Dr. Prinsky
Humn. 2001
Test Key on Genesis 1-11; Exodus 15, 25-37 (etc.: for Relevance to Music and the Visual Arts); Psalms 8, 19, 23, & 137
1. The first 39 books (24 in Jewish tradition) of the Bible were written in the language: (a) ancient Egyptian (b) ancient Greek (c) ancient Hebrew (d) ancient Latin
2. A preferred term for the first 39 books (24 in Jewish tradition) of the Bible by those of the Jewish faith is: (a) Old Testament (b) New Testament (c) Tanakh (d) Apocrypha
3. The deuterocanonical books are always included in the Bible of: (a) Jews (b) Catholics (c) Protestants (d) Unitarians
4. The first 39/24 books began to be recorded about: (a) 1500 BCE (b) 1000 BCE (c) 500 BCE (d) 100 BCE
5. The number of major modern translations of the whole Bible (from the late nineteenth century onwards through the first decade of the twenty-first century) is about: (a) 25 (b) 35 (c) 45 (d) 55
6. The peculiar typographical convention of the King James Version translation (KJV), followed by most others (but not all -- e.g., the New Jerusalem Bible), of sometimes referring to God as LORD in small caps is based on: (a) Jews' (ancient to modern) substitution of a different Hebrew word in oral reading rather than the Hebrew word, God's most sacred name, actually in the text (b) a peculiarity of the ancient Babylonian text that the KJV translators were working with (c) special typesetting conditions in Renaissance times when the King James Version first appeared (d) the oral use of the Bible in responsive church reading, indicating a special louder voice the congregation should use for that word
7. A repeated, recurrent, extended metaphor throughout Genesis for children and productivity (in the Hebrew, and literally translated by the KJV, but not many of the modern translations) refers to the area of: (a) botany (b) architecture (c) demography (d) finance/money
8. More literally translated by the KJV than many other later translations in Genesis and throughout the Hebrew Bible, as per the Hebrew addition of the letter vav to the beginnings of some words (= “and”), is the stylistic element contributing to narrative flow called: (a) parataxis or polysyndeton (b) periodic sentence (c) personification or prosopopoeia (d) periphrasis (e) paronomasia
9. Genesis 1-11 divides into how many main structural units: (a) three (b) four (c) five (d) six (e) seven
10. The structural units referred to in the immediately preceding question help convey by their overall arrangement: (a) the perfection of the cosmos (b) humanity's increasing empathy and charitableness (c) history as a record of progress (d) humanity's increasing, encyclopedic sinfulness
11. The number of narrative refrains in Gen. 1:1-2:4a is: (a) three (b) five (c) seven (d) nine
12. A main thematic function of the narrative refrains, along with the imagery of Gen. 1:1-2:4a (Creation), is to convey what aspect of God and his creation: (a) the great physical effort demanded (b) touching detail (c) effortful, laborsome repetitiousness (d) epic grandeur
13. The refrain “there was evening and there was morning, one day” in Gen. 1:1-2:4a has to do with: (a) God’s inversion of order in the creation (b) ancient and modern Jews’ reckoning of time from sundown to sundown (c) humanity’s rebellion even at the very beginning of creation (d) ancient Babylonian worship of the stars and moon
14. The narrative refrain “it was good” in 1:1-2:4a is used, through a significant variation in it in 1:1-1:4a, to elevate and differentiate: (a) humanity and all of creation (b) astronomical bodies (c) heaven (d) plants and land animals (e) fish and fowl
15. A table of the created entities and days of creation in the first six days (1:1-2:4a) suggests all the following ideas except which one: (a) symmetry (b) days of preparation (c) order (d) days of fulfillment (e) astrological belief
16. A shift in overall imagery between 1:1 - 2:4a versus 2:4b - 3:24 is the contrast between: (a) monochromatic and polychromatic (b) cosmic and earthy (c) Jewish and Christian (d) visual and non-visual
17. When God is spoken of in 2:4b-3:24 (Adam and Eve; the Fall) and 5:1-10:32 (Noah; the Flood) as “walking in the garden in the cool of the day” (3:8), making garments of skin for Adam and Eve, as well as clothing them (3:21), or closing the top of the ark after Noah and the others have entered (7:16), the kind of imagery used is categorized as: (a) metaphysical (b) anthropomorphic (c) classical (d) etiological (e) grandiose
18. The thematic, literary function of the kind of imagery used to describe God, with reference to the immediately preceding question (including how it is used in the particular instances cited), is to: (a) counterpose the tenderness against the sternness of humanity's parent (b) emphasize a primitive conception of divinity in early times (c) suggest that humanity is extremely close to divine perfection (d) belittle the Homeric gods
19. A stylistic device used in 2:4b-3:24 (e.g., in the summoning up of Adam, Eve, and the serpent, and then the pronouncement of sentences), as well as very widely throughout the Bible, is: (a) aposiopesis (b) zeugma (c) asyndeton (d) chiasmus
20. The stylistic device referred to in the immediately preceding question helps convey an idea about the Creator and Creation of all of the following except which one: (a) compassion (b) order (c) symmetry (d) judgment (e) hierarchy
21. The serpent’s craft or cunning is shown in its first words to “the woman” or “Eve” (Gen. 3:1) through: (a) flattery (b) treating the woman as an intellectual equal (c) bribery (d) implying a statement though asking a question
22. The misstatement by Eve (3:3) that God has commanded her and Adam not to touch the forbidden fruit or tree demonstrates the psychology of: (a) childhood (b) adolescence (c) maturity (d) old age
23. Two of the three reasons Eve gives for eating the forbidden fruit (3:6a), with regard to the earlier description of all the trees in the garden (2:9a), exemplify: (a) sublimation (b) rationalization (c) pejoration (d) cogitation
24. If God is omniscient and knows where Adam was when first called (3:9) as well as what Adam had done (3:10-11), God’s main reason for asking (as with Cain, later) is for His: (a) gaining knowledge (b) demonstrating the humility humanity should possess (c) verifying suspicion of wrongdoing (d) encouraging confession and repentance
25. Adam's second reply (Gen. 3:12) to God's Columbo-like interrogation in Eden (after the first reply about where Adam was when called), after consumption of the forbidden fruit, has all the following characteristics except which one: (a) double rationalization (b) chutzpah (c) chivalry (d) impenitence
26. (4:1-25; Cain & Abel) In 4:1, the Hebrew verb used to describe Adam’s sexual relations with Eve (leading to the births of Cain and Abel) is most literally translated: (a) “had intercourse with” (b) ”knew” (c) “lay with” (d) “slept with”
27. When God warns Cain (4:6-7) that if the latter doesn’t do right then sin “is crouching at your door” (NIV) or “is crouching at the door” (NASB; NEB) or “is . . . lurking at the door” (NAB) or “is couching at the door” (RSV) or “lies at the door” (NKJV) -- God is using the figure of speech: (a) metaphor (b) simile (c) hyperbole (d) metonymy (e) synecdoche
28. The figure of speech referred to in the immediately preceding question helps convey or suggest all of the following ideas except which one: (a) inside (interior) vs. outside (exterior) (b) stealth (c) animal vs. human (d) unguarded surprise (e) priestly class vs. laymen
29. Cain's concern, in the Cain and Abel episode (Gen. 4:1-26), after his crime and interrogation, that "whoever finds me will kill me" (4:14), reveals what modern psychologists would call: (a) narcissism (b) projection (c) Oedipus Complex (d) bipolarity
30. In 4:1-26, the explanation of the origin of musical instruments (especially harp and flute), through the implications of lineal descent (the moral associations of a certain family line), associates them in Genesis 4:21 with: (a) good (b) wickedness (c) neither good nor evil (d) healing
31. In the Noah episode (5-10), the main implicit symbolism of the (rain)bow in the clouds, as part of God's covenant, is that: (a) its colors suggest God's colorfulness (b) the arrow (lightning) is pointed up (toward God) rather than down (toward humanity) (c) it is, like water vapor, as wispy as God's wrath (d) humanity must pledge its faithfulness in blood: the red of the rainbow
32. In the Noah episode, as well as earlier and later in Genesis as a whole (e.g., 12:1-3 or 15:12-21), an important emphasis is on: (a) contract (b) ecology (c) punishment (d) feelings (e) riches
33. In the Tower of Babel episode (Gen. 11), the emphasis on the materials for the building, as well as the order of having the materials before deciding what to do with them, mainly suggests about technology: (a) human genius in science is divinely inspired (b) it is innately useful in creating holy architecture (c) it helps bring humanity to a closer sympathy with the divine (d) humanity decides belatedly and badly what to do with it after its invention
34. The portions for Adam and Eve (2:4b-3:24), Cain and Abel (4:1-26), and Noah (5-10) all have the following components (explicit or implicit) in their overall structure -- (a) creation/gift, (b) teaching/warning, (c) fall/disobedience/sin, (d) punishment/consequences, (e) forgiveness, restoration ; which one of these components is notably missing in Gen. 11:1-9 (which is to be made up by Gen. 12:1-3)? (a) creation/gift (b) teaching/warning (c) fall/disobedience/sin (d) punishment/consequences (e) forgiveness, restoration
35. In Exodus 15:20-21, components of music suggested are all the following except which one: (a) vocal (b) dance (c) percussion and rhythm (d) martial triumph (e) male domination
36. As made clear from Exodus 25-37; 1 Kings 6:22-36, 7:27-37, 10:18-20, 22:39; 1 Chronicles 28:11-19; 2 Chronicles 3:6; and Ezekiel 40-42, the ancient Israelites did not, in the visual arts: (a) use rich, vivid colors (b) portray images of divine beings surrounding the one God (c) depict earthly plants or animals (d) use or imagine costly, beautiful, precious substances as part of the architecture of the temple or tabernacle (e) none of the foregoing (i.e., the ancient Israelites did all of the foregoing)
37. The overall structure or pattern of Psalm 8, especially considering its opening and closing, is: (a) circular (b) rectangular (c) linear (d) triangular
38. The thematic suggestion of the overall structure or patern of Psalm 8, referred to in the immediately preceding question, is that God: (a) is composed of a trinity (b) directs human history to the triumph of Israel (c) connects to the trinity of society, nature, and the afterlife (d) is the beginning and ending of all considerations
39. Psalm 19 -- stuctured in the three parts of verses 1-6, 7-11, and 12-14 -- in its first two parts suggests a complex equation between: (a) scientific inquiry and thelogical knowledge (especially the Talmud) (b) astronomical observation and pagan superstition (c) sun, sunlight, and the written word of God (the Bible) (d) the natural world and the inevitable sorrows in it and in life
40. Psalm 23 is based on how many main extended metaphors: (a) one (b) two (c) three (d) four
41. The extended metaphors in Psalm 23 are interrelated through all the following except which one: (a) eating and drinking (b) contrast in setting (c) protection from enemies (d) contrast in the primary colors (of the color wheel, as described in art books)
42. The relationship between the main parts of Psalm 23 could be said to be, overall: (a) descending (b) linear (c) ascending (d) nonrelated
43. Psalm 137 is notable for its emphasis on which fine art: (a) painting (b) sculpture (c) architecture (d) music
44. Psalm 137 stresses the connection between the fine art it emphasizes and: (a) education for appreciation (b) technical skill or ability (c) mood or emotional state (d) good will between nations
45. Literary retellings of material from Genesis have been authored by all the following writers except which one: (a) Francois Villon (b) John Milton (c) Mark Twain (d) Machado de Assis (e) Thomas Mann
46. Visual arts versions of material from Genesis have been done by all the following artists except which one: (a) Titian (b) Michelangelo (c) Pieter [Peter] Bruegel the Elder (d) Rembrandt Von Rijn (e) Jean-Antoine Watteau
47. Visual arts versions of material from Genesis have been done by all the following artists except which one: (a) Hubert and Jan Van Eyck (b) Albrecht Durer (c) Bartolome Murillo (d) Camille Pissarro
48. Art-music compositions have been done on material from the Hebrew Bible by all the following composers except which one: (a) George Frideric Handel (b) Joseph Haydn (c) Felix Mendelssohn(-Bartholdy) (d) Robert Schumann
49. Art-music compositions have been done on material from the Hebrew Bible by all the following composers except which one: (a) Camille Saint-Saens (b) Richard Wagner (b) Carl Neilsen (c) Arnold Schoenberg (d) Darius Milhaud