Rabelais and His World Test | Mid-Book Test - Easy

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This test consists of 15 multiple choice questions and 5 short answer questions.

Multiple Choice Questions

1. What does the "form" of any kind of art express?
(a) A system of values.
(b) The materials from which the art is constructed.
(c) Only one possible message.
(d) Whatever the audience chooses.

2. The verbal interactions between the Renaissance marketplace hawker and the crowd were above all:
(a) Distantly suggestive.
(b) Timid and quiet.
(c) Free and frank.
(d) Abusive and derogatory.

3. With what is "folk culture" most concerned?
(a) The affairs of royalty.
(b) Commerce and industry.
(c) Foreign songs, art, and stories.
(d) The lives of ordinary people.

4. What is a "marketplace spectacle"?
(a) The mundane goings-on of a typical French Renaissance marketplace.
(b) Specifically the public whipping of a criminal in the center of the marketplace.
(c) A series of booths dedicated solely to bilking customers out of their money.
(d) A theatrical production arranged atop a platform in the center of the marketplace.

5. What was unique about the Russian Revolution?
(a) Only the elite class was involved.
(b) It continues into the present day.
(c) People of all classes and occupations were centrally involved.
(d) It was purely a religious revolt.

6. The purpose of "travesty" in folk festivals was to:
(a) Reassert traditional definitions of social and spiritual life.
(b) Indicate the importance of travel to an individual's self-development.
(c) Irreversibly denigrate everything it could.
(d) Call upon something serious and make it amusing.

7. In Rabelais' time, jurons, or profanities and oaths, were most often concerned with:
(a) Family ties, such as one's in-laws.
(b) Monarchs who subjugated their people.
(c) Marketplace vendors who cheated their customers.
(d) Sacred themes, such as saints and relics.

8. Medieval parodies were:
(a) Limited to religious parody.
(b) Concerned with the positive, humorous aspects of everything.
(c) Limited to parody of individuals.
(d) Focused on the negative aspects of society.

9. How are Bakhtin and Rabelais similar?
(a) They live in the same country.
(b) They both write mostly novels.
(c) They both directly challenge the government by running for political office.
(d) They both subvert the social prohibition on laughter, satire, and irony.

10. What do some critics argue has been absent from Russian literature?
(a) A particularly Western type of humor.
(b) Political dissent.
(c) Religious fervor.
(d) Sexually-charged dialogue.

11. How is the Rabelaisian use of tripe an excellent example of grotesque realism?
(a) It merges the positive and negative, or upper and lower, spheres of the body.
(b) It is the epitome of disgusting.
(c) It is a drug which offers the user a glimpse of a higher plane of existence.
(d) It combines fantasy with reality in one type of cuisine.

12. How does the Lord of Basche contrive to bring Catchpoles to his castle?
(a) By celebrating Mass.
(b) By celebrating mock weddings.
(c) By offering people absolution from their sins.
(d) By giving away his possessions.

13. The core images of the prologue of _Gargantua_ are:
(a) Scenes of eating and drinking.
(b) Scenes of travel and journeys.
(c) Scenes of pious worship.
(d) Scenes of violence.

14. In the Renaissance, bodily excretions were closely associated with:
(a) The social status of the individual.
(b) The overall health of the individual.
(c) The inherent evilness or goodness of the individual.
(d) The individual's sexual purity.

15. In Rabelais' works, some causes of diseases associated with the material body lower stratum are:
(a) Results of a sickly infancy and childhood.
(b) Overindulgence in food, drink, and sex.
(c) Divine retribution for one's sins.
(d) Results of public punishments for social crimes.

Short Answer Questions

1. What do oaths and curses have in common with town announcements and the calls of vendors?

2. To what does Bakhtin compare the various cries of Paris?

3. What are the "intelligentsia"?

4. The prologue of _Pantagruel_ is a parody and travesty of:

5. How is the figure of the king treated in Rabelais' writing?

(see the answer keys)

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