1. According to Roberts and Jacobs in Ch. 6, setting is something: (a) in common between real life and literature (b) different in plays from short stories and poems (c) not a factor in life as it is in literature (d) rather narrowly inclusive in the literary work

2. According to Roberts and Jacobs, components of setting to consider are all the following except which one: (a) nature and the outdoors (b) objects of human manufacture and construction (c) cultural conditions and assumptions (d) the author's childhood

3. Roberts and Jacobs in the section "The Uses of Setting" discuss how setting can help convey all the following except which one: (a) character (b) the story's organization (c) atmosphere or mood (d) symbolism (e) the author's life

4. Roberts and Jacobs indicate in their discussion of the thematic use of setting in the two paintings selected that a contrast emerges between: (a) male and female (b) commonplace and elevated (c) ancient and modern (d) morality and immorality

5. Francois Boucher lived (according to your collegiate dictionary) in which century: (a) sixteenth (b) seventeenth (c) eighteenth (d) nineteenth

6. Madame de Pompadour's fame derives from having been (according to your collegiate dictionary): (a) an accomplished tragic actress (b) a lover of animals (c) a designer of gardens (d) the mistress of Louis XV

7. The fame of Madame de Pompadour, as suggested eponymously, also derives (according to the etymology of the word derived from her name, in your collegiate dictionary) from her: (a) hair (b) eyes (c) figure (d) laugh

8. The flowers on the rug in the Boucher painting help suggest through the symbolism of setting: (a) the woman's identification with France's national flower (b) the woman's triumph in romantic love (c) the woman's well-known love of nature (d) the woman's subordination of emotion to intellect

9. What Madame de Pompadour's left hand is touching in the Boucher painting, as well as the open booklet above it, suggest all the following in the symbolism of setting except which one: (a) the lady's disregard of social stratification (b) the lady's cultural polish (c) the lady's harmony with her lover (d) the lady's voice having a musical quality

10. The world globe and where it is placed in Boucher's painting suggest about Madame de Pompadour through the symbolism of setting: (a) the lady has a drive toward intellectual studies, including geography (b) the lady is somewhat spendthrift, spending a world of money (c) the lady's sponsorship of voyages of circumnavigation (d) the world is at her feet

11. The other conspicuous items on the floor in the Boucher painting suggest through the symbolism of setting all the following except which one: (a) the lady's admirable housekeeping (b) the lady's admirable intellect (c) the lady's admirable learning (d) the lady's involvement in governmental matters

12. A repeated component of the items in the Boucher painting, suggestive of wealth and aestheticism, is: (a) chiaroscuro (b) arabesque (c) lunette (d) filigree (e) odalisque

13. Edward Hopper lived (according to your collegiate dictionary): (a) 1859-1928 (b) 1871-1943 (c) 1882-1967 (d) 1900-1952

14. An automat (a word unfortunately not in all collegiate dictionaries) is: (a) a machine acting by itself (b) a vending machine restaurant (c) an establishment selling cars (d) a device for protecting tables from stains

15. The (emotional) tones of the Hopper painting are all of the following except which one: (a) quietness (b) melancholy (c) spirituality (d) loneliness

16. The instrument providing illumination in the Hopper painting, in contrast to the visible instrument for illumination in the Boucher painting, suggests: (a) the Roaring Twenties (b) hopefulness (c) art deco (d) plainness

17. All the following items in the Hopper painting, except which one, help convey the feeling of coldness through the symbolism of setting: (a) what the lady wears on her left hand (b) what lines the bottom portion of the door on the lady's right hand side (c) what the lady is holding in her right hand (d) what is placed on the floor near the doorway on the left (to the lady's right)

18. How the reflection of the instrument of lighting in the picture window is treated in the Hopper painting suggests through the symbolism of setting: (a) indefinite extension of sorrowfulness (b) the emerging triumph of science through intellect (c) yearning to return to childhood innocence (d) a bright future tomorrow

19. The chair (bulking largest) in the Hopper painting is differentiated from the chair in the Boucher painting by all the following except which one: (a) fabric covering or not (b) padding or not (c) straight lines or curvilinear lines (d) whether something is in the chair or not (e) depiction of the chair legs

20. As far as the symbolism of setting goes in the Hopper painting, the most important item, with reference to the chair referred to in the immediately preceding question, is which item in the immediately preceding question: (a) a (b) b (c) c (d) d (e) e

21. In James Joyce's short story "Araby," the odd, repeated word to refer to North Richmond Street having no exit (par. 1) helps connect the setting of the story to the narrator's realization by the narrator at the story's end of his previous lack of: (a) perseverance (b) labor (c) nationalism (d) vision (e) agape [the noun]

22. The house that stands at the end of North Richmond, both by itself as well as in relation to the other houses (par. 1), helps convey through setting the symbolism of the conflict in the story between: (a) Catholics and Protestants (b) alienation and communion (c) England and Ireland (d) urban and rural

23. The items specified of the room behind the kitchen in the narrator's house (par. 2) help convey through symbolism of setting the conflict in the story between all the following except which one: (a) chastity and sexuality (b) romanticism and lowdown reality (c) religion and secularity (d) Church and state (e.g., over such issues as abortion)

24. What lies behind the narrator's house (par. 2) helps convey through setting the symbolic allusion to which chapters in the Bible: (a) Genesis 2-3 (b) Joshua 6-7 (c) 1 Kings 12-13 (d) Isaiah 29-30

25. One relevance of the setting's Biblical symbolism referred to in the immediately preceding question would be the application to the relationship between the narrator and which one character: (a) his uncle (b) Mangan's sister (c) his aunt (d) Mrs. Mercer (e) O'Donovan Rossa

26. Throughout the short story, a symbolic motif in the setting is the recurrent contrast between: (a) urban and rural (b) ancient and modern (c) light and dark (d) land and sea

27. As related to the narrator, the symbolism of setting referred to in the immediately preceding question relates to all of the following except which one: (a) adolescent emergence, from the subconscious, of sexual awareness (b) rebellion against parental authority (c) discovery of egotism (d) purity of purpose vs. sexuality

28. The primary denotation of the word career as used in par. 3 of the short story is: (a) pursuit of money (b) ricochet (c) upperclass occupation (d) charging motion

29. A secondary, thematic denotation (creating a faint punning or paronomasia) of the word career (par. 3), as related to the narrator is: (a) his difficulty in school (b) his sense of vocation (c) his conflict with parents (d) his athletic prowess

30. The tableau (remember William Faulkner's "A Rose for Emily," par. 25?) of Mangan's sister, Mangan, the narrator, and others when she calls for her brother (par. 3) suggests through the symbolism of setting all of the following except which one: (a) the narrator's adoration (b) her vanity (c) the narrator's sense of inferiority (d) the narrator's elevation of the young woman

31. The simile describing the hair of Mangan's sister when she calls for her brother (last sentence of par. 3) suggests the narrator's ultimate discovery of: (a) the dangers through entanglement in sexual attraction (b) the need to break free of the middle class (c) the need for protecting the female gender (d) the need for preserving bonds of social class

32. The details of setting in the his description of mornings in the front parlor (par. 4) suggest all of the following except which one about the narrator: (a) his fearfulness (b) his adoration (c) his feeling of sexual attraction (d) his pride in social position

33. The length of sentence 3 of par. 5 ("We walked through . . . native land") helps convey: (a) the chaotic political parties within a single country (b) (c) the great multiplicity all to be found in a single limited environment (d) the many antagonisms between the genders

34. The length of sentence 7 of par. 5 ("I thought . . . future") (cf. sentence 1 ["At last . . ."] and sentence 4 ["I forget . . . "] of par. 7; sentence 2 ["I wished . . . "] and sentence 8 ["I answered . . . "] of par. 12; or sentence 2 of par. 16 ["Still, it was . . . "]) shows that James Joyce, like William Faulkner: (a) usually wrote short sentences (b) sometimes wrote short sentences (c) nearly never wrote short sentences (d) no evidence in the text

35. The length of sentence 7 of par. 5 helps convey all the following except which one: (a) the expected longevity of lives in the narrator's society (b) the amount of thought spent in youth by the narrator about his future (c) the older narrator's conclusiveness (d) the power of the conflict between intellect and emotion

36. The first figure of speech used to describe the rain in sentence 3 of par. 6 ("Through one of . . . beds") when the narrator dawdles in the back drawing-room one night (par. 6) faintly conveys what symbolism of setting: (a) inviting or welcoming (b) idealistic or non-physical (c) nationalistic or patriotic (d) phallic or Freudian

37. What the narrator does with his hands (last sentence, par. 6) in the back drawing-room conveys the collection of anomalous items of all the following except which one: (a) prayer (b) romantic ardor (c) machismo (d) emotional intensity

38. The physical interaction of Mangan's sister with the setting while she speaks to the narrator (par. 9) -- what she is doing with her hand (cf. par. 16) -- conveys faintly what symbolism of setting: (a) phallic or Freudian (b) Classical or Greco-Roman (c) private or authorial (d) Biblical or Judeo-Christian

39. As the narrator describes various details of setting while he awaits dinner and his uncle prior to going to the bazaar (par. 16), the details help suggest or convey all the following ideas or subjects relevant to the story and the narrator, except which one: (a) elevation (b) isolation vs. communion (c) romance (d) vision (e) religion

40. The way the narrator's aunt refers to the evening (par. 17; "I'm afraid you . . . ") helps transform the time (a component of setting) symbolically into a conflict between: (a) upper and lower classes (b) religion vs. romance (c) urban and rural (d) liberal and conservative politics

41. Descriptive details about the train, the train car, and the train's route (par. 24) that the narrator takes to get to the bazaar help suggest all the various ideas except which one: (a) journey into the underworld (b) the exotic or special (c) passage across a border or borderline (d) isolation or alienation

42. Through what the workers are doing at the bazaar (pars. 25-35, and especially pars. 27-32) is conveyed the thematic subject of: (a) religious rite (b) rueful colonialism (c) romantic love (d) racial separateness

43. As pointed out by the demonstrative essay about James Joyce's short story "Araby," a number of details of setting help convey: (a) the unsettled political situation of the country (b) the narrator's idealized romantic feelings about Mangan's sister (c) conflict between different denominations of Christianity (d) the narrator's need for liberating expatriotism