a.

Terminology: explain the terms and relevant examples - 50 to 100 words max

1. Trickster: character from Native American legends and tales. It is described as a

folk hero who’s anthropomorphic, so a shapeshifter. It can be a bear, a coyote, a
rabbit, that can change its sex and body too. Amoral, so what it does, generates good
and evil, too. The reader has to discover its identity. As its name implies is well known
for ‘tricking’ people, playing pranks and being mischievous. Its image ‘changed’
through the years and the character is being reutilized from tricking Native Americans
to white settlers. It can be seen in works such as House Made of Dawn by Scott
Momaday and Reservation Blues by Sherman Alexie.
2. Homing Desire: the term is normally present in multicultural or multi-ethnic
narratives and refers to longing for the ‘home’, this home does not necessarily entail
a physical space, but a place where characters can feel free, cultural values can
interact with each other in harmony and characters are accepted. This ‘home’ is often
unattainable for characters and highlights their dissatisfaction with reality. This is
exemplified in The House of Mango Street by Sandra Cisneros, where Esperanza is
constantly dissatisfied with her life and seeks for an idealized ‘home’.
3. Ethics: related to behaviour, what to do in order to do the right or wrong thing
according to an established set or moral codes. Constructivist Ethics:
Terminology and definition in ethics
-Moral paradigm: Metaphysical (Essentialist) (House Made of Dawn by Momaday
by Trickster its present)
Morality: good and evil, right and wrong in general, something among us, god,
universe beyond our physical relativity, comes from our nature. God gives it to us,
inalienable. You look for the metaphysical from outside the world, not man made,
comes from nature, background: Socrates: if you know what is right, you will act
morally, knowledge means virtue (O’Connell Good Country People)
-Cultural Constructivist: (Anti-essentialist): socially and culturally constructed, not
looking for God when it comes to ethics. Somebody else constructed ethics for us, we
learn how to behave, not born with it. Aristotle: the ultimate goal of a good life is self-
realization
-Deontological ethics (ethics of duty): Kant, morality is not coming from outside, we
are born with it, obligation derives from an innate sense of duty, I don’t have to
experience sg to decide if it is moral or not
-Utilitarian ethics (practical use): Moral value is determined by utility. The goal to
be attained is the greatest happiness of the greatest number for the greatest number of
people.
-Solidarity-based views of ethics: Cruelty is the worst thing we do; solidarity is to be
based upon the avoidance of cruelty and humiliation at all costs. Solidarity is a matter
of “we-intentions,” contingent on our membership in a community.
-Cultural anthropology: Not one civilization can possibly utilize in its mores the
whole range of human behavior. [. . .] Normality, in short, within a very wide range, is
culturally defined. We [should] not any longer make the mistake of deriving the
morality of our own locality and decade directly from the inevitable constitution of
human nature. [. . .] We recognize that morality differs in every society and is a
convenient term for socially approved habits.
4. Metafiction: It refers to a text that is aware of its own artificiality, it makes the reader
aware that what they are reading is a piece of fiction due to the elements that disrupt
the narrative. This is characteristic of postmodernist writing. This can be seen in
 works such as Lost in the Funhouse by John Barthes, when Ambrose makes it aware
that he can create different ‘funhouses’ for others.
5. Metalepsis: happens when the ontological levels collapse on each other and there is
narrative shift from one type to the other. Examples: Lost in The Funhouse. A figure
of speech in which a word or a phrase from figurative speech is used in a new context.
(metalepsis can be defined as the shift of a figure within a text (usually a character or a
narrator) from one narrative level to another, marking a transgression of ontological
borders)
6. Modernism: Emerges in the early (20th c.)1910’s. Reflects on romanticism or realistic
modes, avant-garde, treats self-reflexivity. Change in writing style. 2 kinds, High and
Radical. High modernism utilizes metaphors and nature to convey things such as
feelings, etc, and it was rejected by postmodernists, example The Road Not Taken by
Robert Frost. Radical modernism, time is not linear, dialogue more realistic less
metaphorical, nature should stand on its own and should not be used to convey
anything else (a rose is a rose), expanded by post modernism. Example WCW The Red
Wheelbarrow, Ezra Pound In a Station of the Metro
Pre- WWI (dividing line): industrial boom, fabulous resources, business policy
protecting capitalism from state interference, rail road system completed (Promontory
Point), immigrant waves from Eastern and Southern Europe, nationwide intensive,
accelerated industrialisation, turner's Frontier theory, Reconstruction
Post - WWI: urbanisation, industrialisation, communication, technological
innovations, transportations, immigration - cultural uprooting, displacement of people,
breakdown of traditional rural social structure, devastating world wars, developments
in natural sciences, psychology, philosophy, anthropology, ethnography - loss of the
ontological (the nature of being) ground, loss of confidence in the reliable and
knowable nature of the world
7. Cultural Hybridity: Diasporic identity: space of in-betweenness, where the subject
reconstructs itself, problematizing issues of home, belonging to different nations.
Example The Namesake, Nick/Gogol struggles being a second-generation Indian guy
in America. or The House on Mango Street by Sandra Cisneros where Esperanza
struggles accepting her identity (Mexican-American)
8. Mimicry: representation but with difference or a partial representation. Seen in
multicultural literature House on Mango Street, The Namesake, House Made of Dawn.
9. Hybridity: a camouflage through imperfect mimicry, a ‘third space’. Seen in
multicultural literature, House on Mango Street, The Namesake, House Made of
Dawn.
10. Iceberg theory: a theory by Hemingway, where the text on the surface is only 1/8 of
the meaning, but 7/8 is hidden, represented by Ernst Hemingway in The Sun Also
Rises, and in his 6 words “piece”: “for sale: baby shoes. never worn.” (he’s also
connected to minimalism and roman a clef)
11. Postmodernism: An awareness that truths are MADE rather than FOUND. *Truths
are made within communities, etc. Truth is a communal construction, there has to be
consensus. It is not objective in a universal sense.
QUESTIONING THE PLATONIST/METAPHYSICAL FOUNDATIONS OF
WESTERN PHILOSOPHY. Postmodernism can be considered the last stage of
questioning and thinking about the world, us, etc.
-postmodern metafiction: not the subjectivized representation of a story, a situation,
an event but a textual world in its own, not representations of something beyond
themselves. Examples of this can be The Dead Father by Donald Barthelme or Lost
in the funhouse by John Barth. or in Slaughterhouse-Five by Kurt Vonnegut
 (reincarnation of postmodern self-reflexive fiction which conducts a critique of
modern literature)
Includes: states that moral truths are constructed by rational agents in order to
solve practical Constructivism problems.
12. Metaphysical Ethics: Metaphysics is concerned with causes of being, or the primary
sense or senses of reality, or its fundamental categories, is an abstract concept. Ethics
is concerned with the goodness of people, or the rightness of actions, or the best value
in consequences. Examples. The Gilded Six Bits by Zora Neele Hurston.
13. Little theatre movement: comprised a web of amateur theatre activities undertaken
across much of the United States between 1912 and 1925. Little Theater opposed
commercialism; its proponents believed that theater could be used for the betterment
of American society and for self-expression. (The Provincetown Players, 1915,
George Cram Cook and Susan Glaspell) A nation-wide movement, which is
community centred, included non-profit theatres, one-acts inexpensively produced
- social drama: challenges the American myth of success, the honesty of American
dream
- tragic drama: human frailty, inadequate values and ideals
14. Image and imagism
- image: A literary image implies a link between writing, seeing and image making.
An image can be a picture and it also can be made of words. Yet a literary image is an
ambiguous notion. Some may object to an image that needs language, just as some
may reject imagistic language.
- imagism: doctrine of the image, intellectual or emotional experience codified in a
poem (William Carlos Williams The Red Wheelbarrow or Portrait of a Lady: verbal
representations of a picture (but PoL paints a more romantic/erotic picture)
rules of imagism: freedom of subject matter, don’t compose to a metronome, nothing
that’s not needed for the meaning should be included, presentation of emotional
context/intellectual complex, concentration is the essence of the poem
according to Pound: produce an image in a lifetime is the very essence of poetry
(haiku: 3 lines, 5-7-5 syllables Ezra Pound: In a Station of a Metro ONLY haiku-like)
15. expressionism: a modernist movement, initially in poetry and painting, originating in
Northern Europe around the beginning of the 20th century. Its typical trait is to present
the world solely from a subjective perspective, distorting it radically for emotional
effect in order to evoke moods or ideas, dissonant. pl. Tennessee Williams A Streetcar
Named Desire and Arthur Miller’s The Death of a Salesman
16. Dadaism (reality is so violent that it has to be reflected on the page) a movement with
explicitly political overtones – a reaction to the senseless slaughter of the trenches of
WWI. It essentially declared war against war, countering the absurdity of the
establishment's descent into chaos with its own kind of nonsense. (’Fountain’ picture)
pl Fumms bö wö tää zää Uu, pögiff, kwii Ee. - The title, importantly, translates as:
“the sonata in primordial sounds.” (this example only presents the absurdity and
violence of the language used)
17. calligram/concrete poem: typographical/visual arrangement over conveying meaning
through linguistic elements (e. e. cummings: brIght) (free verse like Dickenson and
Whitman)
18. vorticism: art movement partially inspired by cubism (painting stuff)
19. Unorthodox (avant-garde): destroying established principals, innovative,
experimental in the sense that the reader is shocked after reading, marginal (off the
side)
20. Realism: 19th century, dramatic shift from romanticism, (middle class characters),
Realism is a literary movement that began in the middle of the 19th century in France
and spread across Europe. The general aim of realism was to offer an accurate,
objective and truthful representation of the real world. In literary terms, it was a
reaction against romanticism, an interest in scientific method which was influenced by
rational philosophy. (Willa Cather: Neighbor Rosicky)
21. Naturalism: can be seen as a more extreme form of realism. It attempts to emulate the
methods of the physical sciences, drawing heavily on the principles of causality,
determinism and experimentation. (lower class characters, problems of society-like
prostitution) (1870-1910 naturalism and realism, too) (John Steinback: Flight)
22. Existentialism: World War II - material and spiritual destruction, Uncertainty,
Disillusionment, Optimism seemed untenable, Look for meaning in everyday
pleasures, instability, risk and negative aspect of existence became essential features
(1950s, Ernst Hemingway: The Sun Also Rises) (J. D. Salinger: Catcher in the Rye)
(Ralph Ellison: Invisible man)
- hemingway hero: always courageous, confident, introspective, no fear, expressed
differently in his works (naive young boy to a Hero (Nick Adam stories) or old man
with heroic qualities (Old Man at the Sea) (TSAR: Jake Barnes or TSHL of Francis
Macomber)
- code hero: (Pedro Romero) has a set of rules to keep, honor, courage, endurance in a
life of stress, misfortune and pain, the hero’s world is violent/disordered, but he still
seems to win, a „grace under pressure” MANNER, typically individualist and free
minded, does not show emotions or weakness, brave, adventureous, travels a lot, hot,
young
- the flapper: parties with men, sleeps with them, sexual promiscuity, trousers, short
hair, no traditional femininity
23. roman-a-clef: a novel in which real people or events appear with invented names OR
a novel that is set in a real place, a real event, in real history/time, but operates with
made up lives and people (key novel, novel with a key) Hemingway: The Sun Also
Rises
24. stream of consciousness compares the way of recording a text in a way as if it was a
flow of ideas/a flow of river, a narrative mode or method that attempts "to depict the
multitudinous thoughts and feelings which pass through the mind" of a narrator. The
term was coined by Daniel Oliver in 1840. If we separate from this mingled and
moving stream of consciousness, our sensations and volitions, which are constantly
giving it a new direction, and suffer it to pursue its own spontaneous course, it will
appear, upon examination, that this, instead of being wholly fortuitous and uncertain,
is determined by certain fixed laws of thought, which are collectively termed the
association of ideas. (Bergsonian time, weird time concepts) Sebastian Faulkner The
Sound and the Fury (It was grandfather's watch? said Quentin Compson)
25. Regionalism: definition (literature), historical and socio-cultural reasons for the
emergence of a dominant white Southern culture (plantation myth, the Southern
belle/lady, nostalgia), The Southern Renaissance and Southern Gothic (deconstruction
of the plantation myth in Faulkner’s The Sound and the Fury, Tennessee Williams’s A
Streetcar Named Desire, grotesque characters in Eudora Welty’s “Petrified Man,”
Flannery O’Connor’s “Good Country People”), The Rough South (Dorothy Allison’s
“Meanest Woman Ever Left Tennessee”)
-Lost Cause+plantation myth: interpretation of the civil war made by the
Confederats-romanticised, not paying attention to the horrors of slavery, based on the
lost cause, highlights slave weddings and easter, the happy parts of slave life, often
 uses individual anecdotes and associates it with every slave
-Code of Honor and Chivalry: described an ideal man who’s respected, treats
women with high regard, defended is family, personal insult: fight,
lawyer/politician/planter
-Southern Belle: a woman type who’s flirtatious, virgin, nicely dressed, a tender mom
figure, changed at civil war when they needed to work, help the wounded, take care of
the house, coordinate slaves, taking care of clothing (Faulkner: Rose for Emily)
or Mrs Freeman GCP and grandma GMHF (Flannery O’Connell) are both “southern
dames”- pretentious, hypocritical, humour, grotesque, social issues: religion – moment
of salvation, slavery – not really presented only in the mindset, racism, poverty – in
GMHF negros and piccanynny
26. Bildungsroman: (fejlődésregény) is a literary genre that focuses on the psychological
and moral growth of the protagonist from childhood to adulthood (coming of age), in
which character change is important. The term comes from the German words Bildung
("education", alternatively "forming") and Roman ("novel"). (Song of Solomon)
27. magic realism: It paints a realistic view of the world while also adding magical
elements, often dealing with the blurring of the lines between fantasy and reality.
Often refers to literature in particular, with magical or supernatural phenomena
presented in an otherwise real-world or mundane setting, commonly found in novels
and dramatic performances.  Despite including certain magic elements, it is generally
considered to be a different genre from fantasy because magical realism uses a
substantial amount of realistic detail and employs magical elements to make a point
about reality, while fantasy stories are often separated from reality. pl. Song of
Solomon by Toni Morrison
(Solomon flying away, song at the beginning and at the end: kid’s chanting for
Solomon, supernatural included in folk tradition, while reconstructing myths: Ikarus’s:
flying like Solomon, Greek mythology: intertextuality
28. postmodernism: irony, hyperreality, intertextuality (incorporating previous texts and
quotes a lot of other texts), magical realism – distortion of TIME (present to past then
future then present), paranoia, unpredictability, reality is an abstract concept – seeing
details through a window, reviewing the fact “how stupid we are”-personal
propaganda of something (Slaughterhouse 5)
29. Metafiction: some kind of reality that may materialize, but totally moved away from
experienced reality Slaughterhouse-five by Kurt Vonnegut
30. Latinx Literature – latinx: Mexican American culture’s literature The House on
Mango Street by Sandra Cisneros
31. writing on the borderline: metaphorical! – person from 2 cultures writing where both
exists The House on Mango Street by Sandra Cisneros
32. vignette: type of structure, made up from short texts not coherent but has something in
common, short parts connected (by Mango St. in) The House on Mango Street by
Sandra Cisneros
33. initiation story: story whose overall plot is concerned with putting the protagonist
through a particular sort of experience -- initiation into something for which his/her
previous experience had not prepared him/her. (like John Steinbeck’s Flight) usually
comments on CLASS rather than race
34. The Chicano Movement: Aztek/Mayan roots BUT NOT white Anglo-Saxon –
ancient, indigenous component, ethnic pride expression, “Mexican wages for Mexian
work” – not paying them well, bc they’re “taking away jobs”
 35. küngslerroman: development of the artist in the novel The House on Mango Street by
Sandra Cisneros (also a: communi-biography (general that can apply to a
community))
36. confessional poetry: a style of poetry that is personal, often making use of a first-
person narrator. It is a branch of Postmodernism that emerged in the US in the 1950s.
The work of art its independent of any kind of context (you don't need to know the
biography or history), remove every piece of literature as an independent piece
(confessionals say no) Robert Lowell - ‘Skunk Hour’ (dedicated to Elizabeth Bishop) -
pain and suffering are redefined – resolves – pains and sufferings are presented from
the non-participant sometimes as if I am living it – life story
37. Harlem Renaissance: double movement, participation, subversion, Reluctance, if not
denial of publishing writings on white terms and meeting the requirements, writers of
30s and 40s are using their bitterness in order to create new forms and more political
content than during the Harlem Renaissance (pl Langston Hughes I Too/ Zora Neele
Hurston The Gilded Six Bits, Ellison Invisible Man)
38. BAM: Black Arts Movement: radical, political movement, black consciousness is
important, vernacular culture, rejection of high art – because art has to be non-
political, experimental, promotion of black solidarity and pride, redefining blackness
as beautiful, innovative (Ralph Ellison: Invisible Man 1952)
39. intertextuality: the shaping of a text's meaning by another text, either through
deliberate compositional strategies such as quotation, allusion, calque, plagiarism,
translation, pastiche or parody, or by interconnections between similar or related
works perceived by an audience or reader of the text. Toni Morrison’s Song of
Solomon - Ikarus
40. radical subjectivisation: the act of depriving the self of any substantial content ends
in radical subjectivisation, in the loss of the firm objective reality itself (Faulkner:
Sound and The Fury) Represent things, that is not what they look like, but he says that
as an artist I have the right to represent through the artistic vision, RADICAL
SUBJECTIVE WAY. Intention is still present. SUBJECTIVISATION. He presents
his artistic/subjective vision.
41. patische: a work of visual art, literature, theatre, music, architecture that imitates the
style or character of the work of one or more other artists. Unlike parody, pastiche
celebrates the work it imitates, rather than mocking it. Scott Momaday House Made of
Dawn

b. Long Answers: 150 – 200 words max strict limit no bull shitting and summary
– answer to the point even if its 100 words it is the quality. writing summary or
general plot means “zero”

1. RADICAL SUBJECTIVIZATION OF THE OBJECT/SUBJECT in Sound and

the Fury:

The novel has a filter over their reality to show a perspective (in Benji’s case). It was written
with the stream of consciousness technique (narrative mode), which attempts to represent the
internal thoughts and subjectivity of the mind, and its spontaneous flow of free associations.
The logic of free associations is radically subjective, therefore a person’s presented idea (like
Benji’s) can be illogical to others, because the outsider cannot see the mind map of the flow,
of the thought. The chaos of the stream is an accurate representation, and in the novel, it is
present with Benji’s mental disability. He has associative thinking, where a thought/an
impression/feeling is associated with another, like a smell that triggers a memory. For
example: Benji is “sensitive” to a (tree) smell, which he connects to Caddy (his sister), and
when Caddy lost her virginity, he couldn’t smell it anymore, therefore he felt like he lost her
“calming” smell (trauma).

2. Metafiction and Metalepsis in Lost in the Funhouse

Metalepsis: metalepsis can be defined as the shift of a figure within a text (usually a character
or a narrator) from one narrative level to another, marking a transgression of ontological
borders
From a point of view you cannot decide whether you read the narrative of the narrator or the
character—it cannot be decided if there is a narrator—who narrates who?—Does the narrator
narrates the character’s story or the character narrates the narrator’s story—in Lost in the
Funhouse it is symbolized with the Möbius trip, which shows the tangled hierarchy: how the
different levels of hierarchy transform into each other
Metafiction: a fiction that is being aware of its being a fictional construct, self-conscious
literary style where the narrator is aware that he or she is part of a work of fiction
In this novel Barth explores the author’s self-referential placement within the text, the author
becomes a character—also the story becomes a fragmented written feature about writing. The
author loss of control is mirrored by our protagonist’s own lack of authority and control—
When he is standing in the mirror room, he is unable to acknowledge himself from another
perspective, he can only see what is presented in front of him
“self-consciously and systematically draws attention to its status as an artifact in order to pose
a question about the relationship between fiction and reality”
Metafiction supposedly undermines actually draw more overt attention to their own processes
of fictional composition than just about anyone
Barth, as a narrator, sometimes narrates, sometimes talks directly to the reader, and sometimes
comments on the narration. It is these comments that are the humorous meta-fictional devices.
The story becomes self-aware. It understands and points out the devices it is using.

3. Reality and illusions in the Street Car Named Desire

Although Williams’s protagonist in A Streetcar Named Desire is the romantic Blanche
DuBois, the play is a work of social realism. Lying to herself and to others allows her to make
life appear as it should be rather than as it is. Stanley, a practical man firmly grounded in the
physical world, disdains Blanche’s fabrications and does everything he can to unravel them.
The antagonistic relationship between Blanche and Stanley is a struggle between appearances
and reality. It propels the play’s plot and creates an overarching tension. Ultimately,
Blanche’s attempts to remake her own and Stella’s existences—to rejuvenate her life and to
save Stella from a life with Stanley—fail.

One of the main ways Williams dramatizes fantasy’s inability to overcome reality is through
an exploration of the boundary between exterior and interior. The set of the play consists of
the two-room Kowalski apartment and the surrounding street. Williams’s use of a flexible set
that allows the street to be seen at the same time as the interior of the home expresses the
notion that the home is not a domestic sanctuary. The Kowalski’s apartment cannot be a self-
defined world that is impermeable to greater reality. The characters leave and enter the
apartment throughout the play, often bringing with them the problems they encounter in the
larger environment. For example, Blanche refuses to leave her prejudices against the working
class behind her at the door. The most notable instance of this effect occurs just before
Stanley rapes Blanche, when the back wall of the apartment becomes transparent to show the
struggles occurring on the street, foreshadowing the violation that is about to take place in the
Kowalski’s home.

4. Reality and illusions in the Death of a Sales Man

5. Main Tenants of Black experience and literature in Song of Solomon 1977 –
examples

African American people (early 20th c.) were trapped by their “double consciousness”:
meaning that they couldn’t define themselves a 100% as American or African, but both.
(There is a derogatory term used for them: Oreo, meaning, that they’re black on the outside,
but white on the inside) Usually, they had to behave according to their surroundings (if they
were with white people, they had to know about their traditions/culture), and according to
how they were nurtured/educated. In this sense, Milkman Dead also suffers from finding his
identity. Song of Solomon is the quest story of Milkman to find himself, and for that he has to
accept the African myths, in the process of which, he moves away from Western Culture,
closer to his roots. His cultural roots are Shalimar, which he found while tracing back his
family’s names. Another connection to the “black experience” is the gospel by the (black
children?) choir in the beginning and the end.

 proof of meanings of “flight”: flying back to Africa, roots/ escape/ Ryna left in the US
- to look for his roots, Harlem Renaissance (returning to black authenticity, art, roots,
culture)
 Indeed, the search for gold that sends him to Virginia reveals his perception that
escaping from his past and his responsibilities and finding material treasure will
guarantee him a sense of his own identity.
 Milkman's assumption that his trip south holds the key to his liberation is correct,
although it is not gold that saves him. In his ancestors' world, communal and mythical
values prevail over individualism and materialism; when he adopts their assumptions
in place of his own, he arrives at a more complete understanding of what his
experience means.
 Milkman's sense of identity emerges when he allows himself to accept his personal
and familial past. His quest critiques the faith in self-sufficiency for which his father
stands. Through his story, Morrison questions Western conceptions of individualism
and offers more fluid, destabilized constructions of identity.
 Flight can mean a certain divine ascending which makes his soul free and he now
certainly can find where he belongs
  Also, the whole family is called Dead because a white troop misunderstood Milkman's
father and this can represent how white society repressed and overruled the true identity of
African Americans in the U.S.

c. Text recognition: name and author and answer to the relevant questions

1. Eudora Welty’s “Petrified Man” Mr and Mrs Fletcher

2. I am not a Polack. People from Poland are Poles, not Polacks. But what I am is a one
hundred percent Ameri- can, born and raised in the greatest country on earth and
proud as hell of it, so don't ever call me a Polack. – A Street Car Named Desire
Tennessee Williams (Scene) – Stanley said to Blanche, they’re talking and Blanche
says something about Stanley’s origins, because they’re having a fight, (Stanley
thought she was flirting and raped her) OR about a bday and a bath
3. 38 - poem by Layli Long Soldier
4. You sit and hangout in the café all day – The Sun Also Rises: Ernst Hemingway –
Jake Barnes and Bill’s conversation when they’re talking in Burguete, Spain, (they
went on a holiday, both interested in bullfights and they had an almost
homosexualishlike convo) about how Jake does not do anything, drinks (does
existentialist stuff)
5. A quote from the Death of a Salesman
6. Quote from Song of Solomon – flying, roots, Africa…
7. Bharati Mukherjee A Wife’s Story – short stories

Tips:

1. Watch the plays on YouTube and read the ppt slides. Also, themes, motifs and
symbols
2. Make sure to read all the poems and short stories
3. For long answers it is okay if you fail to read to all the novels. JUST MAKE SURE
YOU READ THE TEXT ON THE PPT SLIDES – for example: Reality and Illusions
in Street Car Named Desire – QUESTIONS ARE DIRECTLY FROM THE
SLIDES. SO READ IN DETAIL
4. For text recognition use the science of deduction”
5. In the THIRD ATTEMPT, 60% of the questions will be from 1st and 2nd attempt. so,

gather them!