Question:easy
"The emancipation of women", James Joyce told one of his friends, "has caused the greatest revolution in our time."
Other modernists agree: Virginia Woolf, claiming that in about 1910 "human character changed" and illustrating the new balance between the sexes, urged, "Read the 'Agamemnon' and see whether your sympathies are not almost entirely with Clytemnestra". D.H. Lawrence wrote "perhaps the deepest fight for 200 years and more has been the fight for women's independence".
But if modernist writers considered women's revolt against men's domination as one of their "greatest" and "deepest" themes, only recently, perhaps in the past 15 years has literary criticism begun to catch up with it. Not that the images of sexual antagonism that abound in modern literature have gone unremarked - far from it. We are able to see in literary works the perspective we bring to them and now that women are enough to make a difference in reforming canons and interpreting literature, the landscapes of literary history and the features of individual books have begun to change.
The author's attitude towards women's reformation of literary canons can best be described as one of:
"The emancipation of women", James Joyce told one of his friends, "has caused the greatest revolution in our time."
Other modernists agree: Virginia Woolf, claiming that in about 1910 "human character changed" and illustrating the new balance between the sexes, urged, "Read the 'Agamemnon' and see whether your sympathies are not almost entirely with Clytemnestra". D.H. Lawrence wrote "perhaps the deepest fight for 200 years and more has been the fight for women's independence".
But if modernist writers considered women's revolt against men's domination as one of their "greatest" and "deepest" themes, only recently, perhaps in the past 15 years has literary criticism begun to catch up with it. Not that the images of sexual antagonism that abound in modern literature have gone unremarked - far from it. We are able to see in literary works the perspective we bring to them and now that women are enough to make a difference in reforming canons and interpreting literature, the landscapes of literary history and the features of individual books have begun to change.
The author's attitude towards women's reformation of literary canons can best be described as one of:
Show Hint
Check the tone of the closing sentence.
Updated On: Jul 15, 2026
- Ambivalence
- Antagonism
- Indifference
- Endorsement
Show Solution
The Correct Option is D
Solution and Explanation
A quick way to judge an author's attitude is to check whether the language used to describe an idea is neutral, critical or approving. Here the closing lines describe women reforming literary canons and reinterpreting old texts in a way that reads as natural progress, framed as something that had been waiting to happen once women are enough in number to drive it.
Check the other choices against that tone. Ambivalence would require some sign of doubt or a balanced back and forth in the passage, which is absent. Antagonism would mean pushing back against the trend, but the author instead explains why it matters and treats it as legitimate. Indifference would mean a flat, uninvested description, but the passage spends its final section building up to and explaining this change, which shows the author cares about it and views it favourably.
Since the author's language treats the reform of literary canons by women as a welcome and overdue shift, the best label for that attitude is endorsement, so option 4 is correct.
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Top Questions on Reading Comprehension
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For early postcolonial literature, the world of the novel was often the nation. Postcolonial novels were usually [concerned with] national questions. Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania. This was important for supporting anti-colonial nationalism, but could also be limiting - land-focused and inward looking.
My new book "Writing Ocean Worlds" explores another kind of world of the novel: not the village or nation, but the Indian Ocean world. The book describes a set of novels in which the Indian Ocean is at the centre of the story. It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels. . . Their work reveals a world that is outward-looking full of movement, border-crossing and south-south interconnection. They are all very different - from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language. This has the effect of remapping the world in the reader's mind, as centred in the interconnected global south. ... The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia.
These connections were made possible by the geography of the Indian Ocean. For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities. Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean. This is the interconnected oceanic world referenced and produced by the novels in my book. For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English. Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York. The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay. . . . It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.
This remapping is particularly powerful for the representation of Africa. In the fiction, sailors and travellers are not all European. . . African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists. This does not mean that Indian Ocean Africa is romanticised. Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife. What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.- CAT - 2023
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Many human phenomena and characteristics - such as behaviors, beliefs, economies, genes, incomes, life expectancies, and other things - are influenced both by geographic factors and by non-geographic factors. Geographic factors mean physical and biological factors tied to geographic location, including climate, the distributions of wild plant and animal species, soils, and topography. Non-geographic factors include those factors subsumed under the term culture, other factors subsumed under the term history, and decisions by individual people.... [T]he differences between the current economies of North and South Korea ... cannot be attributed to the modest environmental differences between [them] ... They are instead due entirely to the different [government] policies ... At the opposite extreme, the Inuit and other traditional peoples living north of the Arctic Circle developed warm fur clothes but no agriculture, while equatorial lowland peoples around the world never developed warm fur clothes but often did develop agriculture. The explanation is straightforwardly geographic, rather than a cultural or historical quirk unrelated to geography. . . Aboriginal Australia remained the sole continent occupied only by hunter/gatherers and with no indigenous farming or herding ... [Here the] explanation is biogeographic: the Australian continent has no domesticable native animal species and few domesticable native plant species. Instead, the crops and domestic animals that now make Australia a food and wool exporter are all nonnative (mainly Eurasian) species such as sheep, wheat, and grapes, brought to Australia by overseas colonists.
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Moreover, foragers had other options. The contemporary Hadza of Tanzania, who had long been surrounded by farmers, knew they had alternatives and rejected them. To Sahlins, this showed that foragers are not simply examples of human diversity or victimhood but something more profound: they demonstrated that societies make real choices. Culture, a way of living oriented around a distinctive set of values, manifests a fundamental principle of collective self-determination. . .
But the point [of the essay] is not so much the empirical validity of the data-the real interest for most readers, after all, is not in foragers either today or in the Paleolithic-but rather its conceptual challenge to contemporary economic life and bourgeois individualism. The empirical served a philosophical and political project, a thought experiment and stimulus to the imagination of possibilities.
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