更多"As a philosophical and literary mov"的相关试题:
[单项选择]In the mid-l 8th century, a new literary movement called ______ came to Europe and then to England.
A. classicism
B. restoration
C. romanticism
D. realism
[单项选择]The poet who wrote the philosophical Mending Wall was__________.
A. Ezra Pound
B. Robert Frost
C. T. S. Eliot
D. Wallace Stevens
[简答题]Analyze with textual examples the literary features of American Southern Literature.
[单项选择]Science fiction is called a literary subgenre because ______.
A. it is not important enough to be a literary genre
B. it cannot be made into a dramatic presentation
C. it shares characteristics with other types of prose fiction
D. it has its limits
[单项选择]______ provides great philosophical insight into the nature of the linguistic communication.
A. The CP Theory
B. The Speech Act Theory
C. The Universal Grammar
D. The Principle of Conversation
[单项选择]All of the following are major figures of literary modernism EXCEPT
A. James Joyce.
B. Charles Lamb.
C. S. Eliot.
D. Virginia Woolf.
[单项选择]Despite an overlay of quasi-literary French vocabulary stemming from the Norman Invasion of 1066, the daily vocabulary of English remained Germanic, ______ its grammatical structure.
A. the same as
B. and so are
C. as did
D. and so were
[单项选择]Science fiction is called a literary sub-genre because__________.
A. it is not important enough to be a literary genre
B. it cannot be made into a dramatic presentation
C. it has its limits
D. it shares characteristics with other types of prose fiction
[简答题]Analyze W.B. Yeats" literary style.
[单项选择]Is the literary critic like the poet, responding creatively, intuitively, subjectively to the written word as the poet responds to human experience Or is the critic more like a scientist, following a series of demonstrable, verifiable steps, using an objective method of analysis For the woman who is a practitioner of feminist literary criticism, the subjectivity versus objectivity, or critic-as-artist-or-scientist, debate has special significance; for her, the question is not only academic, but political as well, and her definition will provoke special risks whichever side of the issue it favors. If she defines feminist criticism as objective and scientific—a valid, verifiable, intellectual method that anyone, whether man or woman, can perform—the definition not only makes the critic-as-artist approach impossible, but may also hinder accomplishment of the utilitarian political objectives of those who seek to change the academic establishment and its thinking, especially about sex roles. If she defines feminist criticism as creative and intuitive, privileged as art, then her work becomes vulnerable to the prejudices of stereotypic ideas about the ways in which women think, and will be dismissed by much of the academic establishment. Because of these prejudices, women who use an intuitive approach in their criticism may find themselves charged with inability to be analytical, to be objective, or to think critically. Whereas men may be free to claim the role of critic-as-artist, women run different professional risks when they choose intuition and private experience as critical method and defense. These questions are political in the sense that the debate over them will inevitably be less an exploration of abstract matters in a spirit of disinterested inquiry than an academic power struggle, in which the careers and professional fortunes of many women scholars only now entering the academic profession in substantial numbers will be at stake, and with them the chances for a distinctive contribution to humanistic understanding, a contribution that might be an important influence against sexism in our society. As long as the academic establishment continues to regard objective analysis as "masculine" and an intuitive approach as "feminine," the theoretician must steer a delicate philosophical course between the two. If she wishes to construct a theory of feminist criticism, she would be well advised to place it within the framework of a general theory of the critical process that is neither purely objective nor purely intuitive. Her theory is then more likely to be compared and contrasted with other theories of criticism with some degree of dispassionate distance.Which of the following titles best summarizes the content of the text
A. How Theories of Literary Criticism Can Best Be Used
B. Problems Confronting Women Who Are Feminist Literary Critics
C. A Historical Overview of Feminist Literary Criticism
D. Literary Criticism: Art or Science
[单项选择]
Text 3
Is the literary critic like the poet, responding creatively, intuitively, subjectively to the written word as the poet responds to human experience Or is the critic more like a scientist, following a series of demonstrable, verifiable steps, using an objective method of analysis
For the woman who is a practitioner of feminist literary criticism, the subjectivity versus objectivity, or critic-as-artist-or-scientist, debate has special significance; for her, the question is not only academic, but political as well, and her definition will provoke special risks whichever side of the issue it favors. If she defines feminist criticism as objective and scientific—a valid, verifiable, intellectual method that anyone, whether man or woman, can perform—the definition not only makes the critic-as-artist approach impossible, but may also hinder accomplishment of the utilitarian political objectives of those who seek to change the academic establishm
A. To forge a new theory of literary criticism.
B. To pursue truth in a disinterested manner.
C. To demonstrate that women are interested in literary criticism that can be viewed either subjectively or objectively.
D. To convince the academic establishment to revise the ways in which it assesses women scholars' professional qualities.
