Exámenes Juntos Norte2.1 (No Reconoce Texto en Pag 32)

Literatura Norteamericana 11.1: Desde 1900 hasta 1945- OR.
- 2 horas- Ningun material
INSTRUCCIONES: En la primera parte de este examen, elija una de las dos preguntas que se
le plantean y conteste en no mas de 350 palabras (maximo de 4 puntos). En la segunda parte
elabore un comentario sobre cada uno de Ios dos textos a partir de las preguntas que se
proponen como gufa (maximo de 3 puntos por cada comentario), en no mas de 250 palabras
cada uno. Para ambas partes, responda en ingles y numere sus respuestas.
NO ENTREGUE EL ENUNCIADO DE ESTE EXAMEN
PART ONE: Choose ONE of the following questions and write an essay on it (up to 350
words):
1. Explain the Americanization of ancient myths in Eugene O'Neill's Desire under the Elms and
the purposes this Americanization serves in the play.
2. Describe the maxim "Make it New" in relation to the formal features of Modernist poetry, and
exemplify with two of the compulsory poems of the reading list.
PART TWO: Comment upon BOTH excerpts (up to 250 words for each one). Make sure to
comment upon the specific fragments and to answer the questions. General summaries
of the works will not be considered.
1. Identify the author and title of the poem where the following lines belong. Explain what formal
features of the excerpt comply with its author's lmagist precepts. Explain the representation
of nature in the following lines.
Amber husk
fluted with gold,
fruit on the sand
marked with a rich grain,
treasure
spilled near the shrub-pines
to bleach on the boulders:
2. Identify the author and title of the work where the following excerpt belongs. Explain the
narrative perspective used in this specific excerpt and the function of paralepsis here. Explain
why the figure at the end of the excerpt is defined as "ashen."
No telephone message arrived, but the butler went without his sleep and waited for it until four
o'clock -until long after there was anyone to give it to if it came. I have an idea that [he] himself
didn't believe it would come, and perhaps he no longer cared. If that was true he must have felt
that he had lost the old warm world, paid a high price for living too long with a single dream. He
must have looked up at an unfamiliar sky through frightening leaves and shivered as he found
what a grotesque thing a rose is and how raw the sunlight was upon the scarcely created grass.
A new world, material without being real, where poor ghosts, breathing dreams like air, drifted
fortuitously about. .. like that ashen, fantastic figure gliding toward him through the amorphous
trees.
Literatura Norteamericana 11.1: Desde 1900 hasta 1945- 2a semana- 2 horas- Ningun material
words):
1. Explain what "the image" in lmagist poetry is and exemplify with two poems from the
compulsory reading list of the course. How does the image work in these two lmagist poems?
2. Explain the interest of Modernist authors in the concept of time, and compare the function of
clocks in Ernest Hemingway's "Hills Like White Elephants" and in W. Faulkner's "A Rose for
Emily."
1. Identify the author and title of the work where the excerpt belongs. Explain the role of "he"
(line 1 of the excerpt) in the complete poem. Explain the elements in this excerpt that resist
the idea of the prevalence of the object over the subject in American Modernist poetry.
He gives his harness bells a shake

To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,

But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
2. Identify the author and title of the work where the following excerpt belongs. What narrative
voice and narrative perspective are used in the excerpt, and for what purposes? Briefly
analyze the linguistic elements in the excerpt that reveal its author's characteristic style.
'They're a rotten crowd,' I shouted across the lawn. 'You're worth the whole damn bunch put
together.'
I've always been glad I said that. lt was the only compliment I ever gave him, because I
disapproved of him from beginning to end. First he nodded politely, and then his face broke
into that radiant and understanding smile, as if we'd been in ecstatic cahoots on that fact all
the time. His gorgeous pink rag of a suit made a bright spot of colour against the white steps,
and I thought of the night when I first came to his ancestral home, three months before. The
lawn and drive had been crowded with the faces of those who guessed at his corruption
-and he had stood on those steps, concealing his incorruptible dream, as he waved them
good-bye.
Literatura Norteamericana 11.1: Desde 1900 hasta 1945- 1a se m ana- 2 horas- Ningun material
words):
1. Explain the differences and similarities between the poetry of Robert Frost and that of the
lmagists, and support your answer with examples from "Stopping by Woods on a Snowy
Evening."
2. Define the term "Lost Generation" and explain to what extent F.S. Fitzgerald's The Great
Gatsby exemplifies it.
1. Identify the author and title of the poem where the following lines belong. Explain the
rhythmical devices used in the excerpt to create its particular cadence. Briefly discuss the
representation of nature in the excerpt and in the complete poem.
This is the dead land

This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.
2. Identify the author and title of the work where the following excerpt belongs. Explain the sexual
diction used in this excerpt in relation to the complete work. What features of the King James
Bible style can you detect in the excerpt?
Behind the harrows, the long seeders -twelve curbed iron penes erected in the foundry,
orgasms set by gears, raping methodically, raping without passion. The driver sat in his
iron seat and he was proud of the straight lines he did not will, proud of the tractor he did
not own or love, proud of the power he could not control. And when that crop grew, and
was harvested, no man had crumbled a hot clod in his fingers and let the earth sift past
his finger-tips. No man had touched the seed, or lusted for the growth. Men ate what they
had not raised, had no connection with the bread. The land bore under iron, and under
iron gradually died; for it was not loved or hated, it had no prayers or curses.
Literatura Norteamericana 11: Moderna y Contemporanea- 2a semana- 2 horas- Ningun material
INSTRUCCIONES: En la primera parte de este examen, elija una de las dos preguntas que
se le plantean y conteste en no mas de 350 palabras (maximo de 4 puntos). En la segunda
parte elabore un comentario sobre cada uno de Ios dos textos a partir de las preguntas que
se proponen como gufa (maximo de 3 puntos por cada comentario), en no mas de 200
palabras cada uno. Para ambas partes, responda en ingles y numere sus respuestas.
words):
1. Explain the main formal features of lmagism and exemplify with two of the set poems of the
program.
2. Explain the concept of "the revolt from the village" and exemplify with Sherwood Anderson's
"Hands."
PART TWO: Comment upon BOTH excerpts (up to 200 words for each one). Make sure
to comment upon the specific fragments and to answer the questions. General
summaries of the works will not be considered.
1. Identify the author and title of the work where the following excerpt belongs. To what extent
do these lines conform to the period's alleged freedom regarding rhyme and rhythm?
Briefly analyze the sense of wasteland in the lines that follow.
The eyes are not here

There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places

We grope together
And avoid speech
Gathered on this beach of the tumid river
2. Identify the author and title of the work where the following excerpt belongs. What narrative
voice and narrative perspective are used in the excerpt, and to what purpose? Explain
what representation of nature is given here and contrast with other depictions of nature at
other moments of the story.
The woman brought two glasses of beer and two felt pads. She put the felt pads and the
beer glass on the table and looked at the man and the girl. The girl was looking off at
the line of hills. They were white in the sun and the country was brown and dry.
'They look like white elephants,' she said.
words):
1. Define the concept of "the wasteland" in American Modernist literature. Illustrate with
examples from two of the set literary works of the program, explaining how the wasteland
operates in them.
2. Define the term "Psychological Realism" and explain how it is used in Edith Wharton's
"Roman Fever."
1. Identify the author and title of the poem where the following lines belong. Explain the
function of this excerpt within the complete poem. What rhythmic devices are present in this
excerpt?
I am the darker brother.

They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I'll be at the table
When company comes.
Nobody'll dare
Say to me,
"Eat in the kitchen,"
Then.
2. Identify the author and title of the work where the following excerpt belongs. What type of
narrative voice and narrative perspective are used in the excerpt, and what purposes do
they serve? Explain how class issues are present in this excerpt and relate to the complete
work.
She was the first 'nice' girl he had ever known. In various unrevealed capacities he had
come in contact with such people, but always with indiscernible barbed wire between. He
found her excitingly desirable. He went to her house, at first with other officers from Camp
Taylor, then alone. lt amazed him -he had never been in such a beautiful house before. [... ]
lt excited him, too, that many men had already loved [her] -it increased her value in his
eyes. He felt their presence all about the house, pervading the air with the shades and
echoes of still vibrant emotions.
Literatura Norteamericana 11: Moderna y Contemporanea- RE- 2 horas- Ningun material
words):
1) Define Ernest Hemingway's "iceberg theory" and explain how it is applied in "Hills like
White Elephants."
2) Describe the "International Style" in American Modernist poetry and exemplify with two of
the poems of the first part of the course's syllabus.
1) Identify the author and title of the work where the following excerpt belongs. Analyze the
symbolic power of the color white in the excerpt and in relation to the complete story.
Presently she brought in the tubs to put the white things to soak. This time she decided she
need not bring the hamper out of the bedroom; she would go in there and do the sorting. She
picked up the pot-bellied lamp and went in. The room was small and the hamper stood hard
by the foot of the white iron bed. She could sit and reach through the bedposts -resting as
she worked. "Ah wantah cross Jurden in uh calm time." She was singing again. The mood of
the "love feast" had returned. She threw back the lid of the basket almost gaily. Then, moved
by horror and terror, she sprang back toward the door. There lay the snake in the basket! He
moved sluggishly at first, but even as she turned round and round, jumped up and down in an
insanity of fear, he began to stir vigorously. She saw him pouring his awful beauty from the
basket upon the bed, then she seized the lamp and ran as fast as she could to the kitchen.
2) Identify the author and title of the lines that follow. Analyze the rhythmic devices used in
these lines. Situate this excerpt within the complete poem and discuss its (the excerpt's)
function.
Tomorrow,
When company comes.
Nobody'll dare
Say to me,
Then.
Besides,
They'll see how beautiful I am
And be ashamed-
Uteratura Norteamericana 11: Moderna y Contemporanea- 2PP- 2 horas- Ningun material
words):
1. Discuss the symbolism of the weather in John Cheever's "The Swimmer."
2. Give an interpretation of Sandra Cisneros's "Woman Hollering Creek" from a gender

perspective.
1) Identify the author and title of the work where the following excerpt belongs. Comment on
the allusion to Willy being a salesman and to dreaming.
"Nobody dast blame this man. You don't understand: \/\filly was a salesman. And for a
salesman, there's no rock bottom to the life. He don't put a bolt to a nut, he don't tell you the
law or give you medicine. He's a man way out there in the blue riding on a smile and a
shoeshine. And when they start not smiling back-that's an earthquake. And then you get
yourself a couple spots on your hat and you're finished. Nobody dast blame this man. A
salesman is got to dream boy, it comes with the territory."
2) Identify the author and title of the work where the following excerpt belongs.
Contextualize the fragment in the whole work and comment upon the postmodernist
characteristics that you see in the text below.
Over the years, people I've met have often asked me what I'm working on, and I've
usually replied that the main thing was a book about Dresden.
I said that to Harrison Starr, the movie-maker, one time, and he raised his eyebrows
and inquired, 'Is it an anti-war book?'
'Yes,' I said. 'I guess.'
'You know what I say to people when I hear they're writing anti-war books?'
'No. What do you say, Harrison Starr?'
'I say, "Why don't you write an anti-glacier book instead?"'
What he meant, of course, was that there would always be wars, that they were as
easy to stop as glaciers. I believe that too.
Literatura Norteamericana 11: Moderna y Contemporanea- OR- 2 horas- Ningun material
words):
1) Define the term "narrative focalization" and exemplify with two of the literary works of the
first part of the course's syllabus.
2) Explain why Ezra Pound's "In a Station of the Metro" epitomizes its author's lmagist
manifesto.
1) Identify the author and title of the work where the following excerpt belongs. What type of
they serve? Briefly debate how the author's idea of the grotesque applies here and in the
rest of the story.
As for George Willard, he had many times wanted to ask about the hands. At times an
almost overwhelming curiosity had taken hold of him. He felt that there must be a reason for
their strange activity and their inclination to keep hidden away and only a growing respect
for Wing Biddlebaum kept him from blurting out the questions that were often in his mind.
Once he had been on the point of asking. [ ... ] All afternoon Will Biddlebaum had talked as
one inspired. By a fence he had stopped and beating like a giant woodpecker upon the top
board had shouted at George Willard, condemning his tendency to be too much influenced
by the people about him. "You are destroying yourself," he cried. "You have the inclination
to be alone and to dream and you are afraid of dreams. You want to be like others in town
here. You hear them talk and you try to imitate them."
2) Identify the author and title of the lines that follow. To what extent does this excerpt
conform to Modernist freedom regarding rhyme? Briefly discuss the representation of
nature in the excerpt and in the complete poem.
There were ten thousand thousand fruit to touch,

Cherish in hand, lift down, and not left fall.
For all
That struck the earth,
No matter if not bruised or spiked with stubble,
Went surely to the cider-apple heap
As of no worth.
One can see what will trouble
This sleep of mine, whatever sleep it is.
parte elabore un comentario sobre cad a uno de Ios dos textos a partir de las preguntas que
PART ONE: Choose one of the following questions (up to 300 words):
1) Explain the axiom "Not ideas about the thing but the thing itself' in American Modernist
poetry. Exemplify with three of the poems of the first part of the course.
2) Explain the features of the literary Harlem Renaissance, and exemplify them with two
literary texts from the course program.
PART TWO: Comment upon both excerpts (up to 200 words for each excerpt).
1) Identify the author and title of the work where the following excerpt belongs. What does
"the Colosseum" represent in the complete story? Briefly debate how the story proposes
new models of womanhood.
She knew that Babs would almost certainly come back engaged to the extremely eligible
Campolieri. "And she'll sell the New York house, and settle down near them in Rome, and
never be in their way ... she's much too tactful. But she'll have an excellent cook, and just
the right people in for bridge and cocktails ... and a perfectly peaceful old age among her
grandchildren."
Mrs. Slade broke off this prophetic flight with a recoil of self-disgust. There was no one of
whom she had less right to think unkindly than of Grace Ansley. Would she never cure
herself of envying her? Perhaps she had begun too long ago.
She stood up and leaned against the parapet, filling her troubled eyes with the
tranquilizing magic of the hour. But instead of tranquilizing her the sight seemed to increase
her exasperation. Her gaze turned toward the Colosseum.
2) Identify the author and title of the work where the following excerpt belongs. Briefly
analyze the rhythmic devices in the lines below. Contrast the poetic language of this poem
to the style of T.S. Eliot's "The Hollow Men."
I have eaten
the plums
that were in
the icebox
and which
you were probably
saving
for breakfast
PART ONE: Choose one of the following questions (up to 300 words):
1) Explain the maxim "Make it New" in relation to the formal features of Modernist poetry, and
exemplify with two of the poems of the first part of the course.
2) Describe the figure of the "New Woman" and exemplify in relation to two of the set texts of
the course.
PART TWO: Comment upon both excerpts (up to 200 words for each one).
1) Identify the author and title of the work where the following excerpt belongs. What type of
they serve? Briefly debate the reasons for labeling the story as a Southern Renaissance
work.
Two hours later the boy was chopping wood behind the house within which his mother and
aunt and the two sisters (the mother and aunt, not the two girls, he knew that; even at this
distance and muffled by walls the flat loud voices of the two girls emanated an incorrigible
idle inertia) were setting up the stove to prepare a meal, when he heard the hooves and saw
the linen-clad man on a fine sorrel mare, whom he recognized even before he saw the
rolled rug in front of the Negro youth following on a fat bay carriage horse -a suffused,
angry face vanishing, still at full gallop, beyond the corner of the house where his father and
brother were sitting in the two tilted chairs; and a moment later, almost before he could have
put the axe down, he heard the hooves again and watched the sorrel mare go back out of
the yard, already galloping again.
2) Identify the author and title of the lines that follow. To what extent do these lines conform
to the period's alleged metric freedom? How does the poem show the prevalence of the
poetic object over the subject?
The apparition of these faces in the crowd;

Petals on a wet, black bough.
Literatura Norteamericana II- lPP-RE- 2 horas- NingO.n material
INSTRUCCIONES
Responda por separado, numerando las respuestas yen ingles, a CUATRO de

las cinco preguntas que se le plantean (maxima de 2.5 puntos por respuesta).
Centrese en lo que se le pregunta y proporcione referencias textuales que
ejemplifiquen sus argumentos. Utilice un maxima de 150 palabras por
respuesta.
NO ENTREGUE ESTA HOJA
"We gain' round de road a lil piece t'night so you go put on yo' Sunday go-to-meetin'
things."
Missie May looked at her husband to see if he was playing some prank. "Shonuff,
Joe?"
"Yeah.We gain' to de ice cream parlor."
"Where de ice cream parlor at, Joe?"
"A new man done come heah from Chicago and he done got a place and took and
opened it up for a nice cream parlor, and bein' as it's real swell, Ah wants you to be
one de first ladies to walk in dere and have some set down."
"Do Jesus, Ah ain't knowed nothin' bout it. Who de man done it?"[ ... ]
"He got de finest clothes Ah ever seen on a colored man's back."
"Aw, he don't look no better in his clothes than you do in yourn. He got a
puzzlegut on 'im and he so chuckle-headed, he got a pone behind his neck."
Joe looked down at his own abdomen and said wistfully, "Wisht Ah had a build
on me lak he got. He ain't puzzle-gutted, honey. He jes' got a corperation. Dat make
'm look lak a rich white man. All rich mens is got some belly on 'em."
(From Zora N. Hurston's "The Gilded Six-Bits")
1) Situate the excerpt above within the complete story and explain its (the
excerpt's) function.
2) Analyze the narrative voice and narrative perspective used in the excerpt
above.
3) Who is the "new man" (line 7 of the excerpt)? What strategies are used in
the excerpt and in the complete story to characterize him?
4) Discuss gender relations as represented in the excerpt above, and explain
their effect on the story's events.
5) Briefly compare how ethnic difference is represented in Zora N. Hurston's
"The Gilded Six-Bits" and in William Faulkner's "Barn Burning."
Literatura Norteamericana 11 -2PP-RE- 2 horas- NingO.n material
INSTRUCCIONES
Responda por separado, numerando las respuestas yen ingles, a CUATRO de las
cinco preguntas que se le plantean (maximo de 2.5 puntos por respuesta).
ejemplifiquen sus argumentos. Utilice un maximo de 150 palabras por respuesta.
Directly there was a bear where the boy had been. The sisters were terrified;
they ran, and the bear after them. They came to the stump of a great tree, and
the tree spoke to them. It bade them climb upon it, and as they did so it began
to rise into the air. The bear came to kill them, but they were just beyond their
reach. It reared against the tree and scored the bark all around with its claws.
The seven sisters were borne into the sky, and they became the stars of the
Big Dipper.
[... ] She was about seven when the last Kiowa Sun Dance was held in 1887 on the
Washita River above Rainy Mountain Creek. The buffalo were gone. In order to
consummate the ancient sacrifice -to impale the head of a buffalo bull upon the
medicine tree- a delegation of old men journeyed into Texas, there to beg and barter
for an animal from the Goodnight herd. She was ten when the Kiowas came together
for the last time as a living Sun Dance culture. They could find no buffalo; they had to
hang an old hide from the sacred tree. Before the dance could begin, a company of
soldiers rode out from Fort Sill under orders to disperse the tribe. Forbidden without
cause the essential act of their faith, having seen the wild herds slaughtered and left
to rot upon the ground, the Kiowas backed away forever from the medicine tree. That
was July 20, 1890, at the great bend of the Washita.
(From N. Scott Momaday's The Way to Rainy Mountain)
1) Situate the excerpt above within the complete text and explain its (the excerpt's)
function.
2) Who is the narrator of the first paragraph in the excerpt? What is his/her role in
the complete work?
3) To what extent may the complete work be labelled as "autobiographical"? How does
it defy such categorization?
4) Briefly analyze blood memory in the excerpt and in the complete work.
5) Compare the function of myth in Momaday's The Way to Rainy Mountain and in
Ursula K. Le Guin's "She Unnames Them."
Literatura Norteamericana 11- lPP-OR- 2 horas- Ninglln material
INSTRUCCIONES

ejemplifiquen sus argumentos. Utilice un maxima de 150 palabras por
respuesta.
None are green,

Or purple with green rings,
Or green with yellow rings,
Or yellow with blue rings.
None of them are strange,
With socks of lace
And beaded ceintures.
People are not going
To dream of baboons and periwinkles.
Only, here and there, an old sailor,
Drunk and asleep in his boots,
Catches tigers
In red weather.
(From W. Stevens' "Disillusionment ofTen O'Clock")
1) Analyze the rhythmic devices in the lines above.

2) Discuss the influence of French Symbolism on the lines above.
3) Explain the function of calor images in the complete poem.
4) Debate how ideas of the conventional and the marginal are discussed in the
complete poem.
5) Compare the use of the domestic in Stevens' "Disillusionment of Ten
O'Clock" and in William C. Williams' "This is Just to Say."
Literatura Norteamericana II -2a semana- 2 horas- Ninglln material
INSTRUCCIONES

apoyen sus argumentos. Utilice un maxima de 150 palabras por respuesta.
[T]he plain as far as you could see, gray-yellow now and ahead old Compie's
tweed back and the brown felt hat. Then they were over the first hills and the
wildebeeste were trailing up them, and they were over mountains with sudden
depths of green-rising forest and the solid bamboo slopes, and then the heavy
forest again, sculptured into peaks and hollows until they crossed, and hills
sloped down and then another plain, hot now, and purple brown, bumpy with
heat and Compie looking back to see how he was riding. Then there were other
mountains dark ahead.
And then instead of going on to Arusha they turned left, he evidently figured
that they had the gas, and looking down he saw a pink sifting cloud, moving
over the ground, and in the air, like the first snow in a blizzard, that comes
from nowhere, and he knew the locusts were coming up from the South. Then
they began to climb and they were going to the East it seemed, and then it
darkened and they were in a storm, the rain so thick it seemed like flying
through a waterfall, and then they were out and Compie turned his head and
grinned and pointed and there, ahead, all he could see, as wide as all the
world, great, high, and unbelievably white in the sun, was the square top of
Kilimanjaro. And then he knew that there was where he was going.
(From E. Hemingway's "The Snows of Kilimanjaro")
1) Situate this excerpt within the complete story and explain its (the excerpt's)
function.
2) Analyze the narrative voice and narrative perspective in the excerpt above.
3) Analyze gender roles as depicted through the two main characters (Harry
and Helen) in the story.
4) Compare the use of calor in the excerpt above to calor in Wallace Stevens'
"Disillusionment of Ten O'Clock."
5) Compare the depiction of nature (flora and fauna) in the excerpt above to
the one found in T.S. Eliot's "The Hollow Men."
Literatura Norteamericana II -1 a semana- 2 horas- Ninglln material
INSTRUCCIONES

Tomorrow,
When company comes.
Nobody'll dare
Say to me,
Then.
Besides,
They'll see how beautiful I am
And be ashamed-
I, too, am America.
(From L. Hughes' "I, Too")
1) Analyze the rhythmic devices in the lines above.

2) What is the function of the excerpt above within the compete poem?
3) Analyze how "otherness" is represented in the lines above and in the
complete poem.
4) Compare the use of literary allusion in this poem and in T.S. Eliot's "The
Hollow Men."
5) Compare the function of the kitchen in the lines above to the function of the
same space in Zora Neale Hurston's "The Gilded Six-Bits."
Literatura Norteamericana 11 -RESERVA - 2 horas - NingU.n material
INSTRUCCIONES
las cinco preguntas que se le plantean (maxima de 2.5 puntas par respuesta).
Centrese en la que se le pregunta y praparciane referencias textuales que
apoyen sus argumentos. Compruebe que identifica sus respuestas
carrectamente. Utilice un maxima de 150 palabras par respuesta.
The dark lady laughed again, and they both relapsed upon the view,
contemplating it in silence, with a sort of diffused serenity which might
have been borrowed from the spring effulgence of the Roman skies. The
luncheon hour was long past, and the two had their end of the vast terrace
to themselves. [... ]
"Well, I don't see why we shouldn't just stay here," said Mrs. Slade, the
lady of the high color and energetic brows. Two derelict basket chairs stood
near, and she pushed them into the angle of the parapet, and settled
herself in one, her gaze upon the Palatine. "After all, it's still the most
beautiful view in the word."
"It always will be to me," asserted her friend Mrs. Ansley, with so slight a
stress on the "me" that Mrs. Slade, though she noticed it, wondered if it
were not merely accidental, like the random underlining of old-fashioned
letter writers.
"Grace Ansley was always old-fashioned," she thought; and added aloud,
with a retrospective smile: "It's a view we've been familiar with for a good
many years. When we first met here we were younger than our girls are
now."
From E. Wharton's "Roman Fever"
2) Briefly analyze the narrative voice and narrative perspective used in the
excerpt above.
3) Analyze the reference to other generations of women (line 17 of the
excerpt) and other similar references throughout the complete story.
4) Examine the absence/presence of men characters in Wharton's story.
5) Explore the contrast of the non-American setting of "Roman Fever" with
Ernest Hemingway's foreign setting in "The Snows of Kilimanjaro."
Literatura Norteamericana II- RESERVA- 2 horas- NingU.n material
INSTRUCCIONES
Responda por separado, numerando las respuestas yen ingl<~s, a CUATRO de

las cinco preguntas que se le plantean (maximo de 2.5 puntos por respuesta).
apoyen sus argumentos. Compruebe que ha numerado correctamente sus
respuestas. Utilice un maximo de 150 palabras por respuesta.
ENTREGUE ESTA HOJA
When to her lute Corinna sings

neither words nor music are her own;
only the long hair dipping
over her cheek, only the song
of silk against her knees
and these
adjusted in reflections of an eye.
Poised, trembling and unsatisfied, before

an unlocked door, that cage of cages,
tell us, you bird, you tragical machine-
is this fertilisante douleur?
From A. Rich's "Snapshots of a Daughter-in-Law"
1) Explore the rhyme and meter of the excerpt above.

2) Explain the literary allusion in line 1 of the excerpt and relate it to
Rich's feminist agenda.
3) Debate the image of the bird (line 10 of the excerpt) in the excerpt and
in the complete poem.
4) Analyze the reference to the machine (line 10) in the excerpt and in
the complete poem.
5) Compare the formal structure used by Rich in this poem to the formal
structure of A. Gins berg's Howl.
Literatura Norteamericana II -ORIGINAL- 2 horas - Ning(ln material
INSTRUCCIONES
Responda por separado, numerando las respuestas yen ingl<~s, a CUATRO de

las cinco preguntas que se le plantean (maximo de 2.5 puntos por respuesta).
apoyen sus argumentos. Compruebe que identifica sus respuestas
correctamente. Utilice un maximo de 150 palabras por respuesta.
"Get that boy up here. He knows." For a moment the boy thought too that the
man meant his older brother until Harris said, "Not him. The little one. The
boy," and, crouching, small for his age, small and wiry like his father, in
patched and faded jeans even too small for him, with straight, uncombed,
brown hair and eyes grey and wild as storm scud, he saw the men between
himself and the table part and become a lane of grim faces, at the end of which
he saw the Justice, a shabby, collarless greying man in spectacles, beckoning
him. He felt no floor under his bare feet; he seemed to walk beneath the
palpable weight of the grim turning faces. His father, stiff in his black Sunday
coat donned not for the trial but for the moving, did not even look at him. He
aims for me to lie, he thought, again with that frantic grief and despair. And I
will have to do hit.
From W. Faulkner's "Barn Burning"
2) Briefly analyze the narrative voice and narrative perspective used in the
excerpt above.
3) What strategies are used to convey speech and thought in the excerpt
above? What is the effect of using speech modes in this way?
4) How does the excerpt show the influence of French Symbolism on
Faulkner's use of language?
5) Explore how color is employed to characterize the father in "Barn
Burning" and compare to color as a characterizing instrument for Jay
Gatsby in F. Scott Fitzgerald's The Great Gatsby.
INSTRUCCIONES

I went over and looked at that huge incoherent failure of a house once more. On the
white steps an obscene word, scrawled by some boy with a piece of brick, stood out
clearly in the moonlight, and I erased it, drawing my shoe raspingly along the stone.
Then I wandered down to the beach and sprawled out on the sand. Most of the big
shore places were closed novv and there vvere hardly any lights except the shadowy,
moving glow of a ferryboat across the Sound. And as the moon rose higher the
inessential houses began to melt away until gradually I became aware of the old
island here that flowered once for Dutch sailors' eyes - a fresh, green breast of the
new world. Its vanished trees, the trees that had made way for Gatsby's house, had
once pandered in whispers to the last and greatest of all human dreams; for a
transitmjl enchanted moment man must have held his breath in the presence of
this continent, compelled into an aesthetic conternplation he neither understood nor
desired, face to face for the last tin1.e in history with something commensurate to his
capacity for wonder.
(Frorn F.S. F1tzgerald's The Great Gatsby)
1) Situate this excerpt within the complete work and explain its (the excerpt's)
function.
2) What kind of narrative voice and perspective can we find in the lines above?
3) Who is the narrator of this excerpt? How does the excerpt above
characterize him/her?
4) Explore the image of the breast (line 8 of the excerpt) and contrast it to a
previous reference to a female breast in the novel.
5) In what way(s) does the excerpt above reveal a sense of wasteland? How is
this wasteland similar to the one found in T.S. Eliot's "The Hollow Men"?
INSTRUCCIONES

Wing Biddlebaum talked much with his hands. The slender expressive
fingers, forever active, forever striving to conceal themselves in his pockets
or behind his back, came forth and became the piston rods of his machinery
of expression.
The story of Wing Biddlebaum is a story of hands. Their restless activity,
like unto the beating of the wings of an imprisoned bird, had given him his
name. Some obscure poet of the town had thought of it. The hands alarmed
their owner. He wanted to keep them hidden away and looked with
amazement at the quiet inexpressive hands of other men who worked beside
him in the fields, or passed, driving sleepy teams on country roads.
When he talked to George Willard, Wing Biddlebaum closed his fists and
beat with them upon a table or on the walls of his house. The action made
him more comfortable. If the desire to talk came to him when the two were
walking in the fields, he sought out a stump or the top board of a fence and
with his hands pounding busily talked with renewed ease.
(From S. Anderson's "Hands")
2) What kind of narrative voice and perspective can we find in the lines above?
3) How does the excerpt above convey a sense of fragmentariness? How is this
fragmentariness similar to the one found in T.S. Eliot's "The Hollow Men"?
4) Briefly analyze the reference to mechanization in the excerpt above, and
relate it to similar references to mechanization in the complete story.
5) Who is George Willard? What is his function in the complete story?
INSTRUCCIONES


When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
When company comes.
Nobody'll dare
Say to me,
Then.
From L. Hughes' "I, Too"
1) Discuss the excerpt's rhythmic features.

2) How do the lines above construct a "New Negro"?
3) Briefly explore domestic imagery in the excerpt above.
4) Explain the use of personal pronouns in the lines above and in the complete
poem.
5) To what extent does the complete poem reflect its author's position regarding
ethnic difference?
INSTRUCCIONES

But then he started thinking about that closet. It was dark and stuffy and he would
be alone. He did not feature being alone. And then this crew off the good ship
Lollipop or whatever it was might take it upon themselves to kick down the closet
door, for a lark. And if that happened he would be, at the very least, embarrassed.
The other way was more a pain in the neck, but probably better in the long run. So
he decided to try and keep his lease-breaking party from deteriorating into total
chaos: he gave wine to the sailors and separated the morra players; he introduced
the fat government girl to Sandor Rajas, who would keep her out of trouble; he
helped the girl in the shower to dry off and get into bed; he had another talk with
Saul; he called a repairman for the refrigerator, which someone had discovered was
on the blink. This is what he did until nightfall, when most of the revellers had
passed out and the party trembled on the threshold of its third day.
From T. Pynchon's "Entropy"
1) Situate the excerpt above within the complete story and discuss its (the
2) Analyze narrative voice and perspective in the excerpt above.
3) Who is Saul (line 10)? What is his role in the complete story?
4) Explain how the excerpt above connects with the story's title.
5) What is the function of cultural and literary allusions in the complete story?
Literatura Norteamericana II -ORIGINAL- 2 horas - Ning(ln material
INSTRUCCIONES

Mrs. Ansley had resumed her knitting. One might almost have imagined (if one
had known her less well, Mrs. Slade reflected) that, for her also, too many
memories rose from the lengthening shadows of those august ruins. But no;
she was simply absorbed in her work. What was there for her to worry about?
She knew that Babs would almost certainly come back engaged to the
extremely eligible Campolieri. "And she'll sell the New York house, and settle
down near them in Rome, and never be in their way ... she's much too tactful.
But she'll have an excellent cook, and just the right people in for bridge and
cocktails ... and a perfectly peaceful old age among her grandchildren."
Mrs. Slade broke off this prophetic flight with a recoil of self-disgust. There
was no one of whom she had less right to think unkindly than of Grace Ansley.
Would she never cure herself of envying her? Perhaps she had begun too long
ago.
She stood up and leaned against the parapet, filling her troubled eyes with
the tranquilizing magic of the hour. But instead of tranquilizing her the sight
seemed to increase her exasperation. Her gaze turned toward the Colosseum.
1) Briefly analyze narrative voice and perspective in the excerpt above.

2) Explain the importance of "knitting" (line 1 of the excerpt) in the complete
story. How does it contribute to characterization, symbolism, tension, etc.?
3) How does the excerpt reflect the doppelganger motif of the complete story?
4) Explain the role of the Colosseum in the excerpt above and in the complete
story. What does it represent?
5) To what extent does the story subvert conventional models of womanhood?
Focus on the two main women characters.
INSTRUCCIONES

The eyes are not here

There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places

We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.
From T.S. Eliot's "The Hollow Men"
1) Explain the strategies used in the lines above to create rhythm.

2) Analyze the use of wasteland imagery in the lines above.
3) Briefly discuss allusions to other literary works in the lines above.
4) Examine the metonymic representation of body parts in the lines above and
in the complete poem.
5) To what extent does the complete poem comply with its author's idea of
impersonal poetry?
INSTRUCCIONES

I heard a sort of choking murmur and part of a laugh, followed by Daisy's voice
on a clear artificial note:
'I certainly am awfully glad to see you again.'
A pause; it endured horribly. I had nothing to do in the hall, so I went into
the room.
Gatsby, his hands still in his pockets, was reclining against the mantelpiece
in a strained counterfeit of perfect ease, even of boredom. His head leaned back
so far that it rested against the face of a defunct mantelpiece clock, and from
this position his distraught eyes stared down at Daisy, who was sitting,
frightened but graceful, on the edge of a stiff chair.
'We've met before,' muttered Gatsby. His eyes glanced momentarily at me,
and his lips parted with an abortive attempt at a laugh. Luckily the clock took
this moment to tilt dangerously at the pressure of his head, whereupon he
turned and caught it with trembling fingers, and set it back in place. Then he
sat down, rigidly, his elbow on the arm of the sofa and his chin in his hand.
From F.S. Fitzgerald's The Great Gatsby
1) Who is the narrator of this excerpt? What kind of narrative voice and
perspective can we find in the lines above?
2) Situate this excerpt in the complete work and explain its (the excerpt's)
function.
3) Explain the symbolic power of the clock in the excerpt (line 8) and relate this
symbolism to the complete work.
4) Analyze the portrayal of Gatsby provided in the excerpt. How is it (Gatsby's
portrayal) different from other moments in the novel?
5) Explain how "Daisy's voice" (line 1) operates as a characterizing technique
throughout the complete work.
Literatura Norteamericana II- 1a parte- NacjEU-RE- 2 horas- Ning(ln material
INSTRUCCIONES
Respanda por separado, numeranda las respuestas y en ingles, a CUATRO de

las cinco preguntas que se le plantean (maxima de 2.5 puntas par respuesta).
apoyen sus argumentas. Utilice un maxima de 150 palabras par respuesta.
"The sun's set. You're not afraid, my dear?"

"Afraid-?"
"Of Roman fever or pneumonia? I remember how ill you were that winter. As a
girl you had a very delicate throat, hadn't you?"
"Oh, we're all right up here. Down below, in the Forum, it does get deathly cold,
all of a sudden ... but not here."
"Ah, of course you know because you had to be so careful." Mrs. Slade turned
back to the parapet. She thought: "I must make one more effort not to hate her."
Aloud she said: "Whenever I look at the Forum from up here, I remember that story
about a great-aunt of yours, wasn't she? A dreadfully-wicked great-aunt?"
"Oh, yes; great-aunt Harriet. The one who was supposed to have sent her young
sister out to the Forum after sunset to gather a night-blooming flower for her
album. All our great-aunts and grandmothers used to have albums of dried
flowers."
Mrs. Slade nodded. "But she really sent her because they were in love with the
same man."
1) Situate the scene within the complete work and explain its (the scene's) function.
2) Define the narrative voice used in the excerpt.
3) Briefly analyze the reference to female ancestors in the excerpt and in the complete
story. What is the function of "great-aunt Harriet'' (line 11)?
4) Explain how the doppelganger strategy is used in the story to portray the two
central female characters.
5) Provide two different interpretations of the story's title.
Literatura Norteamericana II -2a parte- EU-RE- 2 horas- NingU.n material
INSTRUCCIONES

The councils of the elderly females finally agreed that though the name might
be useful to others, it was so redundant from the yak point of view that they
never spoke it themselves, and hence might as well dispense with it. After they
presented the argument in this light to their bulls, a full consensus was
delayed only by the onset of severe early blizzards. Soon after the beginning of
the thaw their agreement was reached and the designation "yak" was returned
to the donor.
Among the domestic animals, few horses had cared what anybody called
them since the failure of Dean Swift's attempt to name them from their own
vocabulary. Cattle, sheep, swine, asses, mules, and goats, along with chickens,
geese, and turkeys, all agreed enthusiastically to give their names back to the
people to whom -as they put it- they belonged.
A couple of problems did come up with the pets. The cats of course
steadfastly denied ever having had any name other than those self-given,
unspoken, effanineffably personal names which, as the poet named Eliot said,
they spend long hours daily contemplating -though none of the contemplators
has ever admitted that what they contemplate is in fact their name, and some
onlookers have wondered if the object of that meditative gaze might not in fact
be the Perfect, or Platonic, Mouse.
From U.K. Le Guin's "She Unnames Them"
function.
2) Who is "the donor" (line 7), and what is his/her role in the story?
3) What features does the excerpt present to define the story as Fabulist fiction?
4) How do allusions to male writers operate in the excerpt?
5) Compare namelessness in this story to Raymond Carver's interest in
depriving characters of their names in "Cathedral."
Literatura Norteamericana 11- 1a parte- Nac/EU- 2 horas- Ningtln material
INSTRUCCIONES
Respanda por separado, numeranda las respuestas y en ingles, a CUATRO de

las cinca preguntas que se le plantean (maxima de 2.5 puntas par respuesta).
Centrese en la que se le pregunta y praparciane referencias textuales que
apayen sus argumentas. Utilice un maxima de 150 palabras par respuesta.
He had changed since his New Haven years. Now he was a sturdy straw-
haired man of thirty, with a rather hard mouth and a supercilious manner.
Two shining arrogant eyes had established dominance over his face and
gave him the appearance of always leaning aggressively forward. Not even
the effeminate swank of his riding clothes could hide the enormous power
of that body -he seemed to fill those glistening boots until he strained the
top lacing, and you could see a great pack of muscle shifting when his
shoulder moved under his thin coat. It was a body capable of enormous
leverage -a cruel body.
His speaking voice, a gruff husky tenor, added to the impression of
fractiousness he conveyed. There was a touch of paternal contempt in it,
even toward people he liked -and there were men at New Haven who had
hated his guts. [... ] We were in the same senior society, and while we were
never intimate I always had the impression that he approved of me and
wanted me to like him with some harsh, defiant wistfulness of his own.
From F.S. Fitzgerald's The Great Gatsby
1) Situate the scene within the complete novel and explain its (the scene's)
function.
2) Identify and define the narrative voice used in the excerpt. How (un)reliable
is this narrator in the complete work?
3) Who is the "he" (line 1) being described? How does his physical description
differ from the physical depiction given for other male characters in the
complete text?
4) Explain how this physical depiction matches the character's behavior as
seen in the complete work.
5) Briefly discuss how voice is used as a characterizing feature in the excerpt
and in the complete work.
Literatura Norteamericana 11- 2a semana- 2 horas- Ningtln material
INSTRUCCIONES
Respanda por separado, numeranda las respuestas yen ingles, a CUATRO de

las cinca preguntas que se le plantean (maxima de 2.5 puntas par respuesta).
apayen sus argumentas. Utilice un maxima de 150 palabras par respuesta.
Upon the veranda of his house by the ravine, Wing Biddlebaum continued
to walk up and down until the sun had disappeared and the road beyond
the field was lost in the grey shadows. Going into his house he cut slices of
bread and spread honey upon them. When the rumble of the evening train
that took away the express cars loaded with the day's harvest of berries
had passed and restored the silence of the summer night, he went again to
walk upon the veranda. In the darkness he could not see the hands and
they became quiet. Although he still hungered for the presence of the boy,
who was the medium through which he expressed his love of man, the
hunger became again a part of his loneliness and his waiting. Lighting up
a lamp, Wing Biddlebaum washed the few dishes soiled by his simple meal
and, setting up a folding cot by the screen door that led to the porch,
prepared to undress for the night. A few stray white bread crumbs lay on
the cleanly washed floor by the table; putting the lamp upon a low stool he
began to pick up the crumbs, carrying them to his mouth one by one with
unbelievable rapidity.
(From S. Anderson's "Hands")
1. Situate this excerpt within the complete story and explain its (the
2. What narrative voice and perspective are used in this excerpt?
3. Who is "the boy" (line 8)? What is his role in the complete story?
4. Explore how the excerpt above contributes to the idea of
fragmentariness present in the complete story.
5. Explain how the complete story conveys the concept of "revolt from the
village."
INSTRUCCIONES

Behind him the white man was shouting, "My horse! Fetch my horse!" and he
thought for an instant of cutting across the park and climbing the fence into
the road, but he did not know the park nor how high the vine-massed fence
might be and he dared not risk it. So he run on down the drive, blood and
breath roaring; presently he was in the road again though he could not see it.
He could not hear it either: the galloping mare was almost upon him before he
heard her, and even then he held his course, as if the very urgency of his wild
grief and need must in a moment more find him wings, waiting until the
ultimate instant to hurl himself aside and into the weed-choked roadside ditch
as the horse thundered past and on, for an instant in furious silhouette against
the stars, the tranquil early summer night sky which, even before the shape of
the horse and rider vanished, stained abruptly and violently upward: a long,
swirling roar incredible and soundless, blotting the stars, and he springing up
and into the road again, running again, knowing it was too late yet still
running even after he heard the shot and, an instant later, two shots, pausing
now without knowing he had ceased to run, crying "Pap! Pap!", running again
before he knew he had begun to run, stumbling, tripping over something and
scrabbling up again without ceasing to run.
(From W. Faulkner's "Barn Burning")
function.
2) What narrative voice and perspective are used in this excerpt?
3) Identify the "white man" (line 1) of the excerpt. How does race intervene in the
complete text? How is it relevant to the story?
4) How does the excerpt exemplify its author's characteristic use of language?
5) Explain who "Pap" (line 16) is, and the techniques used to characterize him in
the complete work.
Literatura Norteamericana II- 1a parte- NacjEU-RE- 2 horas- Ning(ln material
INSTRUCCIONES
Responda por separado, numerando las respuestas yen ingles, a CINCO de

las seis preguntas que se le plantean (maximo de 2 puntos por respuesta).
apoyen sus argumentos. Utilice un maximo de 150 palabras por respuesta.
My long two-pointed ladder's sticking through a tree

Toward heaven still,
And there's a barrel that I didn't fill
Beside it, and there may be two or three
Apples I didn't pick upon some bough.
But I'm done with apple-picking now.
Essence of winter sleep is on the night,
The scent of apples: I am drowsing off.
I cannot rub the strangeness from my sight
I got from looking through a pane of glass
I skimmed this morning from the drinking trough
And held against the world of hoary grass.
It melted, and I let it fall and break. [... ]
My instep arch not only keeps the ache,
It keeps the pressure of a ladder-round.
I feel the ladder sway as the boughs bend.
1) To what extent does the excerpt comply with the period's alleged metric
freedom?
2) What kind of persona does the excerpt contribute to create in the complete
poem?
3) Briefly discuss sight imagery as used in the excerpt and in the complete
poem.
4) What view of nature does the poem present?
5) Explain the references to sleep in the excerpt and in the complete poem.
6) How does this particular poem adhere to its author's statement that a poem
"begins in delight and ends in wisdom"?
Make sure you follow instructions! Thank you!

Literatura Norteamericana II- 2a parte- Nac/EU-re- 2 horas- NingO.n material
INSTRUCCIONES

A melody is heard, playing upon a flute. It is small and fine, telling of grass and
trees and the horizon. The curtain rises.
Before us is the Salesman's house. We are aware of towering, angular shapes
behind it, surrounding it on all sides. Only the blue light of the sky falls upon the
house and forestage; the surrounding area shows an angry flow of orange. As more
light appears, we see a solid vault of apartment houses around the small, fragile-
seeming home. An air of the dream clings to the place, a dream rising out of reality.
The kitchen at center seems actual enough, for there is a kitchen table with three
chairs, and a refrigerator. But no other fixtures are seen. At the back of the kitchen
there is a draped entrance, which leads to the living-room. To the right of the kitchen,
on a level raised two feet, is a bedroom furnished only with a brass bedstead and a
straight chair. On a shelf over the bed a silver athletic trophy stands. A window opens
onto the apartment house at the side.{. .. }
The entire setting is wholly or, in some places, partially transparent. The roof-
line of the house is one-dimensional; under and over it we see the apartment
buildings. Before the house lies an apron, curving beyond the forestage into the
orchestra.
1) Identify the author, title and date of publication of the complete text from where
the excerpt has been taken.
2) Where does the excerpt belong in the complete text, and what is its (the excerpt's)
function?
3) Why is the setting described as "partially transparent" (line 14)?
4) What is the role of the flute in the excerpt (line 1) and in the complete text?
5) How does the complete text defy American myths of home and family?
6) How is the "trophy" (line 12) symbolic? Explain its importance in relation to the
work's main themes.

Literatura Norteamericana 11- 1a parte- Nac/EU- 2 horas- Ningtln material
INSTRUCCIONES

"I don't want to move," the man said. "There is no sense in moving now except to
make it easier for you."
"That's cowardly."
"Can't you let a man die as comfortably as he can without calling him names?
What's the use of slanging me?"
"You're not going to die."
"Don't be silly. I'm dying now. Ask those bastards." He looked over to where the
huge, filthy birds sat, their naked heads sunk in the hunched feathers. A fourth
planned down, to run quick-legged and then waddle slowly toward the others.
"They are around every camp. You never notice them. You can't die if you don't
give up."
"Where did you read that? You're such a bloody fool."
"You might think about some one else."
"For Christ's sake," he said. "That's been my trade."
He lay then and was quiet for a while and looked across the heat shimmer of the
plain to the edge of the bush. There were a few Tommies that showed minute and
white against the yellow and, far off, he saw a herd of zebra, white against the
green of the bush.
1) Identify the author and title of the complete work. What kind of narrator can
we see in this excerpt?
2) Where does this excerpt belong in the complete story? What's the importance
of this scene?
3) Who are the two characters intervening in this scene? How does their
relationship challenge conventional gender roles?
4) To what extent does the excerpt illustrate its author's characteristic style?
5) How is natural imagery used in the excerpt and in the complete text?
6) How does the story exemplify the author's idea of "grace under pressure"?

Literatura Norteamericana II - 2a semana - 2 horas - NingU.n material
INSTRUCCIONES

INDIQUE EN SU EXAMEN SI ENTREGO PEC. NO ENTREGUE ESTA HOJA
She was the first 'nice' girl he had ever known. In various unrevealed
capacities he had come in contact with such people, but always with
indiscernible barbed wire between. He found her excitingly desirable. He
went to her house, at first with other officers from Camp Taylor, then alone.
[... ] There was a ripe mystery about it, a hint of bedrooms upstairs more
beautiful and cool than other bedrooms, of gay and radiant activities taking
place through its corridors, and of romances that were not musty and laid
away already in lavender but fresh and breathing and redolent of this
year's shining motor-cars and of dances whose flowers were scarcely
withered. It excited him, too, that many men had already loved [her] -it
increased her value in his eyes. He felt their presence all about the house,
pervading the air with the shades and echoes of still vibrant emotions.
1) Who is the narrator of this excerpt? What perspective is he/she using here?
2) How does the excerpt exemplify its author's characteristic style? Focus on
sensory imagery and appositives.
3) How is atmosphere constructed in the excerpt?
4) Explain the importance of this scene in the work's structure. How does it
contribute to the central character's characterization?
5) Explain the word "value" (line 11) in relation to gender. How does this
combination (gender /value) operate in the excerpt and in the complete
work?
6) How does the excerpt resist the idea of wasteland? Analyze its diction and
contrast it with other passages in the same work in which a wasteland is
represented.

INSTRUCCIONES

las seis preguntas que se le plantean (mfudmo de 2 puntos por respuesta).
INDIQUE EN SU EXAMEN SI ENTREGO PEC. NO ENTREGUE ESTA HOJA

When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I'll sit at the table
When company comes.
Nobody'll dare
Say to me,
Then.
1) Explain how literary allusion operates in the poem's title.

2) How does syncopation contribute to the excerpt's rhythm?
3) Explain the domestic imagery in the complete poem.
4) Briefly discuss the construction of ethnic blackness as seen in the complete
poem.
5) How would you define the speaker's tone? How does it match the poem's
contents?
6) To what extent does the poem reflect its author's position regarding ethnic
difference? Compare to the postulates held by leaders like Locke and Du Bois.

Literatura Norteamericana 11- 1a parte- Nac/EU-RE- 2 horas- Ningtln material
INSTRUCCIONES
Lea el siguiente extracto y responda por separado, numerando las respuestas

yen ingles, a CINCO de las seis preguntas que se le plantean (maximo de 2
puntos por respuesta). Centrese en lo que se le pregunta y proporcione
referencias textuales que apoyen sus argumentos. Utilice un maximo de 150
palabras por respuesta.
PUEDE LLEVARSE ESTA HOJA CON USTED
The apparition of these faces in the crowd;

Petals on a wet, black bough.
1) Identify the author and title of the text above. To what extent do these lines
conform to the period's alleged metric freedom?
2) Briefly comment on the arrangement of the poem's lines. In what way are
syntax and punctuation important here?
3) How does the poem conform to the principles of Imagism?
4) To what extent does the object prevail over the subject in the text above?
5) How is the poem related to Asian poetry?
6) To what extent does the poem conform to its author's statement "The order
shall come and pass through [the arts]"?

INSTRUCCIONES

I'm with you in Rockland

where you scream in a straightjacket that you're losing the
game of the actual pingpong of the abyss
where you bang on the catatonic piano the soul is innocent
and immortal it should never die ungodly in an armed
madhouse
where fifty more shocks will never return your soul to its body
again from its pilgrimage to a cross in the void
where you accuse your doctors of insanity and plot the Hebrew
socialist revolution against the fascist national Golgotha
where you will split the heavens of Long Island and resurrect
your living human Jesus from the superhuman tomb
1) Identify the author and title of the work from which the excerpt has been
taken. How does the title announce the poem's contents?
2) Who is "you" (line 1 and onwards)? What is his/her role in the poem?
3) Briefly comment on the excerpt's rhythmic devices.
4) In a few words discuss the presence and purpose of religious imagery in the
excerpt.
5) Explain the main idea contained in the section of the poem where this
excerpt belongs.
6) How does the excerpt evidence the influence of other literary authors and
traditions?

Literatura Norteamericana II- 1a parte- NacjEU- 2 horas- Ning(ln material
INSTRUCCIONES
Lea el siguiente extracta y respanda por separado, numeranda las respuestas

yen ingles, a CINCO de las seis preguntas que se le plantean (maxima de 2
referencias textuales que apayen sus argumentas. Utilice un maxima de 150
Instead of taking the short cut along the Sound we went down to the road
and entered by the big postern. With enchanting murmurs [she] admired
this aspect or that of the feudal silhouette against the sky, admired the
gardens, the sparkling odour of jonquils and the frothy odour of hawthorn
and plum blossoms and the pale gold odour of kiss-me-at-the-gate. It was
strange to reach the marble steps and find no stir of bright dresses in and
out the door, and hear no sound but bird voices in the trees.
And inside, as we wandered through Marie Antoinette music-rooms
and Restoration Salons, I felt that there were guests concealed behind
every couch and table, under orders to be breathlessly silent until we had
passed through. As [he] closed the door of 'the Merton College Library' I
could have sworn I heard the owl-eyed man break into ghostly laughter.
1) Identify the author, title and date of publication of the complete work from
which this excerpt has been taken.
2) Identify the narrator of this excerpt. What narrative voice is used here?
3) Debate the relevance of the setting where this particular scene takes
place.
4) What does the "owl-eyed man" (line 12) represent?
5) How is Sehnsucht revealed in the passage?
6) Analyze the phrase "enchanting murmurs" (line 2) as characterizing
strategy in the complete work.

Literatura Norteamericana II- Nac. 2a semana/Europa- 2 horas- Ninglln material
INSTRUCCIONES
HA ENTREGADO PEC? D Sf ONO
"We goin' round de road a lil piece t'night so you go put on yo' Sunday go-to-
meetin' things."
[She] looked at her husband to see if he was playing some prank. "Sho nuff,
Joe?"
"Yeah. We goin' to de ice cream parlor."
"Where de ice cream parlor at, Joe?"
"A new man done come heah from Chicago and he done got a place and took
and opened it up for a nice cream parlor, and bein' as it's real swell, Ah wants you
to be one de first ladies to walk in dere and have some set down."
"Do Jesus, Ah ain't knowed nothin' bout it. Who de man done it?"
[... ] "He got de finest clothes Ah ever seen on a colored man's back."
"Aw, he don't look no better in his clothes than you do in yourn. He got a
puzzlegut on 'im and he so chuckle-headed, he got a pone behind his neck."
Joe looked down at his own abdomen and said wistfully, "Wisht Ah had a build
on me lak he got. He ain't puzzle-gutted, honey. He jes' got a corperation. Dat
make 'm look lak a rich white man. All rich mens is got some belly on 'em."
1) Explain where this particular scene fits in the complete story and its (the scene's)
importance in the plot.
2) Identify the characters dialoguing in the excerpt above (name and relationship).
Who are they speaking about?
3) Compare the characterizing strategies in the excerpt above (i.e. how characters
are presented to us) to other characterizing techniques in the rest of the story.
4) Discuss gender relations as represented in the excerpt above, and explain their
effect on the story's events.
5) Relate the excerpt's idea of appearance to the story's title. How is it (the title)
exemplified in the lines above?
6) Debate the function(s) of vernacular language in the excerpt and in the complete
story.

Literatura Norteamericana II- Nacionall a semana- 2 horas- Ninglln material
INSTRUCCIONES

HA ENTREGADO PEC? 0 Sf D NO
"You tried your best to get him away from me, didn't you? But you failed, and I
kept him. That's all. [... ] I wish now I hadn't told you. I'd no idea you'd feel
about it as you do; I thought you'd be amused. It all happened so long ago, as
you say; and you must do me the justice to remember that I had no reason to
think you'd ever taken it seriously. How could I, when you were married to
Horace Ansley two months afterward? As soon as you could get out of bed your
mother rushed you off to Florence and married you. People were rather
surprised -they wondered at its being done so quickly; but I thought I knew. I
had an idea you did it out of pique -to be able to say you'd got ahead of
Delphin and me. Girls have such silly reasons for doing the most serious
things. And your marrying so soon convinced me that you'd never really cared.
[... ] Well, girls are ferocious sometimes, you know. Girls in love specially. And I
remember laughing to myself all that evening at the idea that you were waiting
around there in the dark, dodging out of sight, listening for every sound, trying
to get in -Of course I was upset when I heard you were so ill afterward."
1) Identify the character speaking in the excerpt above. Who is he/she speaking
to? What is their relationship?
2) Briefly discuss the relevance of this excerpt in the light of the story's
denouement. In what ways can it (the excerpt) be ironic?
3) Debate the two male characters mentioned in the excerpt: how are they
represented in the story, and what are their roles?
4) Explain the symbolism of the setting where the whole story takes place.
5) Briefly discuss two meanings of the story's title.
6) Explain how the device of the doppelganger works in the complete story.

INSTRUCCIONES

HA ENTREGADO PECs? D Sf D NO
I have eaten
the plums
that were in
the icebox
and which
you were probably
saving
for breakfast
Forgive me
they were delicious
so sweet
and so cold
1) Identify the author and title of the text above. How was the poem first
written?
2) To what extent do these lines conform to the period's alleged metric freedom?
3) Briefly comment on the structure of the poem and the arrangement of its
lines.
4) To what extent does the object prevail over the subject in the text above?
5) How does this poem reveal its author's search for an American poetic idiom?
6) How does the poet's style resemble Ernest Hemingway's? What do they have
in common, and how does that show in the poem above?

Literatura Norteamericana II- 2a parte- Nac/EU-RE- 2 horas- NingO.n material
INSTRUCCIONES
Lea el siguiente extracto y responda por separado, numerando las respuestas yen
ingles, a CINCO de las seis preguntas que se le plantean (maximo de 2 puntos por
respuesta). Centre se en lo que se le pregunta y proporcione referencias textuales que
HA ENTREGADO PECs? 0 Sf ONO
When to her lute Corinna sings

neither words nor music are her own;
only the long hair dipping
over her cheek, only the song
of silk against her knees
and these
adjusted in reflections of an eye.
Poised, trembling and unsatisfied, before

an unlocked door, that cage of cages,
tell us, you bird, you tragical machine-
is this fertilisante douleur? Pinned down
by love, for you the only natural action,
are you edged more keen
to prise the secrets of the vault? has Nature shown
her household books to you, daughter-in-law,
that her sons never saw?
1) Identify the author and title of the complete text from where this excerpt has been
taken. Scan its rhyme and metre.
2) What is the main idea contained in the first stanza of the excerpt? Provide textual
references to support your answer.
3) What does the image "unlocked door, that cage of cages" (line 9) stand for?
4) Discuss the figure of the "daughter-in-law" (line 15) in the complete text. What is
its role? What does it embody?
5) How does the poem represent women's empowerment? What images are used for
that purpose?
6) Briefly debate the meaning of the poem's quote "A thinking woman sleeps with
monsters."

Literatura Norteamericana II- 1a parte- Nac/EU - 2 horas - NingO.n material
INSTRUCCIONES
Lea el siguiente extracto y responda por separado, numerando las respuestas y

en ingles, a CINCO de las seis preguntas que se le plantean (maximo de 2 puntos
por respuesta). Centrese en lo que se le pregunta y proporcione referencias
textuales que apoyen sus argumentos. Utilice un maximo de 150 palabras por
respuesta.
HA ENTREGADO PECs? 0 Sf D NO
'Twelve minutes to my train.'

I didn't want to go to the city. I wasn't worth a decent stroke of work, but it was
more than that -I didn't want to leave [him]. I missed that train, and then another,
before I could get myself away.
'I'll call you up,' I said finally.
'Do, old sport.'
'I'll call you about noon.'
We walked slowly down the steps. [... ] We shook hands and I started away. Just
before I reached the hedge I remembered something and turned around.
'They're a rotten crowd,' I shouted across the lawn. 'You're worth the whole damn
bunch put together.'
I've always been glad I said that. It was the only compliment I ever gave him,
because I disapproved of him from beginning to end. First he nodded politely, and
then his face broke into that radiant and understanding smile, as if we'd been in
ecstatic cahoots on that fact all the time. His gorgeous pink rag of a suit made a
bright spot of colour against the white steps, and I thought of the night when I first
came to his ancestral home, three months before. The lawn and drive had been
crowded with the faces of those who guessed at his corruption -and he had stood
on those steps, concealing his incorruptible dream, as he waved them good-bye.
1) Where does this excerpt belong in the complete story? What happens immediately
before and after it?
2) Who is the narrator of this excerpt? Who are the two characters intervening in
this scene?
3) How does the excerpt's "compliment" (line 12) show the narrator's ambivalence?
How does it contradict other moments in the story?
4) Explain who the "rotten crowd" (line 10) are, and why they are defined like that.
5) Briefly analyze the excerpt's style. How does it contribute to atmosphere?
6) Explain the analepsis in the excerpt. What is its purpose?

Literatura Norteamericana II- Nac. 2a semana/Europa- 2 horas- Ninglln material
INSTRUCCIONES
Lea el siguiente extracta y respanda por separado, numeranda las respuestas

yen ingles, a CINCO de las seis preguntas que se le plantean (maxima de 2
referencias textuales que apayen sus argumentas. Utilice un maxima de 150
None of them are strange,

With socks of lace
And beaded ceintures.
People are not going
To dream of baboons and periwinkles.
Only, here and there, an old sailor,
Drunk and asleep in his boots,
Catches tigers
In red weather.
1) In your own words, briefly state the complete poem's central idea.
2) Discuss the excerpt's prosodic features, and explain how these relate to
Modernism.
3) Who or what does the pronoun "them" (line 1 of the excerpt) refer to? What's
their importance in the complete poem?
4) Explain the influence of French Symbolism on the lines above.
5) How does the excerpt make use of color imagery? And the complete poem?
6) To what extent does the excerpt evidence the axiom "Not ideas about the
thing but the thing itself'?

Literatura Norteamericana II- Nacionall a semana- 2 horas- Ninglln material
INSTRUCCIONES

And yet that is but crudely stated. It needs the poet there. With the boys of his
school, Adolph Myers had walked in the evening or had sat talking until dusk
upon the schoolhouse steps lost in a kind of dream. Here and there went his
hands, caressing the shoulders of the boys, playing about the tousled heads.
As he talked his voice became soft and musical. There was a caress in that
also. In a way the voice and the hands, the stroking of the shoulders and the
touching of the hair was a part of the schoolmaster's effort to carry a dream
into the young minds. By the caress that was in his fingers he expressed
himself. He was one of those men in whom the force that creates life is
diffused, not centralized. Under the caress of his hands doubt and disbelief
went out of the minds of the boy and they began also to dream.
1) Briefly discuss narrative voice in the lines above.

2) Explain the importance of synecdoche in the excerpt and in the complete
story.
3) How does the excerpt contribute to the story's ambivalence regarding the
main character?
4) Explain the sentences "And yet that is but crudely stated. It needs the poet
there."
5) To what extent does the story avoid what the author called the "poison plot"?
6) How does the complete story comply with the idea of the "revolt from the
village"?

Exámenes Juntos Norte2.1 (No Reconoce Texto en Pag 32)

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Literatura Norteamericana 11.1: Desde 1900 hasta 1945- OR.

- 2 horas- Ningun material

NO ENTREGUE EL ENUNCIADO DE ESTE EXAMEN

NO ENTREGUE EL ENUNCIADO DE ESTE EXAMEN

He gives his harness bells a shake

The woods are lovely, dark and deep,

NO ENTREGUE EL ENUNCIADO DE ESTE EXAMEN

This is the dead land

The eyes are not here

In this last of meeting places

I am the darker brother.

1. Discuss the symbolism of the weather in John Cheever's "The Swimmer."

2. Give an interpretation of Sandra Cisneros's "Woman Hollering Creek" from a gender

There were ten thousand thousand fruit to touch,

The apparition of these faces in the crowd;

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA

(From Zora N. Hurston's "The Gilded Six-Bits")

NO ENTREGUE ESTA HOJA

(From N. Scott Momaday's The Way to Rainy Mountain)

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA

None are green,

(From W. Stevens' "Disillusionment ofTen O'Clock")

1) Analyze the rhythmic devices in the lines above.

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA

(From E. Hemingway's "The Snows of Kilimanjaro")

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NO ENTREGUE ESTA HOJA

(From L. Hughes' "I, Too")

1) Analyze the rhythmic devices in the lines above.

NO ENTREGUE ESTA HOJA

From E. Wharton's "Roman Fever"

Responda por separado, numerando las respuestas yen ingl<~s, a CUATRO de

ENTREGUE ESTA HOJA

When to her lute Corinna sings

Poised, trembling and unsatisfied, before

From A. Rich's "Snapshots of a Daughter-in-Law"

1) Explore the rhyme and meter of the excerpt above.

Responda por separado, numerando las respuestas yen ingl<~s, a CUATRO de

NO ENTREGUE ESTA HOJA

From W. Faulkner's "Barn Burning"

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA

(From S. Anderson's "Hands")

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA

I am the darker brother.

From L. Hughes' "I, Too"

1) Discuss the excerpt's rhythmic features.

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA

From T. Pynchon's "Entropy"

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NO ENTREGUE ESTA HOJA

From E. Wharton's "Roman Fever"

1) Briefly analyze narrative voice and perspective in the excerpt above.

Responda por separado, numerando las respuestas yen ingles, a CUATRO de

NO ENTREGUE ESTA HOJA