Cultural and Literary in Modernity

A. Mimicry
B. Ambivalence
C. Hybridity
D. Serendipity

A. It was an urban modernization project that reorganized Parisian city streets so that the bourgeoisie could flaunt their new wealth.
B. It was an urban renovation project which offered social services in city slums.
C. It was a political movement intended to overthrow Napoleon III.
D. It was a religious movement intended to celebrate the values of Christianity.

A. It is a philosophical term which means “imitation” or “mimicry.”
B. It is a philosophical and critical term meaning “otherness.”
C. It is a critical term, which describes the act of expression and the presentation of self-identity, theorized by academics, such as Erich Auerbach.
D. A and C only

A. The term “Vorticism” was coined in 1914 by the avant-gardist Ezra Pound.
B. Practitioners of Vorticism often saw themselves just as much as educators as artists as they taught the public a new, more graphic language.
C. The periodical and manifesto named BLAST attempted to expound Vorticism’s principal tenets.
D. The practice of Vorticism in artistic circles grew after World War I.

A. Stroller, idler, walker
B. An inhabitant of a rural village
C. A religious believer
D. Both A and B

A. It is an excellent example of “Magical Realism.”
B. It is concerned with the post-colonial situation of India before and after its partitioning into India and Pakistan.
C. It is a book that tells the story of the Sinai family.
D. All of the above

A. The Franco-Prussian War
B. The American Civil War
C. World War I
D. World War II

A. A group of self-imposed American expatriates living in Paris that included Ernest Hemingway, Hart Crane, and Henry Miller
B. A group of artists and writers who were deeply marked by the traumas of World War I
C. Any American in self-exile in Europe to avoid fighting in World War I
D. A and B only

A. It contains almost hellish imagery, such as: “Melting like dirty wax,/decayed candles, the bums sinking lower,/faces submerged under hams.”
B. It explores the theme of the perversion of language.
C. It deeply identifies with Dante’s “Inferno” in terms of tone and thick description.
D. All of the above

A. Joyce’s “The Dead”
B. Hemingway’s “My Old Man”
C. Woolf’s “A Haunted House”
D. Borges’ “The Library of Babel”