Midterm

Question 1

Peter Hunt suggests that learning to read (or to “make meaning” from texts) entails acquisition of a complex set of skills, including

building a repertoire of cultural connotations and associations

building an intertextual field of reference – understanding the “rules of the game” for many different kinds of texts

learning to decipher the denotative meanings of language

all of the above

Answer 1

all of the above

Question 2

In Keywords for Children’s Literature, Peter Hunt argues that children’s literature is most productively viewed as

simple, straightforward, and free from complexity

something that directly reflects children’s tastes and preferences

a universal and timeless category of print culture

something that reflects and also impacts how a society defines “childhood”

Answer 2

something that reflects and also impacts how a society defines “childhood”

Question 3

One of the major “take-aways” of Kenneth Kidd’s essay in Keywords for Children’s Literature is that the designation “classic children’s literature” most often signals

books that are universally loved by children

books that adults in positions of authority have deemed worthwhile

books that were once well-known but have fallen out of favour

books that contain timeless messages

Answer 3

books that adults in positions of authority have deemed worthwhile

Question 4

Which of the following statements best characterizes the implied reader of David Robertson and Julie Flett’s picture book When We Were Alone?

This book implies a reader who is ready, willing, and able to question the legitimacy of certain authority figures and institutions.

This book implies a reader who values formal education above all else.

This book implies a reader who doubts the wisdom of elders and the elderly.

This book implies a reader who requires that a story be told simply, in a strictly linear fashion.

Answer 4

This book implies a reader who is ready, willing, and able to question the legitimacy of certain authority figures and institutions.

Question 5

Which of the following is true of early fairy tales in English?

they convey timeless, universal and unchanging morals

many tales that are now considered canonical in English literature were translated from other languages

they have always been seen as literature specifically for children

all of the above

Answer 5

many tales that are now considered canonical in English literature were translated from other languages

Question 6

Which of the following is true of the rhyming “morals” with which Charles Perrault concluded each of his fairy tales?

Some of Perrault’s tales have two morals.

Perrault’s morals complicate (rather than clarify) the “messages” of his tales.

They are not included in many contemporary editions of his tales.

all of the above

Answer 6

all of the above

Question 7

D’Aulnoy’s Princess All-Fair finally agrees to marry

when her suitor is desired by another woman (inspired by jealousy).

when her mother, the Queen, threatens to disinherit her (inspired by fear of poverty).

when faced with imminent danger (inspired by self-preservation).

when the King of Gold Mines demontsrates his loyalty and devotion (inspired by love).

Answer 7

when faced with imminent danger (inspired by self-preservation).

Question 8

In what ways is the character of Jack the Giant Killer significant to the history of children’s literature in English?

he was the 18th-century equivalent of what we might call “Prince Charming”: famous for his good looks and bravery, devoted to protection of family and nation rather than to his own glory.

he provided young readers with a model of ideal child behaviour, always respectful of his elders and social superiors

he was an irreverent, adventurous, and bold young character in 18th-century chapbooks, but also used in the marketing of John Newbery’s line of books for children in the 1740s

the name was attached to Charles Perrault’s tales when they were first translated into English

Answer 8

he was an irreverent, adventurous, and bold young character in 18th-century chapbooks, but also used in the marketing of John Newbery’s line of books for children in the 1740s

Question 9

Which of the following statements is true of the wolf in Perrault’s “Little Red Riding Hood,” as translated by Robert Samber in 1729?

the narrator implies that the wolf represents a dangerous stranger

the rhyming moral to the story suggests that the wolf represents a physically aggressive man

the rhyming moral to the story suggests that the wolf represents a lower-class man, who poses a threat to the aristocracy

the narrator implies that the wolf is someone who is actually part of Red Riding Hood’s social world

Answer 9

the narrator implies that the wolf is someone who is actually part of Red Riding Hood’s social world

Question 10

Which of the following offers a good example of a liminal space?

the forest in Perrault’s “Diamonds and Toads”

the reading chair in Windows

Nokomis’s kitchen in When We Were Alone

the Queen’s palace in d’Auloy’s “The Yellow Dwarf”

Answer 10

the forest in Perrault’s “Diamonds and Toads”

Question 11

The forest in Perrault’s “Diamonds and Toads” could be considered a liminal space because

it is associated with our heroine’s separation from her previous home and community

being exiled to the forest leaves her disoriented, without a clear social role

being there allows for a transformation of her social role: if she hadn’t been there, she wouldn’t have encountered the King’s son

all of the above

Answer 11

it is associated with our heroine’s separation from her previous home and community

being exiled to the forest leaves her disoriented, without a clear social role

being there allows for a transformation of her social role: if she hadn’t been there, she wouldn’t have encountered the King’s son

all of the above

Question 12

Fairy-tale writers of 1690s France were

nobility or at least upper class – mostly women, with one notable exception

common people, interested in documenting the oral storytelling of their communities

targeting a readership of French children

translating stories from other languages into French

Answer 12

nobility or at least upper class – mostly women, with one notable exception

Question 13

The title page of volume 1 of Edgar Taylor’s German Popular Stories (1823) included

a portrait of the Grimms’ so-called “Märchenfrau,” reproduced from the Kinder- und Hausmärchen

an illustration featuring a comical-looking man who is reading aloud from a book to a predominantly adult audience

the image of an elderly woman reading from a large book, while surrounded by toys, games, and children of various ages

Incorrect Response
the image of an elderly storyteller at fireside, positioned in front of a plaque that reads “Tales of My Mother Goose”

Answer 13

an illustration featuring a comical-looking man who is reading aloud from a book to a predominantly adult audience

Question 14

When comparing translations of “The Frog Prince” from the Grimms’ 1810 manuscript and their final edition of 1857, it is clear that over time they chose to

add numerous references to the princess’s appearance, specifically her beauty

delete the references to patriarchal authority, making the princess responsible for her decision to honour her promise to the frog

expand on the idea that the princess was a victim of the frog’s greed

minimize the focus on the princess’s appearance, focusing instead on her materialism and bad behaviour

Answer 14

add numerous references to the princess’s appearance, specifically her beauty

Question 15

In the fields of folklore and fairy-tale studies, a “motif” is understood as

a universally-applicable moral or message that the audience must work to decipher

an author or storyteller’s underlying intention

the intended audience or readership for storytelling, whether adult or child

a small unit of narrative that is particularly memorable and evocative

Answer 15

a small unit of narrative that is particularly memorable and evocative

Question 16

In Kenneth Kidd’s essay on “Classic,” he suggests that the notion of “classic children’s literature” is best approached as

a category of texts that have remained in print consistently for at least a century

a category of texts that meet timeless and universal standards of taste

a complicated, deeply ideological term that has been used to promote particular tastes and values

a category of texts that originated in antiquity

Answer 16

a complicated, deeply ideological term that has been used to promote particular tastes and values

Question 17

Which of the following is true of Robert Southey’s “Story of the Three Bears”?

Southey depicts Goldlilocks in an unflattering light, as an inconsiderate and impolite young girl.

Southey depicts the mother bear and father bear in terms of highly gendered stereotypes.

Southey differentiates the bears by their size and voice quality, but not by gender: male pronouns are used for all three.

The story ends with a clearly stated moral about respecting other people’s property and privacy.

Answer 17

Southey differentiates the bears by their size and voice quality, but not by gender: male pronouns are used for all three.

Question 18

Which of the following writers sought to document the current oral traditions of the common people in their homeland?

Marie-Catherine d’Aulnoy

Charles Perrault

Jacob Grimm

all of the above

Answer 18

Jacob Grimm

Question 19

Mikhail Bakhtin’s idea of the “carnivalesque” emphasizes

literary representations of transgressions, power reversals, rule-breaking, and “taboo” subjects

the capacity of literature to convey strong moral and sometimes religious messages

the serious tone of most imaginative literature, including fairy tales

the foreign sources of much English-language imaginative literature

Answer 19

literary representations of transgressions, power reversals, rule-breaking, and “taboo” subjects

Question 20

In many early fairy tales, characters’ strange or “grotesque” appearances are used to indicate their

low social standing and lack of power

high moral virtue

association with childhood

association with magic or the supernatural

Answer 20

association with magic or the supernatural

Question 21

In the opening chapters of The Wonderful Wizard of Oz, Baum presents a vision of midwestern farm life that

is so harsh that it makes Dorothy’s determination to return to Kansas surprising, perhaps ironic.

offers readers a reassuring vision of the bounty of the midwestern American landscape.

is highly romanticized and idealized.

emphasizes the importance of love and affection within a family.

Answer 21

is so harsh that it makes Dorothy’s determination to return to Kansas surprising, perhaps ironic.

Question 22

How long had Hans Christian Andersen’s fairy tales been available to English-language readers when Baum published The Wonderful Wizard of Oz?

approximately 200 years

approximate 1 year

approximately 50 years

approximately 100 years

Answer 22

approximately 50 years

Question 23

Which of the following characters from Baum’s novel offer is introduced to other characters (and the reader) with a story of bodily transformation, blurring the lines between the human and the non-human?

the wizard

the lion

Glinda

the tin man

Answer 23

the tin man

Question 24

Which of the following statements best represents the relationship between Kansas and Oz, as established in Baum’s Wonderful Wizard of Oz?

Oz is a place that Dorothy dreams of, when knocked unconscious during a cyclone.

Oz is clealy a figment of Dorothy’s imagination, representing a child’s utopia.

Oz is positioned as the polar opposite of Kansas in every way, a place free from worry and hardships.

Oz and Kansas seem to co-exist, although their exact locations in relation to each other remain somewhat mysterious.

Answer 24

Oz and Kansas seem to co-exist, although their exact locations in relation to each other remain somewhat mysterious.

Question 25

Which of the following best characterizes Dorthy’s murder of the Witch of the West in L. Frank Baum’s Wonderful Wizard of Oz?

Dorothy acts out of selflessness, trying to help her friends

Dorothy acts out of terror and desperation

Dorothy acts out of anger and frustration

Dorothy acts purposefully, have learned about the witch’s fatal weakness

Answer 25

Dorothy acts out of anger and frustration

Question 26

In Deirdre Baker’s essay on “Fantasy,” she cites Ursula K. LeGuin’s comparison of fantasy with play – a comparison that encourages us to see fantasy fiction as

a reflection of an immature worldview

something that can be imitative, but also associated with challenges to social rules and norms

an escape from the hardships of adult realities

completely unpredictable and chaotic

Answer 26

something that can be imitative, but also associated with challenges to social rules and norms

Question 27

In L. Frank Baum’s introduction to the The Wonderful Wizard of Oz, he suggests that his book

will help children to deal with the more uncomfortable realities of life.

will be the first in a series of Oz books.

offers child readers a strong sense of morality, lacking in much children’s literature of that time.

can be considered a modern fairy tale, one that emphasizes the pleasure and delight of its child readers.

Answer 27

can be considered a modern fairy tale, one that emphasizes the pleasure and delight of its child readers.

Question 28

Which of the following statements is true of the Emerald City in Baum’s novel?

it resembles a socialist utopia, free from any forms of inequality or power hierarchy

its border points (entrances, exits) are well guarded

its natural beauty distinguishes it from all the other places Dorothy has travelled

all of the above

Answer 28

its border points (entrances, exits) are well guarded

Question 29

Baker suggests that fantasy literature is fundamentally intertextual. What does she mean by that?

that fantasy for children is a multimedia phenomenon

that fantasy for children draws on, echoes, or refashions elements from a variety of sources (often including fairy tales)

that fantasy for children reveals something important about children’s imaginations and anxieties

that fantasy for children is usually aimed at pre-literate children

Answer 29

that fantasy for children draws on, echoes, or refashions elements from a variety of sources (often including fairy tales)

Question 30

In what way could we compare Dorothy to a classic fairy tale heroine (based on our survey of fairy tales)?

Like Little Red Riding Hood” she finds herself in a completely unknown environment, far from home, and terrified

Like All-Fair in “The Yellow Dwarf,” she makes bargains with magical helpers – but doesn’t plan to honour her promises

Like Tommelise, she claims no agency in her unfolding adventure, being propelled forward based on others’ whims and desires

none of the above: in some fundamental ways, she is quite different from other fairy-tale heroines we have encountered

Answer 30

none of the above: in some fundamental ways, she is quite different from other fairy-tale heroines we have encountered

Question 31

If we were to apply the narratological concept of “duration” to The Wonderful Wizard of Oz, we might look carefully at

the book’s publishing history

the adaptation of the novel into film

the extreme brevity of the description of Dorothy’s journey back to Kansas and reunion with Aunt Em

all of the above

Answer 31

the extreme brevity of the description of Dorothy’s journey back to Kansas and reunion with Aunt Em

Question 32

Baum’s Dorothy and Gaiman’s Coraline are comparable female protagonists because

each receives some form of protection from a female helper figure early on

each finds herself threatened in some way by a female antagonist

each finds herself in a situation that requires a significant degree of self-reliance

all of the above

Answer 32

all of the above

Question 33

Which of the following statements best characterizes the moment in which Dorothy kills the Wicked Witch of the West in Baum’s Wonderful Wizard of Oz?

Dorothy is motivated by annoyance and outrage when the Witch steals one of her shoes

Dorothy is rescued from her servitude/enslavement when her comrades douse the Witch with water

Dorothy acts out of terror and desperation, in an effort to save her comrades

none of the above

Answer 33

Dorothy is motivated by annoyance and outrage when the Witch steals one of her shoes

Question 34

Careful examination of the OED entry on “canny” can reveal

some of its meanings and usages have associations with birth and death, midwifery and possibly witchcraft

some of its meanings and usages have been associated with masculinity, especially forms of knowledge limited to men

its history of meanings and usages stand in clear-cut oppisiton to that of the word “uncanny”

it has always been associated with home, safety, and well-being

Answer 34

some of its meanings and usages have associations with birth and death, midwifery and possibly witchcraft

Question 35

Which of the following statements is true of the Emerald City in Baum’s novel?

the “Wizard” reports that he ordered that it be built when he landed in Oz

its border points are well-guarded

visitors must allow themselves to be locked into green-tinted glasses

all of the above

Answer 35

all of the above

Question 36

According to Fred Botting, gothic literature has strong associations with

transgression

anxiety over cultural limits and boundaries

objects and practices constructed as negative, irrational, immoral, and fantastical

all of the above

Answer 36

all of the above

Question 37

What does the black cat in Coraline have in common with Toto in The Wonderful Wizard of Oz?

both of these animals gain a voice as soon as they are transported to the heroine alternate reality

both are represented as ideal “pets,” constant and tame companions to their humans

both of these animals offer important insights to the heroine

none of the above

Answer 37

none of the above

Question 38

Which of the following statements characterize the “other mother” in chapters 1-10 of Coraline?

She repeatedly mobilizes familiar schemata associated with the “good mother” – as attentive, nurturing, playful, and dedicated to her child.

She is strongly associated with food, eating, and appetites – described in terms of her hunger and her efforts to appeal to Coraline’s hunger.

She is positioned as the creator of the “other” world, and her growing anger seems to be threatening the stability of that creation

all of the above

Answer 38

all of the above

Question 39

Which of the following is true of the drawing room in Coraline’s house?

it is somewhat uncanny, associated with the familiar and the strange, furnished with family heirlooms but rarely used.

it is associated with freedom and creativity, as the space most often used by Coraline and her parents for lesser and play.

it is associated with parental cruelty, the space in which Coraline finds herself isolated when she breaks rules.

it comes to represent the “heart” of Coraline’s home, as the space most often used by her family and those who lived in the house previously.

Answer 39

it is somewhat uncanny, associated with the familiar and the strange, furnished with family heirlooms but rarely used.

Question 40

In her essay on “Home” as a keyword for the study of children’s literature, Mavis Reimer suggests that it can be productive to examine

the ways in which texts link representations of “home” to gender ideologies

the ways in which texts link representations of “home” to nationalist, colonialist, and imperialist ideologies

the ways in which textual representations of the ideal or “normal” home as a family-occupied house are rooted in (and support) consumer capitalism

all of the above

Answer 40

all of the above

Question 41

According to Karl Bell, the earliest 19th-century accounts of “Spring-heeled Jack,” which circulated orally and in newspapers, portrayed him as

a defender of the weak and oppressed

a heroic figure with unearthly physical strength

a comical figure who was featured in local carnivals

a mysterious figure credited with random attacks

Answer 41

a mysterious figure credited with random attacks

Question 42

Which of the following statements is true of the “penny dreadful”?

It is a form of highly intertextual fiction for children, developed by Philip Pullman.

It was a form of cheap and sensational reading material popular in the 19th century.

It was a form of didactic and moralistic children’s literature in the 18th century.

It was a slang term for comic book in the 1930s.

Answer 42

It was a form of cheap and sensational reading material popular in the 19th century.

Question 43

Tracing the history of comic books in North America, Charles Hatfield describes the dominant attitude in the 1950s – among children’s publishers, librarians, and teachers – as

anxious: comic books became the subject of moral panic
welcoming: comic books were recognized as useful pathways to literacy and a love of reading
indifferent: comic books were so marginalized and “underground” that they were given no consideration by adults, at all
dismissive: comic books were seen as harmless entertainment

Answer 43

anxious: comic books became the subject of moral panic

Question 44

Which of the following statements works best as a definition of “ideology”?

Ideology refers to a personal set of beliefs, a value system unique to each individual.

Ideology refers to the relationship between unconscious and conscious beliefs.

Ideology refers to deeply-rooted beliefs and ideas that are often taken for granted, assumed to be timeless or universal.

Ideology refers to process of analyzing a work of art, literature, or another cultural form.

Answer 44

Ideology refers to deeply-rooted beliefs and ideas that are often taken for granted, assumed to be timeless or universal.

Question 45

A careful reading of Mariah Gubar’s essay on “Innocence” reveals a critique of the “ideology of childhood innocence.” Which of the following points is/are part of that critique?

Gubar argues against an essentialist view of childhood “purity,” one that is as flawed as that of the “Noble Savage.”

Gubar argues that the “ideology of childhood innocence” is related to fantasies about the ideal child and ideal childhood, ones that would be out of reach for most (if not all) children.

Gubar argues “innocence” defines childhood in terms of absence and lack, and thus de-values individual children’s agency, experiences, and differences.

all of the above

Answer 45

all of the above

Question 46

A careful reading of Pullman’s Spring-Heeled Jack reveals that the title character is

someone who appears (seemingly out of nowhere) just as Lily and Rose realize that traditional figures of justice and authority will be of no help to them.

invisible to all characters other than Ned, Lily, and Rose.

a tricky figure who gains the trust of children, only to betray that trust as the story unfolds.

the book’s primary focalizer throughout.

Answer 46

someone who appears (seemingly out of nowhere) just as Lily and Rose realize that traditional figures of justice and authority will be of no help to them.

Question 47

Which of the following is true of the epigraphs that begin chapters 1 - 6 of Pullman’s Spring-Heeled Jack?

They all ask readers to draw on their repertoires of current children’s books.

They foreground the serious morals and messages of each chapter.

They reference a range of literary and cultural forms, ones that are not often linked in a single work of children’s literature.

They all reference texts from the 19th-century, creating a stronger sense of this book as historical fiction.

Answer 47

They reference a range of literary and cultural forms, ones that are not often linked in a single work of children’s literature.

Question 48

From a careful reading of Pullman’s Spring-Heeled Jack, one could argue that the implied reader is someone who

is ready, willing, and able to enjoy slapstick humour/comic violence.

is ready, willing, and able to enjoy irreverent attitudes towards authority figures.

is ready, willing, and able to align with child protagonists who are assertive, scrappy, and have large repertoires of “bad” language.

all of the above

Answer 48

all of the above

Question 49

How does “character” figure in debates about children’s literature – according to Jay Mechling?

character sometimes refers to dramatis personae (the fictional figures in a text)

character sometimes refers to a specific vision of “proper” and “moral” behaviour, primarily as defined by adults (or people in positions of power)

character is often used as an ideologically-loaded term, deployed by those adults who wish to perpetuate conservative values through children’s literature

all of the above

Answer 49

all of the above

Question 50

Which of the following is a fair characterization of “intertextuality”?

This concept focuses on the appeal of certain books to multi-age/cross-generational audiences.

This concept highlights the ways in which fictional texts shape readers’ perceptions of reality.

This concepts highlights the ideological underpinnings of texts.

This concept suggests that texts are not self-contained, but instead gain meaning in relation to other texts, discourses, and cultural forms.

Answer 50

This concept suggests that texts are not self-contained, but instead gain meaning in relation to other texts, discourses, and cultural forms.

Question 51

The fundamental, distinguishing characteristic of a picture book – as discussed in class, is

the absence of writing in a book.

the presence of at least one detailed image in a book.

a target audience of children who have not yet learned to read,

a full visual “text,” with images on every page turn.

Answer 51

a full visual “text,” with images on every page turn.

Question 52

Which of the following statements is true of Tony DiTerlizzi’s The Spider and the Fly?

It rewrites and updates a 19th-century nursery rhyme.

It pairs 19th-century artwork with a 21st-century poem.

It pairs 19th-century verse and an assortment of 19th-century images, ones that weren’t originally designed to illustrate that story.

It uses a pictorial style reminiscent of silent films, melodrama, and gothic horror.

Answer 52

It uses a pictorial style reminiscent of silent films, melodrama, and gothic horror.

Question 53

Philip Pullman argues that picture create meaning through a kind of counterpoint. What does he mean by that?

Picture books consist of two distinct “texts,” each with a kind of coherence and inner logic – but which can also operate together in interesting ways.

Picture books are non-linear, and should therefore be approached as a series of freestanding images.

Picture books offer readers insight to experiences and settings that cannot be captured with words alone.

Illustrations should be examined closely, to see how they support and explain the written text.

Answer 53

Picture books consist of two distinct “texts,” each with a kind of coherence and inner logic – but which can also operate together in interesting ways.

Question 54

In Kelly Hager’s essay on “Body,” she suggests that children’s literature “has long been invested in constructions of and instructions about the body of the child.” Which of the following could be considered a prime example of that tendency?

the specific ways in which the Other Mother attempts to attract Coraline, and then to gain total possession of her (in Gaiman’s Coraline)

the specific ways in which the mother and grandmother express their “excessive love” for Little Red Riding Hood in Perrault’s tale

the positive representation of the very specific, small acts of childhood resistance in When We Were Alone

all of the above

Answer 54

all of the above

Question 55

Which of the following works features a good example of the external narrator with an “intimate” voice – one of the types of narration in children’s literature discussed by Mike Cadden in his essay on “Voice”?

L. Frank Baum, The Wonderful Wizard of Oz

“The History of Jack and the Giants” (anonymous)

Mary Howitt, “The Spider and the Fly”

all of the above

Answer 55

Mary Howitt, “The Spider and the Fly”

Question 56

According to Mike Cadden, consideration of narrative point of view (and the subject positions created for readers) is important because

they can tell us something about the intended audience for a book

they work to inscribe ideological assumptions that underpin the text

they demonstrate how writing for children has changed over time

they distinguish children’s literature from adult literature in terms of their simplicity

Answer 56

they work to inscribe ideological assumptions that underpin the text

Question 57

Which of the following is true of the pages in DiTerlizzi’s The Spider and the Fly that feature written text on a black background, with a decorative frame?

they resemble intertitles from a silent film

they feature an accumulation of spider web as the story progresses

they serve to isolate lines from Howitt’s poem, giving them extra weight

all of the above

Answer 57

all of the above

Question 58

Which of the following is true of Mary Howitt’s poem “The Spider and the Fly,” as it appeared in her collection of Sketches from Natural History?

it was presented as a poem for young women who had an interest in the natural sciences

it was accompanied by an illustration that depicted the poem’s characters naturalistically

it was accompanied by an illustration that depicted the poem’s characters anthropomorphically

it was reworked to emphasize the qualities of spider and fly found in nature

Answer 58

it was accompanied by an illustration that depicted the poem’s characters naturalistically

Question 59

How have references to “The Spider and the Fly” been used in popular culture in the decades since Howitt’s poem became well-known?

the spider has continued to be associated with dangerous figures, always gendered as male

the spider has sometimes been associated with seductive powers that are framed as admirable or desirable

the spider is sometimes depicted as a victim

none of the above

Answer 59

the spider has sometimes been associated with seductive powers that are framed as admirable or desirable

Question 60

In West African folklore, spiders often figure as trickster figures – characters who are

simply amusing and foolish

selfish, amoral, and transgressive

threatening and villainous

loyal and trustworthy

Answer 60

selfish, amoral, and transgressive