c. Resolution
	d. All false
19) According to Aristotle, the worst kinds of plots are..........
	a. Those that are complete
	b. Those that have unity
	c. Those that are episodic
	d. A and B
20) According to Aristotle, characters in tragedy should have the following qualities:
	a. “good or fine” - the hero should be an aristocrat
	b. “true to life” - he/she should be realistic and believable.
	c. “consistency” - Once a character's personality and motivations are established, these should continue throughout the play.
	d. All applies
21) Diction is “the expression of the meaning in words” which are ……………to the plot, characters, and end of the tragedy.
	a. Inappropriate
	b. Appropriate
	c. Improper
	d. All false
22) Talking about diction, Aristotle discusses the stylistic elements of tragedy; he is particularly interested in..........
	a. Rhythm
	b. Metaphor
	c. Simile
	d. A and C
23) Song, or melody is the musical element of the chorus. Aristotle argues that the Chorus ………fully integrated into the play like an actor.
	a. Should not be
	b. Should sometimes be
	c. Should be
	d. All false
24) Aristotle argues that superior poets rely on the inner structure of the play ………..than spectacle to arouse pity and fear
	a. Rather
	b. Less
	c. Both possible
	d. Neither
25) The end of the tragedy is a katharsis of the tragic emotions of pity and fear. Katharsis means:
	a. Purgation
	b. Cleansing
	c. Purification
	d. All true
26) Tragedy arouses the emotions of pity and fear ………….purge away their excess, to reduce these passions to a healthy, balanced proportion.
	a. In order to
	b. In order not to
	c. To avoid to
	d. All false
27) 5 Lecture ............In Ancient Greece, Homer’s, tragedies of Aeschylus, Sophocles and Euripides were
	a. Plays that people read in books.
	b. Performances and shows that people attended at the tragic festival every year.
	c. Both
	d. Neither
28) In Ancient Rome, Greek culture..........
	a. Became books that had no connection to everyday life and to average people.
	b. Stayed the same as it was in Greece age.
	c. Completely abandoned and ignored.
	d. All false
29) In Ancient Rome, Greek books were...........
	a. Written in a language (Greek) that most of the Romans didn’t speak.
	b. Belonged to an era in the past that Romans had no knowledge of.
	c. Only a small, educated minority had the ability to interact with these books.
	d. All true
30) In Rome, Greek culture..........
	a. Was not a living culture anymore.
	b. Was a “museum” culture.
	c. Some aristocrats used it to show off, but it did not inspire the present.
	d. All true
31) Roman literature and criticism emerged as an attempt to ………..that Greek culture that was now preserved in books.
	a. Challenge
	b. Imitate
	c. Outperform
	d. Authenticate
32) Horace was……poet
	a. Roman
	b. Creek
	c. Persian
	d. All false
33) Horace’s Ars Poetica was …………in shaping European literary and artistic tastes.
	a. Not influential
	b. Influential
	c. Limited
	d. All false
34) Horace was............
	a. Not a philosopher-critic like Plato or Aristotle.
	b. Was a poet writing advice in the form of poems with the hope of improving the artistic effort of his contemporaries.
	c. Both
	d. Neither
35) In Ars Poetica: he...........
	a. Tells writers of plays that a comic subject should not be written in a tragic tone, and vice versa.
	b. He advises them not to present anything excessively violent or monstrous on stage, and that the deus ex machina should not be used unless absolutely necessary
	c. He tells writers that a play should not be shorter or longer than five acts (190), and that the chorus “should not sing between the acts anything which has no relevance to or cohesion with the plot”.
	d. All true
36) Horace advises that poetry should teach and please and that the poem should be conceived as a form of static beauty similar to ……….
	a. A painting
	b. A flower
	c. An imagination
	d. All false
37) ..............At the centre of Horace’s ideas is the notion of
	a. Credibility
	b. Sensibility
	c. Responsibility
	d. All true
38) A poet, according to Horace, who has “neither the ability nor the ………..to keep the duly assigned functions and tones” of poetry should not be “hailed as a poet.”
	a. Knowledge
	b. Imagination
	c. Reality
	d. Cleverness
39) Whenever Horace talks about the laws of composition and style, his model of excellence that he wants Roman poets to imitate are.............
	a. The Indians
	b. The Persians
	c. The Arabs
	d. The Greeks.
40) Horace’s ……….of the popular culture of his day is apparent in his “Letter to Augustus
	a. Likeness
	b. Hatred
	c. Agreement
	d. Satisfaction
41) Horace’s hatred of the popular culture of his day was ………among Latin authors.
	a. Rare
	b. Not found
	c. Widespread
	d. All false
42) Poetry for Horace and his contemporaries meant:
	a. Written monuments that would land the lucky poet’s name on a library shelf next to the great Greek names.
	b. Would grant the poet fame, a nationalistic sense of glory and a presence in the pedagogical curriculum.
	c. Both
	d. Neither
43) In Ars Poetica, Horace also advises the aspirant poet to make his tale ...........
	a. Long
	b. Short
	c. Believable
	d. Incredible
44) The principles of taste and “sensibility” (decorum) Horace elaborates to distinguish what he thought was “civilized” from “uncivilized” poetry will be ……………in shaping the European distinction between official high culture and popular low one.
	a. Unnecessary
	b. Instrumental
	c. Less important
	d. All false
45) Quintilian is……writer
	a. Roman
	b. Greek
	c. Persian
	d. Indian
46) Sometimes Quintilian ………..the imitation of the Greeks.
	a. Justifies
	b. Criticises
	c. Both
	d. Neither
47) Due to Quintilian, imitation is............
	a. Always dangerous
	b. Never dangerous
	c. Dangerous unless we do it in good judgement
	d. All false
48) Seneca is another Roman poet stresses a process of ...............
	a. Imitation
	b. Transformation
	c. Invention
	d. All false
49) Seneca advises poets and writers to copy..........
	a. Him
	b. Greeks
	c. Bees
	d. All false
50) Which of the following applies to Latin authors?
	a. Latin authors never discuss poetry or literature as an imitation (mimesis); they only discuss them as an imitation of the Greeks.
	b. Latin authors are not familiar with Plato’s and Aristotle’s analysis of poetry. The Poetics or Republic III and X do not seem to have been available to the Romans:
	c. Latin authors used poetry and literature for two things only:To improve eloquence and To sing the national glories of Rome and show off its culture.
	d. All true
51) This conception of literature will remain prevalent in Europe until the mid ….. century.
	a. 18th
	b. 19th
	c. 20th
	d. All false

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اسئله أبو بكر (4-5) النقد الادبي
السلام عليكم ورحمة الله وبركاته موفقين جميعـآ
تم حل الكويز 471 مرة بنسبة نجاح 62%
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مناقشة الكويز: النقد الادبي (4-5)

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