|Name: _________________________||Period: ___________________|
This quiz consists of 5 multiple choice and 5 short answer questions through Book 2: Appendix 4.
Multiple Choice Questions
1. How do utilitarians feel about art?
(a) It is useful only when it is appreciated by most of society.
(b) It is a necessary diversion for humanity.
(c) It doesn't have much value.
(d) It is only worthwhile if it is beautiful and functional, as in the case of fine architecture.
2. According to the author, why do religious devotees participate in practices to atone for their sins?
(a) To achieve a better understanding of themselves and the teachings of their religion.
(b) To achieve a natural high, created by feelings of religious exultation.
(c) To get a reprieve from feelings of guilt or inadequacy.
(d) To prepare themselves for judgment after death.
3. In what way does the second essay differ from the first?
(a) The second was written before the author's experimentation with drugs.
(b) The second was originally a journal entry, and the author didn't intend to publish it.
(c) The second doesn't recount any specific experience.
(d) The second essay has a darker, more sinister tone than the first.
4. According to the author, what are the two ways to achieve a level of consciousness that allows for exploration of the undiscovered areas of the mind?
(a) Fasting and meditation.
(b) Drugs and fasting.
(c) Drugs and hypnosis.
(d) Meditation and drugs.
5. Why is the first technique in Appendix 1 even less understood than mescalin use?
(a) There's a lot of variation in what people see while using this technique.
(b) Its specific effects on the brain are not well understood.
(c) It is used by very few people in comparison to mescalin.
(d) No research has been performed to determine its long-term effects.
Short Answer Questions
1. According to the author, what is one example of the importance of colors and light to many cultures?
2. What topic does the author explore in Appendix 2?
3. The first painter mentioned in Appendix IV was the appointed artist to the king of what nation?
4. According to the author in Appendix 2, how would "proponents of a 'Nothing-But' philosophy" interpret mystical experiences?
5. What is the art form which is most likely to transport those who experience it?
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