|Name: _________________________||Period: ___________________|
This test consists of 15 multiple choice questions and 5 short answer questions.
Multiple Choice Questions
1. To what does Bakhtin compare the various cries of Paris?
(a) A sobbing child.
(b) A howling wolf.
(c) A crowded kitchen.
(d) A roaring storm.
2. In which twentieth-century movement was the grotesque especially evident?
3. How does Rabelais accomplish the grotesque degradation of his target in the prologue to the Third Book?
(a) By declaring the targets to be empty-headed.
(b) By declaring the targets incapable of the basest bodily functions.
(c) By insulting the targets' mothers.
(d) By accusing the targets of paganism and crimes against the Church.
4. What does Bakhtin consider the most indispensable element of folk culture?
(a) Death rituals.
5. Bakhtin connects Medieval "seriousness" most closely to:
(a) Feasting, spectacles, and sex.
(b) Inspiration and hope.
(c) Fear, weakness, and violence.
(d) Scholarly activities.
6. How does Bakhtin interpret the relevance of the cries of Paris to Renaissance France?
(a) The cries suggest a deep discontent in the Parisian populace.
(b) The cries combine the reality of practical life with festive utopian universalism.
(c) The cries were the people's only method of exchanging ideas.
(d) The cries negate the revitalization of the marketplace.
7. How did the French Romanticists respond to Rabelais' works?
(a) They ignored Rabelais completely.
(b) With complete understanding of Medieval and Renaissance culture.
(c) With an appreciation of, and interest in, the grotesque.
(d) With disgust and negative criticism.
8. What common fifteenth- and sixteenth-century literary device does Bakhtin identify in the Prologue to the Third Book?
(a) Blank verse.
(b) Complaints about love.
(c) Long lists of names and epithets.
(d) Invocations to the Muse.
9. According to Bakhtin's semiotic understanding, what irony is inherent within the creative power of language?
(a) Language does not actually express anything.
(b) The individual expresses him- or herself only through the words of others.
(c) All languages are one.
(d) No word can actually ever be defined.
10. Bakhtin asserts that beatings, death, feasting, and merrymaking are all integral parts of:
(a) Rabelais' view of the proper treatment of foreigners and peasants.
(b) The methods of marketplace vendors in overpricing their goods.
(c) The Renaissance notion that all which is already established is perfect.
(d) The Renaissance system of images that is perpetually regenerative and never decaying.
11. Why was Rabelais linked so closely to the Lyon fairs?
(a) Lyon fairs represented one of the largest markets for publishing.
(b) Rabelais was a chief organizer of these fairs.
(c) Rabelais was a performing clown for several years in these fairs.
(d) The organizers of the fairs in Lyon banned Rabelais from attending them.
12. During Bakhtin's time, what genre was being closely defined by the Soviet government?
(a) The biography.
(b) The novel.
(c) The epic poem.
(d) The lyric.
13. How, according to Bakhtin, does the current Russian literary criticism approach Rabelais' works?
(a) By trying to correctly interpret the source of the cultural laughter within them.
(b) By reviving their content in new, twentieth-century forms.
(c) By sharing them with an eager public.
(d) By denouncing them as counterproductive to the ongoing Russian Revolution.
14. How does the Lord of Basche contrive to bring Catchpoles to his castle?
(a) By offering people absolution from their sins.
(b) By celebrating mock weddings.
(c) By giving away his possessions.
(d) By celebrating Mass.
15. What are the targets of the abusive language in Rabelais' prologue to the Third Book?
(a) Foreign travelers who have offended the traditions of Carnival.
(b) Average townsfolk who have imbibed too much wine.
(c) Representatives of old, hypocritical, serious Medieval philosophy.
(d) Members of the aristocracy whose political ideals are not in keeping with Rabelais' ideals.
Short Answer Questions
1. Medieval parodies were:
2. What does Bakhtin find inadequate in Veselovsky's metaphor of Rabelais as a village boy?
3. What does the "form" of any kind of art express?
4. Bakhtin thinks that life is:
5. Which answer best describes "grotesque realism"?
This section contains 758 words
(approx. 3 pages at 300 words per page)