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part iii (30’) in this part you will be asked to read five passages, each followed by six questions. read the passages carefully and then asnwer all the questions by choosing the correct options marked a, b, c, and d. answer one question correctly, and you will get one point. passage 1 we know that poe fought a continuous battle against the demon of plagiarism and the twisted perversion of influence. he even declared war on his fellow-writer longfellow, accusing him of plagiarism of which he was himself not entirely innocent passion and influence have their dark sides not only manifest in literary plagiarism ?nbsp; which we note in baudelaire’s translations of poe ?nbsp;but also in what may be deemed a confusion of identity or quest for an alter ego. translating poe became for baudelaire a real search for the definition of his own personality and even his understanding of gender. baudelaire’s text is a mixed entity, a complex unity like most of poe’s characters, a unity composed of scattered elements. the " flowers of evil," are filled with poe’s own experience of despair and doubt about the world and about human beings, blended with baudelaire’s spleen and bouts of ideal. both writers were divided into forces of good and evil, love and hate, masculine and feminine, they were like two images reflected in the mirrors of their creations so perfectly inverted that the reader does not know who inspired whom. alter egos of each other, these two monsters of selfishness and misanthropy would probably have hated each other if they had had the opportunity to meet looking at oneself in a mirror can be very upsetting as the hero of william wilson discovers in the fast lines of this eponymous tale. baudelaire chose to exalt poe’s character as griswold presented it because he had many features in common with this portrait. baudelaire identified with poe in a very self-centered egotistical way. both had a strain of masochism and a taste for self-destruction certainly provoked by parental rejection. baudelaire’s most palpable self-destructive action was the translation of poe’s works. from this peculiar and unique encounter of two geniuses was bom a new universal poet, we could name poedelaire. half european, half american, the writings of this desexualized creator are tinged with black humor, sensationalism, and sprinkled with a touch of french preciosity. questions: 41. the author implies that a. longfellow was guilty of plagiarism. b. longfellow was not guilty of plagiarism. c. poe was guilty of plagiarism. d. poe was not guilty of plagiarism. 42. what, according to the author, causes plagiarism? a. passion and influence. b. search and quest. c. identity and ego d. translation 43. the author’s purpose of mentioning baudelaire’s translations of poe is a. to show how the two writers hate each other. b. to show bow the two writers love each other. c. to prove that plagiarism is pardonable. d. to prove that influence may result in a search for an alter ego. 44. it can be inferred that poe’s writing a. favors the theme of evil. b. tends to describe flowers. c. reveals a vague personality. d. contains the image of mirror. 45. why does the author think that baudelaire’s translation of poe’s works was a self-destructive action? a. because it made baudelaire even sadder. b. because he allowed poe to invade his own identity. c. because it incurred his parents’ contempt d. because it ruined his reputation as a good translator. 46. which of the following words can best describe poedelaire? a. romantic b. sentimental c. pessimistic d. revolutionary passage 2 baudelaire first purchased poe’s works in london in 1851. this was his first encounter with american, and he immediately fell in love with the tone, style and content of these texts. he never wrote anything about the theoretical concepts of literary influence and plagiarism whereas poe had spent a lot of energy attempting to prove his originality. baudelaire, inversely, although acknowledging that he felt an intimacy with poe, always refused to admit that he recreated this intimacy in the works he wrote after his translations of poe, that is to say, after 1856. he was obviously deeply influenced by poe’s essay eureka presenting the human coalition as a simultaneous movement of attraction and repulsion. this phenomenon of unconscious reappropriation is another clear manifestation of harald bloom’s anxiety of influence. instead of fighting against the influence of the first writer, the second writer, moved by passion, prefers to vampirize him, to suck out his creative substance like the painter absorbs his bride’s life in poe’s the oval portrait. this absorption that bloom calls a tessera, both completes and betrays at the same time. like physical possession, it satisfies temporarily the one who possesses, while stealing some independence from the one who is possessed. this symbolic betrayal linked to the linguistic possession of poe by baudelaire is quite relevant when one observes the mistakes made by the french poet in his translations. baudelaire loved the english language and used it in an instinctive way, whereas translation requires technicity and precision, a full understanding of both the source and target language which he certainly lacked. in a letter written to maria clemm, poe’s mother-in-law, and published in france in 1854 in the newspaper le pays, as a preface to one of his first translations, "souvenirs de m. auguste bedloe," we can read the following lines: "adieu, madame; parmi les differents saluts et les formules de complimentation qui ne peuvent conchire une missive dune arne a une ame, je n’en connais quune aux sentiments que m’inspire votre personne: goodness, godness". it is not my purpose to translate the whole letter but we will concentrate on the two concluding words "goodness, godness" that baudelaire adds in english at the end of his friendly message. his desire to play upon words and to show his mastery of the english language results in a poor lexical association that mrs clemm must have had some problems in understanding! goodness is an exclamation, quite inappropriate in such a context and godliness is a neologism, probably used here instead of godliness which would not have been correct either. question: 47. the author seems to imply that baudelaire______________________ a. had no idea of literary influence. b. never thought of literary influence. c. never admitted that he was influenced by poe. d. never appreciated the writings by poe. 48. the word "intimacy" in line 5 probably means a. friendliness. b. sympathy. c. love. d. privacy. 49. " anxiety of influence " means the a. the second writer is influenced by the first writer, but he does not acknowledge it. b. the second writer does not want to be influenced, but he has to. c. the second writer purposely imitates me first writer, then he feels guilty of it d. the second writer is not influenced by the first writer, but is accused of it. 50. the nationality of baudelaire is a. english b. french c. american d. german 51. this passage mainly discusses a. translation. b. misunderstanding. c. plagiarism. d. influence. 52. according to poe, attraction and repulsion are . a. simultaneous b. unconscious c. contradictory d. both a and c passage 3 as a literary critic, surely my best source of information on "globalization" is literature and i hardly need to say that this subject is thematic in a great many works of contemporary latin american fiction. in fact, latin american literature includes a long tradition of cultural theorizing that addresses the nature and effects of cultural contact, and thus the processes of globalization avant la lettre. since the first decades of the twentieth century, indigenista movements considered cultural (and racial) difference and contested the cultural homogeneity imposed by european and u.s- colonialism; indigenismo valorized indigenous traditions and practices, and reconstituted the question of cultural inclusiveness. the movement was led by the peruvian intellectuals jose carlos maridtegui and jose maria arguedas, with related discussions of transculturation and national identity by ezequiet martinez estrada in argentina, gilberto freyrc in brazil, and fernando ortiz in cuba. jose vasconcelos, more than his contemporaries, celebrated the process of cultural contact: racial mestizaje had its apotheosis in the 1920s vasconcelos’s nationalistic concept of la raza casmica ("the cosmic race") alejo carpentier dramatizes this discussion: from his first novel in 1933 he recommends not that cultures struggle against colonialism to remain discrete in their differences, but, rather, that that they recognize cultural otherness and embrace it. his formulation of the neobarroco or new world baroque provides an overarching structure to incorporate european, african, and indigenous cultures into a shared latin american identity. in his 1975 essay "lo barroco y lo real maravilloso* (the baroque and me marvelous real"), carpentier asks: "and why is latin america the chosen territory of the baroque? because all symbiosis, all mestizaje, engenders the baroque. the american baroque develops along with ?nbsp;the awareness of being other, of being new, of being symbiotic, of being criollo; and the criollo spirit is itself a baroque spirit". carpentier, and following him the cuban writers jose lezama lima and severo sarduy, understood the irony of engaging the baroque forms of the spanish colonizers to construct a post-colonial identity and they turned effectively the neobarroco, or new world baroque, into an instrument of contraconquista (counterconquest). the neobaroque is an aesthetics and ideology of inclusion by which latin american and latino artists have defined themselves against colonizing structures, and continue to do so. questions: 53. the word "addresses" in line 4 probably means . a. includes b. concerns c. relates d. talks 54. indigenista movements most probably voiced the feelings of a. the colonizing b. the colonized c. the european d. the american 55. according to the author, minor nations and races a. welcome globaliztion b. fear globaliztion c. resent cultural contact d. needs cultural contact 56. the term "cultural otherness" probably means a. difference in cultural identity b. cultural separation c. hostility among nations d. cultural misunderstandings 57. "the cosmic race" probably refers to . a. the incorporation of races b. the communication among races c. marriage among races d. creation of a new race 58. "baroque spirit" means the willingness to_____________. a. recognize and embrace differences b. study foreign cultures with caution c. d. protect local integrity |
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