A. The Futurists apotheosized technology, whereas World War II poets often focused on technology’s destructive powers.
B. The Futurists praised speed, whereas World War II poets often evoked images of nature to describe the human condition.
C. The Futurists privileged the part over the whole, whereas World War II poets did not deal with the problem of modernity and alienation.
D. The Futurists focused on advancements in technology and industry, whereas World War II poets ignored advancements in technology, especially in modern warfare.
Related Mcqs:
- Which of the following statements best characterizes the contrast between T.S. Eliot’s “The Waste Land” and the futurist aesthetic project ?
A. “The Waste Land” is primarily concerned with nature, whereas the futurists are most interested in industrial and urban landscapes.
B. “The Waste Land” confronts the fragmentation of modernity by exploring a variety of modes and voices, whereas the futurists do not focus on the fragmentation of modern experience, praising speed and industrial progress instead.
C. “The Waste Land” is an ironic exploration of Romantic themes, whereas the futurists incorporate ironic evocations of the classical tradition in their poetry.
D. “The Waste Land” focuses on the personal connection between poet and speaker, whereas the futurists focus on an impersonal connection between humans and industry. - Which of the following statements best expresses the difference between how visual images functioned in World War I poetry and Imagist poetry ?
A. There were no significant differences in the functioning of visual images in these two types of poetry.
B. The Imagists relied on visual images to achieve clarity of expression, whereas World War I poets relied on visual images to subtly punctuate their often desperate political messages.
C. The Imagists valued brevity, which could be achieved with precise visual images, whereasWorldWar I poets preferred declamatory statements in their poems.
D. WorldWar I poets valued clarity of expression through visual images, whereas Imagists relied on complex expression through emotional visual images. - Which of the following statements best describes the relationship between Georgian poetry and English World War I poetry ?
A. Georgian poetry was modeled on World War I poetry and adapted its insights to postwar realities.
B. Unlike World War I poetry, Georgian poetry was concerned primarily with the effects of urbanization and industrialization.
C. Unlike World War I poetry, Georgian poetry was concerned primarily with women’s rights.
D. World War I poets like Siegfried Sassoon and Wilfred Owen adapted the Georgian poetic manner to write about modern subjects; most Georgian poets focused on individual experience and avoided writing about the upheavals of modernity. - Which of the following best characterizes the contrast between Gertrude Stein’s poetry and Imagist poetry ?
A. Stein experimented only with the sound qualities of language, whereas the Imagists focused on visual imagery.
B. Stein experimented with language that skirted the edges of sense, whereas the Imagists sought precision and clarity of expression.
C. Stein sought to combine classical poetic form with contemporary content, whereas the Imagists used traditional poetic subject matter but experimented with form.
D. Stein sought precision and clarity in her poems, whereas the Imagists sought experimental forms that enhanced visual imagery. - Which of the following statements best characterizes the difference between Futurism and Vorticism ?
A. Members of both movements were fascinated by speed and dynamism, but unlike the Futurists, Vorticists did not celebrate technology and industrialization.
B. Futurism was a politically-inclined movement, whereas Vorticism was free of all political entanglements.
C. Futurism lasted for several decades, whereas Vorticism was short-lived.
D. Vorticists celebrated technology and industrialization, whereas Futurists explored impending cultural challenges regarding technology and industrialization. - Which of the following statements best characterizes the central questions faced by poetry after the Holocaust ?
A. Is it possible for Romantic themes in poetry to be meaningful after the Holocaust?
B. The horror of the Holocaust was inexpressible; how can poetry speak of what is inexpressible?
C. Is there a relationship between poetry and rationality after the Holocaust?
D. Is there a meaningful relationship between World War I poetry and World War II poetry? - Which of the following statements best characterizes American World War II poems ?
A. They tend to use traditional rhyme schemes and rhythms, and they avoid free verse.
B. They tend to use metaphors and avoid direct descriptive statements.
C. They tend to use classical imagery while rejecting romantic tropes.
D. They tend to be narrative and confront the reader with stark wartime realities. - Which of the following statements accurately characterizes the relationship between Italian Futurism and its historical context ?
A. The Italian Futurists were fascinated by the age of electric and chemical power, and they praised the beauty of automobiles.
B. The Italian Futurists lived within a quickly changing social world, and they praised speed.
C. Marinetti and other Italian Futurists supported Mussolini’s fascism.
D. All of these answers - Which of the following figures is the author of the 1909 “Futurist Manifesto” ?
A. Umberto Boccioni
B. Filippo Marinetti
C. Vladimir Mayakovsky
D. Aleksander Wat - Ezra Pound’s “Canto I” opens with the following lines: “And then went down to the ship,/Set keel to breakers, forth on the godly sea, and(…).” Which of the following statements best characterizes these lines and the poem as a whole ?
A. These lines set an impersonal tone which dominates the entire poem.
B. These lines establish a rhythmical pattern, which is followed strictly throughout the poem.
C. These lines are the only impersonal lines in the poem, the rest of which is primarily focused on the complexity of human emotions.
D. These lines establish a personal tone, focusing on a lyrical perspective similar to late-Victorian era poetry.
