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

Multiple Choice Questions

1. Under what light does this claim cease to hold up, in Gilroy's opinion?
(a) In light of radical Islam's hostility.
(b) In light of the discontent of industrial workers.
(c) In light of the West's relations with poorer nations.
(d) In light of the West's nationalist movements.

2. What does this image symbolize for Gilroy?
(a) A theme to improvise on as he continues.
(b) A formula for evaluating race relations in history.
(c) A macrocosmic view of race relations.
(d) A micro-cultural, micro-political system.

3. What limitations are ideas of race experiencing in Gilroy's opinion?
(a) They are too rural.
(b) They are too essentialist.
(c) They are too nationalistic.
(d) They are too cosmopolitan.

4. What image did English fans have of what a black performer should be like?
(a) Savage, illiterate, brutal.
(b) Cool, aloof, suave.
(c) Intellectual, hip, wise.
(d) Wild, sexual, unrestrained.

5. What does the notion of the Black Atlantic produce according to Gilroy?
(a) New definitions of the races.
(b) A historical context for ideas of race.
(c) Transnational perspective.
(d) A simplification of racial concepts.

6. Whose narrative does Gilroy say rests upon the narrative of the black Atlantic?
(a) The factory owners'.
(b) The modern workers'.
(c) The liberated woman's.
(d) The white European's.

7. How does Gilroy characterize the modern self?
(a) Fractured.
(b) Contingent.
(c) Temporary.
(d) Holistic.

8. How does Gilroy characterize the consciousness of the slave?
(a) An internalized history.
(b) A process of liberation.
(c) An act of hostility.
(d) An act of mourning.

9. How does Gilroy say we should look at the history of race in the West?
(a) As a long cooperative experiment.
(b) As a conjunction of races.
(c) As an opposition of black and white essences.
(d) As the collision of two defined cultures.

10. What does Gilroy say black diaspora styles of music typically emphasize?
(a) Tradition.
(b) Performance.
(c) Precision.
(d) Emotion.

11. How does Gilroy characterize defenders of modernity's attitude toward the African diaspora?
(a) Primarily interested.
(b) Casually interested.
(c) Uninterested.
(d) Excessively interested.

12. What does Gilroy say modern historical conditions require of race concepts?
(a) Practical applications.
(b) Return to origins.
(c) Developmental progression.
(d) Essentialism.

13. Where does Gilroy say black intellectuals have gone to get in touch with elements of modern subjectivity?
(a) The ghetto.
(b) The suburbs.
(c) The factory.
(d) The mall.

14. How does Gilroy characterize postmodernity?
(a) As the deterioration of historical evolution of culture.
(b) As a radical break of modernity from previous periods.
(c) As the fulfillment of history.
(d) As an apocalyptic prophecy for Western culture.

15. What kind of social relations does music create according to Gilroy?
(a) Liberating.
(b) Non-dominating.
(c) Hierarchical.
(d) Non-violent.

Short Answer Questions

1. What does music do to the genteel image many moderns have of themselves according to Gilroy?

2. Whose consciousness is Black Atlantic focused on?

3. What does Gilroy assert in opposition to these master-race intellectuals?

4. What does Gilroy say about music's status in culture?

5. How does Gilroy say the Black Atlantic should be understood?

(see the answer keys)

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