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Starting Out with Java: From Control Structures through Data Structures 3e (Gaddis and Muganda)
Chapter 6 A First Look at Classes
2) Class objects normally have ________ that perform useful operations on their data, but primitive
variables do not.
A) fields
B) instances
C) methods
D) relationships
Answer: C
3) In the cookie cutter metaphor, think of the ________ as a cookie cutter and ________ as the cookies.
A) object; classes
B) class; objects
C) class; fields
D) attribute; methods
Answer: B
5) When you are working with a ________, you are using a storage location that holds a piece of data.
A) primitive variable
B) reference variable
C) numeric literal
D) binary number
Answer: A
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7) Most programming languages that are in use today are:
A) procedural
B) logic
C) object-oriented
D) functional
Answer: C
8) Java allows you to create objects of this class in the same way you would create primitive variables.
A) Random
B) String
C) PrintWriter
D) Scanner
Answer: B
10) Data hiding, which means that critical data stored inside the object is protected from code outside the
object, is accomplished in Java by:
A) using the public access specifier on the class methods
B) using the private access specifier on the class methods
C) using the private access specifier on the class definition
D) using the private access specifier on the class fields
Answer: D
2
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12) You should not define a class field that is dependent upon the values of other class fields:
A) in order to avoid having stale data
B) because it is redundant
C) because it should be defined in another class
D) in order to keep it current
Answer: A
16) A constructor:
A) always accepts two arguments
B) has return type of void
C) has the same name as the class
D) always has an access specifier of private
Answer: C
17) Which of the following statements will create a reference, str, to the String, "Hello, World"?
A) String str = "Hello, World";
B) string str = "Hello, World";
C) String str = new "Hello, World";
D) str = "Hello, World";
Answer: A
3
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18) Two or more methods in a class may have the same name as long as:
A) they have different return types
B) they have different parameter lists
C) they have different return types, but the same parameter list
D) you cannot have two methods with the same name
Answer: B
19) Given the following code, what will be the value of finalAmount when it is displayed?
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20) A class specifies the ________ and ________ that a particular type of object has.
A) relationships; methods
B) fields; object names
C) fields; methods
D) relationships; object names
Answer: C
21) This refers to the combining of data and code into a single object.
A) Data hiding
B) Abstraction
C) Object
D) Encapsulation
Answer: D
23) In your textbook the general layout of a UML diagram is a box that is divided into three sections. The
top section has the ________; the middle section holds ________; the bottom section holds ________.
A) class name; attributes or fields; methods
B) class name; object name; methods
C) object name; attributes or fields; methods
D) object name; methods; attributes or fields
Answer: A
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26) After the header, the body of the method appears inside a set of:
A) brackets, []
B) parentheses, ()
C) braces, {}
D) double quotes, ""
Answer: C
30) When an object is created, the attributes associated with the object are called:
A) instance fields
B) instance methods
C) fixed attributes
D) class instances
Answer: A
31) When an object is passed as an argument to a method, what is passed into the method's parameter
variable?
A) the class name
B) the object's memory address
C) the values for each field
D) the method names
Answer: B
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32) A constructor is a method that:
A) returns an object of the class.
B) never receives any arguments.
C) with the name ClassName.constructor.
D) performs initialization or setup operations.
Answer: D
34) Which of the following statements will create a reference, str, to the string, "Hello, world"?
7
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36) Given the following code, what will be the value of finalAmount when it is displayed?
8
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38) Instance methods do not have this key word in their headers:
A) public
B) static
C) private
D) protected
Answer: B
39) Which of the following is NOT involved in finding the classes when developing an object-oriented
application?
A) Describe the problem domain.
B) Identify all the nouns.
C) Write the code.
D) Refine the list of nouns to include only those that are relevant to the problem.
Answer: C
41) Quite often you have to use this statement to make a group of classes available to a program.
A) import
B) use
C) link
D) assume
Answer: A
import java.util.Scanner;
This is an example of
A) a wildcard import
B) an explicit import
C) unconditional import
D) conditional import
Answer: B
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43) Look at the following statement.
import java.util.*;
44) The following package is automatically imported into all Java programs.
A) java.java
B) java.default
C) java.util
D) java.lang
Answer: D
4) A method that stores a value in a class's field or in some other way changes the value of a field is
known as a mutator method.
Answer: TRUE
7) Shadowing is the term used to describe where the field name is hidden by the name of a local or
parameter variable.
Answer: TRUE
8) The public access specifier for a field indicates that the attribute may not be accessed by statements
outside the class.
Answer: FALSE
9) A method that gets a value from a class's field but does not change it is known as a mutator method.
Answer: FALSE
10
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10) Instance methods do not have the key word static in their headers.
Answer: TRUE
11) The term "default constructor" is applied to the first constructor written by the author of a class.
Answer: FALSE
12) When a local variable in an instance method has the same name as an instance field, the instance field
hides the local variable.
Answer: FALSE
13) The term "no-arg constructor" is applied to any constructor that does not accept arguments.
Answer: TRUE
14) The java.lang package is automatically imported into all Java programs.
Answer: TRUE
11
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The Project Gutenberg eBook of Art principles
in literature
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Language: English
ART PRINCIPLES
IN LITERATURE
By FRANCIS P. DONNELLY, S.J.
THE MACMILLAN COMPANY
publishers NEW YORK mcmxxv
COPYRIGHT, 1923,
BY THE MACMILLAN COMPANY.
SET UP AND PRINTED. PUBLISHED OCTOBER, 1923.
REPRINTED APRIL, 1925.
REPRINTED JULY, 1928.
INTRODUCTION
Connection with author’s Art of Interesting—Need of principles of an art
amidst violent experimentation in art and education—Aristotle’s
principles valid except where the basis of his deductions has been
modified—With Greek literature leaving our schools, Greek taste is
needed against excessive modernism—Recent art discussions— Croce’s
Æsthetic; Puffer’s Psychology of Beauty; De Wulf’s L’Œuvre d’Art et la
Beauté v
ART PRINCIPLES IN LITERATURE
PART FIRST
ART IN THE APPRECIATION OF LITERATURE
I
ART AND THE INDIVIDUAL
1. Individualism and Responsibility 1
Talking to oneself in art—Chaos in religion, morals and art from unchecked
individualism—Altruism a better principle—Responsibility inevitable—
Responsibility a help, no hindrance to the artist—Greek drama; Italian
Madonnas; Horace.
II
ART AND THE INDIVIDUAL
2. Vagaries of Individualism 8
Modern literature and art and a sense of humor—Fiction, biographical and
pathological—New poetry shallow—Riot of emotionalism—Novel of
satire, European continental type originating in low comedy—Novel of
Scott, epic in origin—Nature, experience, wisdom, the remedies of
individualism.
III
ART AND HUMAN NATURE
1. The Universal Element 14
Art movements begin in nature—Art is social—Permanence of literature due
to universal appeal—The camera and the canvas—Personality and
individuality—Shock of nerves not the mental thrill of art.
IV
ART AND HUMAN NATURE
2. Realism and Reality 20
Real cake of soap on a painted wave—Art a distinct world from reality—
Motivation, not through logical discussion but through probable incident
—Painting in the cake of soap—Realism depressing because of cynic
moralizing—Evil in Shakespeare and Homer, relieved by pathos and
humor, not depressing.
V
ART AND THE DIVINE
1. Religious Origin of Art 26
Rich tombs of the past testify to belief in immortality—Cro-Magnon cave
pictures probably religious—Earliest art of all nations due to religion—
Dancing, song, music, sculpture, architecture, drama, epic—Gothic
cathedral of religious middle-ages, synthesis of all arts.
VI
ART AND THE DIVINE
2. The Kinship of Art and Religion 31
Hebraism, Puritanism, Islamism, reacting against art and the result—
Explanation of the origin of art—Taine’s environment theory—Spencer’s
play theory—Theory of fear and magic spells—Adequate explanation
found in man’s intellectual nature—Art like religion intellectual—Art and
religion idealistic—Personal and emotional—Art and religion social in
appeal—Sublimity of art and the revelation of Genesis—Harmonious
equation between soul and the truth of reality, between soul and the
good of morality, same as equation between soul and beauty, all
founded on the fact that both soul and triple reality are images of God.
VII
ART AND THE DIVINE
3. Art in Its Relation to Virtue 39
The theomorphism of man in the threefold tendency of science, morality
and art—Religion, a virtue; art, a function of perceptions—Ruskin’s
school of the religion of beauty—Moralizing not a function of art—
Estheticism neither asceticism nor sensualism—Evil in art to be
represented as evil—Evil to be a rationalized element—Contemporary
evil excites feelings of reality—Art and religion ennobling—Art and
religion purifying—Creation and disinterestedness most divine elements
in art.
VIII
THE VISCERAL TEST OF BEAUTY
The critic’s equipment—Defective philosophy of some modern critics,
Mencken, Murry, Cohen—Ugly in art and its subdual—Esthetic feeling
not concupiscence—Disinterestedness of beauty excludes sensuality of
appetites—Visceral reactions not from beauty 48
PART SECOND
ART IN THE TEACHING OF LITERATURE
IX
LOOKING FORWARD IN LITERATURE
Literature taught for use in Greece, Rome, and elsewhere—Science and
history always changing; literature lasting—Object of literature in
university—True humanism, equipping man’s faculties with art—Every
school subject teaches its like—Correlations of literature and creation—
Contemporary literature not suitable—Scientific study partly; artistic
study is wholly satisfying 57
X
UNIFYING EDUCATION THROUGH LITERATURE
Necessity of unity—In university through profession—No unity in college
electivism—Unity impaired by departments and by specializing—Unity in
France, Germany and England—Departmental system destroying the art
appeal of literature—Science through knowing; art through doing—
Recent mental tests accentuate expression and language—General
education through art of literature 64
XI
THE INTERESTING TEACHER OF LITERATURE
Spread of science—System and eliminating of personality—Dissertations for
the doctorate—Scholarly means encyclopedic—The impersonal lecturer
—Justin McCarthy’s teacher and his methods—Not scientific
specialization, but exercise of mental powers—Formulas and personality
—Another interesting teacher—Literature educates equally with science
—The ideal 70
XII
EDUCATING THE EMOTIONS
Life full of emotions—Emotions intense in our crowded civilization—Morale,
organized emotion—Emotions neglected in education—Education of
facts dominating schools—Twofold nature of emotions—Emotions from
concrete imagining—Kindled by contact—Literature embodiment of
emotions—Emotions developed by self-expression and controlled by
exercise 83
XIII
KEEP THE CLASSICS BUT TEACH THEM
Classics to be kept but taught differently—Former help of translation—
Literature overwhelmed by erudition—Germany, France, England,
America—True use of erudition—Natural sciences change; art endures—
Reproduction, the soul of literary teaching—Method of training—Modern
literatures not yet able to supplant ancient literatures 91
XIV
THE VITALIZER OF THE WORLD
Literary renaissances associated with Greek literature—Revivals through
Irish monks—Spain, France, Scholasticism—Germany with Wolf,
Winckelmann, Lessing—England under Queen Anne and Queen Victoria
—Youth of civilization in Greece 100
XV
TRUE PRINCIPLES OF HOMERIC CRITICISM
Story of Phidias’ statue and Homer—Homer tested by art—Flaws in material
—Absorption in immediate effects—Told story different from story read
—Outline of a study on a broad scale—Variety, alternation, growth in
Homeric battling—Homeric palace, the place of Homer’s recital 106
XVI
THE CHILD-TEST OF LITERATURE
Child-test in religion and morals, in the Bible—Homer’s mother and child—
Hector and Andromache—Child in later literature rare—Latin writers—
Conventionality instead of Homeric naturalness 114
XVII
THE CHRIST-CHILD TEST OF LITERATURE
Christ-Child in art—Christmas and the drama—In Ireland—Medieval and 119
Renaissance writers—Milton’s war-like child—Wordsworth, Shelley,
Tennyson, Longfellow—Return of naturalness in Stevenson, Carroll and
others—Faith and its effects in Thompson and Tabb
APPENDIX
2. VAGARIES OF INDIVIDUALISM
Modern art has not followed Horace very far. It has broken with
conventionality as Horace did with the clichés of Alexandria, but it
has not yet entered upon the path of right philosophy. The Spoon
River Anthology, a typical specimen from the individualistic school of
what might be called localists or village gossips, is in the epode-
stage of Horace, the stage of personalities, lubricity and garlic
gruesomeness. Hopes might be entertained that Spoon River and
Main Street and other individualistic photographs would
progressively improve with Horace except for one sad deficiency:
Horace had humor and laughed at others, and even at himself;
modern individualists are so heavily armored with the seriousness of
their own views, that they don’t even smile. To imagine the New Art
laughing is impossible; if the New Art had humor and laughed, it
would cease to be New Art and would join the larger brotherhood of
art uncapitalized. Had the new artists a sense of humor, it would
probably be their death sentence. In the course of time they might
catch sight of their own art products, whether of painting or of
poetry.
Is it not an indication of individualism that so many recent novels
are biographies, that the stage is not holding up the mirror to life
but applying the scalpel to an ulcer? The biography or personal
views of Scott and Shakespeare cannot be discovered in their works.
The modern pamphleteer distributes his paradoxes among various
mouthpieces whose only difference is in name, and this is called a
play, when it is in reality propaganda. There are probably now no
less than 100,000 college graduates turning college escapades and
flirtations into chapters, which their authors consider typical of life
because the incidents were individually experienced. And, as the
long stories of the day are biographies or problems and as the
drama is a diagnosis of diseases, in the same way many of the short
stories are pathological, but all are tending to be individualistic. The
artist makes his own subjective experience the full measure of his
artistic expression and seems to imagine that his own peculiarities
are good art because he sincerely expresses what he feels.
Individual nature is not human nature.
Aristotle has described poetry as the universal in the concrete. The
“new poets” give the individual in the concrete. Homer, Shakespeare,
the true poets, plumb to the depths of the human heart; they voice
ripened experience and enshrine mellow wisdom, and so appeal to
all men of all times. Much of the new poetry ostentatiously disdains
tradition and rejects the wisdom of the ages in discarding its dress.
You may see the rouge on the cheek and the freckle on the nose,
but as far as life and experience and heart are concerned, most of
the new poetry is pitiably young and callous. Meticulous recording of
disconnected and unrelated novelties is no adequate substitute for
the warmth and depth of life crystallized by the ardent gaze of the
true poet out of his experience. New poetry is contemporaneous
with the invention and use of the Kodak and has all the responsibility
and profundity of that instrument.
Individualism has come to such a pass in modern art that
everything in it is resolving itself into pure emotionalism, and that an
emotionalism which does not belong to art at all. Degenerates are
the products of civilization; they are decayed exotics. “The higher
the organism, the more noisome the decay,” a science professor
used to say when paying his respects to diseased metaphysics. As
only a believer can blaspheme luridly, so when an artist goes wrong,
he goes wrong hideously. A pistol in the hands of a marksman gone
mad is more destructive than in the hands of a savage. Colors,
sounds, shapes, fair words and gorgeous imaginings are instruments
of degradation and death if they are a finer veneer over what is
false. Individual vagaries and whims, no matter how unusual, will
not have the permanence of art because they are based on no
principles, but devised simply to startle. Degrade the appeal of
beauty to a spinal thrill and your artist will pander to concupiscence.
It is noteworthy that Homer’s worst lapse in story-telling takes
place among the luxurious Phæacians, ancient prototypes of
degeneracy. Homer may have felt justified artistically because he
was depicting the non-Grecian world through whose monsters and
marvels Odysseus was passing and making the first collection of
sailors’ yarns. But Homer shocked even the pagan world and set an
unhappy precedent. Lucian and Ovid, Petronius and Apuleius and the
Byzantine eroticists made what was incidental in Homer their chief
concern and practice. They perverted fiction into calculated
suggestiveness.
That depraved and sensual theory of story-telling was, however,
more Aristophanic than Homeric, despite the single unfortunate
precedent in the Odyssey. The tradition of Greek and Latin comedy
was carried on by the medieval troubadours and by the story-tellers
who catered to the decadent nobility of Italy and France. They
retorted on their clerical censors and stimulated jaded appetites,
substituting in shameless intrigues priests and nuns for the pagan
gods. It was and is the glory of Scott that he broke away from these
evil traditions which made the novel a hateful thing to our
forefathers. Scott deserted the continental school of novelists and
their English imitators, Fielding, Sterne, Smollett, the last of all
Byron. Scott gave up the satirical purposes which handed on in
fiction the vulgar devices of low comedy. He went to history, to
chivalry, to healthy men and women and created romances, not
pathological studies. English, Irish and American fiction for a whole
century yielded to the healthy and bracing impulse of Scott, but the
younger novelists in vogue today in England, Ireland and America
have gone back to the continental type, individual, pathological
biographical problems, forsaking Scott’s revival through balladry of
the best Homeric manner, where men “drank delight of battle with
their peers far on the ringing plains of Troy.”
The individualist must emancipate himself by the contemplation of
nature. Pathological specimens, freakish oddities, all the surface
impressions of the local colorists are not nature any more than a
face contorted with a toothache is a man’s likeness. Such exceptional
exhibitions cannot form the enduring basis of art. Personal
experience must be widened by length of time, by merging into the
stream of wisdom, flowing freighted from the past, or must, in
exceptional cases, be won quickly by that intense and probing
comprehension of genius, which seems almost Divine intuition.
Excessive individualism, like the latest fashion, will be quaint and
incongruous on the morrow. Homer lives eternal because through
strange names and strange language and strange costumes we see
our own sun and fields and ocean and sky and put our fingers on a
pulse which registers the beat of a heart throbbing as ours.
III
ART AND HUMAN NATURE
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