FOR NYANA ONLY PLEASE

ENG 3110 MIDTERM 1. Formatting instructions • 1” margins on all four sides • SINGLE -SPACED • 12pt Times New Roman • Please give the number of the question you’re answering; you don’t need to retype the question. 2. Submission instructions • DUE BY MARCH 21 st (TUESDAY) AT 11:59PM • Save your file as a .docx, .doc, or .pdf file only • SAVE YOUR FILE WITH THE FOLLOWING FILE NAME: Yourlastname_Midterm (e.g.

Fox_Midterm) • Submit to me via email at [email protected] • If you do not h ear from me before 10am Wednesday the 22 nd, I’ve received your midterm and can open the attachment. If you do hear from me, you must resend the document. 3. Completion instructions The exam is divided into two parts: Short Answer and Essay. For both sections, you must provide direct evidence in the form of quotation or paraphrase, cited appropriately (line number for poetry, page number for prose [including poetry translated as prose]). Failure to cite will significantly lower your grade. For the Short Answer: • Pick three of the six options and write a well -developed paragraph addressing the question. • Aim for 5-8 sentences, i.e. a well -developed paragraph. • You must define key terms or historical phenomena discussed in class and apply them to a text we’ve read. For the Essay: • Pick one of the two options and write a short essay addressing the question. • Essays absolutely must contain or demonstrate the following and will be assessed on them: o Thesis that makes a claim and structures the argument o Relevant quotations (not vague, passing references) that are discussed and analyzed in support of the argument o At least 2 body paragraphs linked to the thesis • You do not need to have an introductory paragraph (aside from the thesis) or conclusion. • Aim for 3/4 th-1 page in length, single -spaced. A. Short answer (Pick three). 1. Drawing on our readings and discussion of the Showings , explain (with specific examples) how Julian of Norwich fits the definition of a medieval woman who practiced affective piety. 2. Drawing on our readings and discussion of Sir Orfeo , explain how the garden from which Heurodis is kidnapped serves as a liminal space in the poem. 3. With reference to Beowulf , explain (and provide evidence for) the reciprocal relationship between a kin g and his warriors, and explain what happens when this relationship breaks down. 4. Drawing on the Towneley Last Judgment (the translation I gave you is fine), paint a picture of the “un -ideal woman.” In this answer you must do the following: provide specifi c examples of what the “un -ideal woman” does that earns her a trip to hell, and then explain why her behaviors are considered sinful. 5. Looking at Bisclavret and Yonec , provide evidence for your agreement or disagreement with the following statement: “Marie de France’s lais argue that marriage is a relationship that should be based on love and trust, but is instead based on jealousy and deceit.” 6. With reference specific ally and only to the description of the Pardoner in the General Prologue (that is, the short passage in which the Pardoner’s appearance is described, not the long prologue to his own tale), explain how The Pardoner’s appearance is symbolic or representativ e of his moral corruption. B. Essay (Pick one). 1. Imagine that you are the playwright who composed the Towneley Play of the Last Judgment . Develop a thesis that answers, and an argument that provides direct textual evidence for, the following question: “Does the Pardoner belong in Hell, and why?” You must take into account not only specific actions that the Pardoner commits, but the reasons why , from the perspective of the Towneley playwright, his actions should (or should not) place him in Hell. 2. Imagine you are Julian of Norwich meeting Margery Kempe for the first time. Develop a thesis that addresses, and an argument that provides direct textual evidence for, the following question: “How and why is pain so important to Julian and Margery?” You must include both the Showings and the Book in your discussion of how pain shapes Julian’s and Margery’s experiences, and explain why, theologicall y speaking, pain is so central to their visions and their lives.