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  World Literature IIExam 2ErsinghausExam 2 follows the same plot line as Exam 1. It is composed of short and essay length questions. A level two aility has een added to the history setion! providing ust a tad more sophistication to the question expectations. #a$e note that the exam covers much of the same material as Exam 1. %ou should e rief ut specific in your answers on the short answers. &or the essays! which require more in depth analysis! follow #LA sumission criteria. It is important that you turn in this assessment sheetwith your completed exam on the day indicated. 'ownload and write directly onto this sheet.Assessment (riteriaLiterary )tudy Ailities*Literary +enreLevel 1* Identifies and descries the characteristics of su ect genre.Literary ,istoryLevel 1* Identifies periods of literary history and their associated traits.Level 2* (orrelates literary history with its social and cultural context.Literary AestheticsLevel 1* Identifies and defines aesthetic elements using terminology of the discipline.Literary AnalysisLevel 1* Evaluates the significance of specific passages to the complete text using appropriate terminology.)hort Answer Explain what is meant y poetic form. -rovide an example.'efine metaphor and provide an example from +oethes  Faust  .-rovide an example of metonymy from our sample of ,ugo. ,ugo provides a very good example of this figure of speech  Who spea$s the following lines and why do they matter to the narrative/0thers! whose very names escape him now!tootrusting hearts! deceived y sigh and vowWronged Ariadne! telling the roc$s her moan!-haedra aducted! though to grace a throne! 3 %ou $now how! loathing stories of that sort!I egged you often to cut them short!And wished posterity might never hear 4he worse half of 4heseus great career.(onsider these lines from  Phaedra. In these lines 5acine is developing character conflict each of these quoted parts employs en amed lines and ends with nice rhetorical tric$s. Explain a significant technique the author uses using terminology of the discipline 6note the answer is not metaphor7.%ou $now how I! a lifelong enemy0f love! gave than$s for 4heseus tyranny!)ince he forade what I was glad to shun. 6II.898:7. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ah! ut to move a heart thats firm as stone!4o teach it pangs which it has never $nown!4o ind my affled captive in a chainAgainst whose sweat constraint he strives in vain* 6;<;87In The Story of the Stone ! characters language is often loaded with coded expressions. Identify one example of this and explain its significance to the story.  'efine 5ealism in its literary context. ,ow does 'ostoevs$y fit into this concept/'efine syntax in its poetic context. =se >ovalis as a means of providing a rief example.In Yearning for Death  y >ovalis! why is the syntactical arrangement of the word ?foregone@ 61;7 significant to the poetic meaning of the stana! perhaps even of the poem as a whole/+iven the aove question! consider stana B in the poem 6eginning line 2B7. What syntactical pattern is eing developed y >ovalis here/-rovide a rief argument for the effectiveness of line length in Cuninas  From the Seashore . >ote in Leopardi that a poet may employ syntactical arrangements that consistently assist in forming  patterns. Loo$ at lines D:B2 of To Silvia . ,ere we have an example of anaphora or repetition at the  eginning of sentences or clauses. Explain what you see in these lines. Whats the affect/  Essay Questions  >ote that it is important that you use sufficient examples from the wor$s to illustrate and reference your thin$ing and conclusions. Required essay It might e argued that a significant set of themes in ?modern@ wor$s of World literature treat people inrelation to the world! either motivated y human action or natural phenomenon. (onsider &austs motivation/ 4he decisions of Lady Wang/ 4he actions of 4oyoo. =sing examples from at least three wor$s of World Literature! examine how and in what contexts conflict is dramatied/ 0nce you have a handle on this as$ this question and go after a conclusion* does the method of developing conflict differ across cultures/ Choose 1 essay from below: 'ostoevs$ys spea$ernarrator in  Notes from Underground   comes to a stri$ing conclusion. 'ostoevs$y writes! ?4he final result! gentlemen! is thats etter to do nothing.@ ,ow does the spea$er mean this/ ,ow does he come to this conclusion/Weve defined aesthetics as those methods and techniques literary artists use to create opportunity for interpretation and experience. )ome significant aesthetic elements come as figures of speech! others asformal technique. 0thers come in the form of specific detail and imagery! some of which! y definition! may depend on figures of speech to wor$ 6sure! Im repeating a lot from the last exam* why reinvent the wheel/7. 'rawing from Casho! >ovalis! ,ugo! and other 5omantics! examine significanceof imagery. ,ow do poets of whatever culture uild durale images/ As you approach this question! relate your analysis to ?culture@ and ?social@ elements.
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