English · UNIT 09 · MOCK TEST

Mock 2 – Statements, Sequencing & Matching (Part 2)

Unit 9: Mixed Practice (Statements, Sequencing and Matching) · 24 questions · about 28 minutes. Press End Mock any time to see your score and the correct answers.

All 2 topic-wise mocks in this unit

0 / 24 answered 00:00

Q1.

Choose the correct statements:

A. Miller's play The Crucible was first written in verse.
B. The American Dream is a play by Edward Albee about the absurd situation and immediate realities.
C. The American Dream is a novel by Ionesco about the problems of a middle-aged professional.
D. Miller's play The Price is set in a baroque palace in Eastern Europe, debating the responsibility of the writer and the extent to which reality is a series of performed gestures.
E. Miller's play The Price explores the extent to which we retrospectively invent our own history.

AA, C and D only BB, D and E only CB, C and D only DA, B and E only

Q2.

Read the following statements carefully and choose the correct ones:

A. A mixed metaphor conjoins two or more obviously diverse metaphoric vehicles.
B. In metonymy, a part of something is used to signify the whole.
C. To scan a passage of verse is to go through it line by line to analyse its content, theme and diction.
D. The term 'kenning' denotes the recurrent use, in poems in Old Germanic languages, of a descriptive phrase in place of the ordinary name for something.
E. Figurative language is often divided into two categories: tropes and schemes.

AA, D and E only BB, C and E only CB, C and D only DA, B and D only

Q3.

Read the following statements carefully and choose the correct ones:

A. Mikhail Bakhtin traces the roots of the novel back to imperial Rome and ancient Hellenistic romances.
B. Henry James considers the novel as the epic of a prosaic modern world.
C. Margaret Anne Doody locates the novel's birthplace in the cultures of the ancient Mediterranean.
D. F. R. Leavis defines the novel as 'one bright book of life'.
E. Georg Lukács calls the novel 'the epic of a world that has been abandoned by God'.

AA, C and E only BA, B and D only CB, C and D only DC, D and E only

Q4.

Choose the correct statements about Victorian prose writers:

A. Macaulay was the practical man of affairs, helping and rejoicing in the progress of his beloved country.
B. Ruskin was like a Hebrew prophet just in from the desert, and the burden of his message was 'Woe to them that are at ease in Zion!'
C. Arnold was much like the cultivated Greek; his voice was soft, his speech suave, but he left the impression that you must be deficient in culture.
D. Newman was like the best French prose writers in expressing his thought with such naturalness and apparent ease that, without thinking of style, we received exactly the impression he meant to convey.

AA, B and C only BA, C and D only CB, C and E only DC, D and E only

Q5.

Choose the correct statements regarding the scope of linguistics:

A. To describe and trace the history of all observable languages.
B. To determine the forces that are permanently and universally at work in all languages.
C. To study manifestations of civilized human speech only.
D. To consider only correct speech and flowery language.
E. To delimit and define itself.

AA, B and E only BB, C and D only CB, D and E only DA, C and D only

Q6.

Choose the correct statements:

A. English literature was first offered as a subject of study at King's College, London, in 1831.
B. English was first offered as a subject of study in England in 1828 at the universities of Oxford and Cambridge.
C. Though taught as a medium of instruction and a subject in India since the 1850s, English literature was not taught at Oxford and Cambridge till the end of the nineteenth century.
D. In 1931, English replaced the study of classics in Greek and Latin in Oxford and Cambridge.
E. Until the end of the nineteenth century, literature meant only the study of great books in classical languages like Greek and Latin at Oxford and Cambridge.

AA, C and E only BB, C and D only CA, B and C only DB, D and E only

Q7.

Which of the following statements were made by Barbara Johnson?

A. 'Deconstruction is not synonymous with destruction...'
B. 'The deconstruction of a text does not proceed by random doubt or arbitrary subversion...'
C. 'Deconstruction is not a dismantling of the structure of a text but a demonstration that it has already dismantled itself.'
D. 'If anything is destroyed in a deconstructive reading, it is not the text, but the claim to unequivocal domination of one mode of signifying over another.'
E. 'Deconstruction as a mode of interpretation works by a careful and circumspect entering of each textual labyrinth...'

AA, B and D only BA, C and E only CB, C and D only DA, D and E only

Q8.

Which of the following critics are associated with the Frankfurt School?

A. Walter Benjamin
B. Laura Mulvey
C. Travis Henderson
D. Max Horkheimer
E. Leo Lowenthal

AA, D and E only BC, D and E only CB, C and D only DA, C and E only

Q9.

Choose the correct key points related to the approach of feminism and gender studies:

A. Feminism is concerned with the marginalization of women in a patriarchal culture.
B. Feminist critics explain how the subordination of women is reflected or challenged by literary texts; they examine the experiences of women of all races, classes, sexual preferences and cultures.
C. Mary Wollstonecraft defines four models of sexual difference: biological, linguistic, psychoanalytic and cultural.
D. Feminist critics aim to expose patriarchal premises and prejudices, promote the discovery and re-evaluation of literature by women, and examine the social, cultural and psychosexual contexts of literature and criticism.
E. Simone de Beauvoir prefers 'womanism' to 'feminism'.

AA, B and C only BA, B and D only CB, C and D only DB, D and E only

Q10.

Match List I with List II:

List I: Author	List II: Work
A. Lois Reynolds Kerr	I. Dark Harvest
B. Dorothy Livesay	II. Guest of Honour
C. Gwen Pharis Ringwood	III. Red Emma
D. Carol Bolt	IV. Joe Derry

AA-II, B-IV, C-I, D-III BA-I, B-II, C-IV, D-III CA-III, B-IV, C-II, D-I DA-I, B-IV, C-III, D-II

Q11.

Match List I with List II:

List I: Play	List II: Playwright
A. Cynthia's Revels	I. Thomas Middleton
B. The Maid's Tragedy	II. Ben Jonson
C. Women Beware Women	III. Thomas Dekker
D. The Shoemaker's Holiday	IV. Beaumont and Fletcher

AA-II, B-IV, C-I, D-III BA-I, B-III, C-IV, D-II CA-III, B-IV, C-II, D-I DA-III, B-IV, C-I, D-II

Q12.

Match List I with List II:

List I: Line	List II: Author
A. 'One day I wrote her name upon the strand'	I. Thomas Gray
B. 'Under the greenwood tree'	II. William Shakespeare
C. 'The curfew tolls the knell of parting day'	III. Ted Hughes
D. 'Remember how we picked the daffodils?'	IV. Edmund Spenser

AA-III, B-IV, C-I, D-II BA-IV, B-II, C-I, D-III CA-I, B-IV, C-II, D-III DA-I, B-II, C-IV, D-III

Q13.

Match List I with List II:

List I: Feature	List II: Poet
A. He turned his back on the 'two decades of hypocrisy'	I. Dylan Thomas
B. The Welsh tradition of the power of the spoken word is present in his poetry	II. John Betjeman
C. A representative middle-brow voice of the present, adjusting to the past	III. Philip Larkin
D. His poetry plays with and against the Romantic tradition	IV. W. H. Auden

AA-III, B-II, C-I, D-IV BA-I, B-II, C-IV, D-III CA-IV, B-I, C-II, D-III DA-II, B-I, C-III, D-IV

Q14.

Match List I with List II:

List I: Novel	List II: Subtitle
A. Silas Marner	I. The Modern Prometheus
B. Sybil	II. The Parish Boy's Progress
C. Frankenstein	III. The Two Nations
D. Oliver Twist	IV. The Weaver of Raveloe

AA-I, B-II, C-IV, D-III BA-IV, B-II, C-I, D-III CA-II, B-IV, C-I, D-III DA-IV, B-III, C-I, D-II

Q15.

Match List I with List II:

List I: Characters	List II: Novel (D. H. Lawrence)
A. Ursula – Skrebensky	I. Women in Love
B. Gudrun – Gerald	II. Lady Chatterley's Lover
C. Connie – Mellors	III. Sons and Lovers
D. Miriam – Paul	IV. The Rainbow

AA-II, B-III, C-I, D-IV BA-III, B-II, C-I, D-IV CA-IV, B-I, C-II, D-III DA-II, B-III, C-IV, D-I

Q16.

Match List I with List II:

List I: Essay	List II: Author
A. 'Liberty of the Press'	I. Thomas De Quincey
B. 'The Vision of Mirza: An Oriental Allegory'	II. John Ruskin
C. 'On the Knocking at the Gate in Macbeth'	III. John Milton
D. 'Mental Slavery of Modern Workmen'	IV. Joseph Addison

AA-IV, B-III, C-I, D-II BA-I, B-III, C-IV, D-II CA-I, B-II, C-IV, D-III DA-III, B-IV, C-I, D-II

Q17.

Match List I with List II:

List I: Author/Editor	List II: Work
A. John Gross	I. A History of English Prose Rhythm
B. Wendy Martin	II. The Oxford Book of Essays
C. George Saintsbury	III. Essays by Contemporary American Women
D. Richard A. Lanham	IV. Analyzing Prose

AA-II, B-III, C-I, D-IV BA-II, B-IV, C-III, D-I CA-III, B-IV, C-II, D-I DA-IV, B-I, C-II, D-III

Q18.

Match List I with List II:

List I: Term	List II: Meaning
A. Pidgin	I. Language special to an individual – a 'personal dialect'
B. Creole	II. A variety defined by social use: scientific, formal, religious, journalistic
C. Idiolect	III. A contact language drawing on elements of two or more languages
D. Register	IV. A term for people and languages of the former colonial tropics – the Americas, Africa, the Indian Ocean, Oceania

AA-I, B-II, C-III, D-IV BA-II, B-I, C-III, D-IV CA-IV, B-I, C-II, D-III DA-III, B-IV, C-I, D-II

Q19.

Match List I with List II:

List I: Term	List II: Meaning
A. Collocation	I. A term borrowed in the 1960s from mathematics into linguistics by Noam Chomsky
B. Inflected	II. The contrast between positive and negative in sentences, clauses and phrases
C. Polarity	III. A habitual association between particular words
D. Generative	IV. Of a word that takes various forms to show its grammatical role

AA-IV, B-III, C-II, D-I BA-III, B-IV, C-II, D-I CA-III, B-IV, C-I, D-II DA-IV, B-II, C-III, D-I

Q20.

Match List I with List II:

List I: Work	List II: Author
A. Poverty and Un-British Rule in India	I. Romesh Chunder Dutt
B. The Slave Girl of Agra	II. Dadabhai Naoroji
C. Love Songs and Elegies	III. Rabindranath Tagore
D. Gora	IV. Manmohan Ghosh

AA-II, B-I, C-IV, D-III BA-IV, B-III, C-I, D-II CA-IV, B-III, C-II, D-I DA-III, B-II, C-I, D-IV

Q21.

Match List I with List II:

List I: Critical text	List II: Critic
A. Surprised by Sin: The Reader in Paradise Lost	I. Louise Rosenblatt
B. Five Readers Reading	II. Stanley Fish
C. The Reader, the Text, the Poem	III. Walter J. Slatoff
D. With Respect to Readers	IV. Norman Holland

AA-IV, B-II, C-I, D-III BA-II, B-IV, C-I, D-III CA-III, B-II, C-I, D-IV DA-II, B-IV, C-III, D-I

Q22.

Match List I with List II:

List I: Term	List II: Coined by
A. Thick description	I. Jacques Derrida
B. Transcendental signified	II. I. A. Richards
C. Vehicle, tenor	III. Bertolt Brecht
D. Alienation effect	IV. Clifford Geertz

AA-IV, B-I, C-II, D-III BA-II, B-III, C-IV, D-I CA-III, B-I, C-IV, D-II DA-I, B-II, C-III, D-IV

Q23.

Match List I with List II:

List I: Feminist text	List II: Writer
A. Thinking About Women	I. Betty Friedan
B. The Female Eunuch	II. Mary Ellmann
C. The Dialectic of Sex	III. Shulamith Firestone
D. The Feminine Mystique	IV. Germaine Greer

AA-II, B-IV, C-III, D-I BA-IV, B-II, C-III, D-I CA-II, B-III, C-IV, D-I DA-I, B-II, C-III, D-IV

Q24.

Match List I with List II:

List I: Abbreviation	List II: Meaning
A. et seq.	I. the same
B. idem	II. in the place cited
C. loc. cit.	III. here and there throughout
D. passim	IV. and the following

AA-I, B-III, C-IV, D-II BA-IV, B-II, C-I, D-III CA-IV, B-I, C-II, D-III DA-III, B-IV, C-II, D-I