Test 1b 1. We make our own history, () under very definite assumptions and conditions.

Amon these, the economic ones are u!timate!y decisive.", said a) #ar$ b) %n e!s c) &enin '. Te$ts and practices were( a) never the )primary force* in history b) active a ents in

historica! chan e c) servants of socia! stabi!ity +. ,n 1-++, fo!!owin the comin to power of .it!er, the members of the /rankfurt 0choo! moved to( a) /rance b) 10A c) 2ortu a! 3. )cu!ture industruy* was a term coined by( a) .orkheimer and Adorno b) Adorno and 4en5amin c) &owentha! and #arcuse 6. Adorno be!ieved that the characters and their actions in a piece of mass cu!ture are( a) difficu!t to discern b) authentic c) predictab!e 7. ),t is a ood way of !ife (capita!ist society) and as a ood way of !ife, it mi!itates a ainst 8ua!itative chan e*, said( a) Adorno b) #arcuse c) 4en5amin 7. ,n searchin for profits and cu!tura! homo eneity, cu!ture industry deprives authentic cu!ture of its( a) po!itica! b) aesthetic c) critica! function 9. ,n the 1-7:s a bedsit with a poster of ;he <uevara was not si n of commitment to( a) the !atest fashion b) revo!utionary po!itics c) bour eois conformity
-. Accordin to Adorno, popu!ar music is not( a) mechanica! b) operatin !ike a )socia! cement c) or anic

1:. )The work of art in the a e of mechanica! reproduction* is an essay written by( a) Adorno b) #arcuse c) 4en5amin
11. One Dimensional Man was written by( a) 4en5amin b) #arcuse c) Adorno

1'. 4en5amin su ests that meanin is produced( a) in the modes of production b) in the mind of the artist c) at the moment of consumption
1+. &ouis A!thusser*s most si nificant contribution was his attempt to theori=e the concept of( a) base b) ideo!o y c) superstructure 13. ,deo!o y for A!thusser is not( a) a system of representations b) a c!osed system c) a so!ution for a!! the prob!ems one can pose 16. ,n interpretin Taxi Driver the centra! and structurin absence is( a) the >orean War b) the ?ietnam War c) the ,rak War 17. What car advertisements, as a response to the rowin body of ne ative pub!icity attracted by car ownership, do show is( a) po!!ution b) vehic!es iso!ated in nature c) road con estion 1@. A Theory of Literary Production was written by( a) &ouis A!thusser b) 2ierre #acherey c) Aac8ues Berrida 19. ,n A Theory of Literary Production the author re5ects what he ca!!s( a) the intentiona! fa!!acy b) the interpretive fa!!acy c) the affective fa!!acy 1-. To produce a new know!ed e of the te$t is not e$p!ainin the ideo!o ica! necessity of its( a) si!ences b) structurin incomp!eteness c) editin ': 4etween the prob!em posed by a te$t and the reso!ution offered there is a!ways a rupture, but its e$aminin can*t !ead us to the te$t*s re!ationship with( a) ideo!o y b) history c) pub!ication '1. The ideo!o ica! pro5ect of Au!es ?erne*s work isn*t sta in the( a) adventures of /rench imperia!ism b) contradictions between the myth and rea!ity of imperia!ism c) art of !ivin '' , don*t reco ni=e myse!f in it because ,*m its addressee, , become its addressee the moment , reco ni=e myse!f in it", says about advertisin ( a) A!thusser b) #acherey c) 0!avo5 Ci=ek