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Stevenson avoids this convention by locating the novella’s horrors in familiar, contemporary London."},{"text":"A fog-shrouded modern city in Victorian England.","correct":false,"explanation":"Fog-shrouded Victorian London is the setting Stevenson deliberately uses, not the one he avoids. He replaces the traditional remote medieval castle in Southern Europe with a modern city."},{"text":"A respectable doctor’s house in central London.","correct":false,"explanation":"Jekyll’s London house is a central setting in the novella, so Stevenson does not avoid it. The conventional setting he rejects is a remote medieval castle in Southern Europe."},{"text":"A crowded network of streets in Victorian London.","correct":false,"explanation":"London’s confusing streets form the novella’s labyrinthine urban setting rather than an avoided convention. Stevenson rejects the traditional remote medieval castle in Southern Europe."}]},{"id":"436fbdd9-db46-4b70-9c36-28dc3a7939a7","cardType":"basic","points":2,"front":"What disturbing truth does the London setting force Victorian readers to confront?","back":"Monstrous depravity can exist inside modern respectable society.","mcqOptions":[{"text":"Monstrous depravity can exist inside modern respectable society.","correct":true,"explanation":"By placing Hyde’s violence within familiar London, Stevenson suggests that evil is not safely confined to distant places but can flourish beneath respectable Victorian appearances."},{"text":"Monstrous depravity exists only outside modern respectable society.","correct":false,"explanation":"This repeats the comforting belief that evil belongs elsewhere. Stevenson’s London setting instead confronts readers with the possibility that monstrous depravity exists inside modern respectable society."},{"text":"Urban wealth has eliminated vice from modern respectable society.","correct":false,"explanation":"Victorian prosperity does not remove corruption in the novella; respectable wealth often conceals it. The London setting shows that monstrous depravity can exist inside modern respectable society."},{"text":"Criminal evil is always visible within modern respectable society.","correct":false,"explanation":"Hyde’s evil remains concealed behind Jekyll’s respectable identity, so depravity is not always visible. Stevenson shows that it can exist secretly inside modern respectable society."}]},{"id":"d962a6c1-237e-4408-84aa-ace804f8c042","cardType":"cloze","points":null,"front":"The [ ] transplants terror, decay and suspense into the [ ].","back":"The Urban Gothic transplants terror, decay and suspense into the modern industrial city.","mcqOptions":[{"text":"The Urban Gothic transplants terror, decay and suspense into the modern industrial city.","correct":true,"explanation":"Urban Gothic relocates traditional Gothic fear from remote castles and wildernesses to modern cities, making terror seem immediate and embedded within contemporary society."},{"text":"The Rural Gothic transplants terror, decay and suspense into the modern industrial city.","correct":false,"explanation":"The genre is Urban Gothic because its defining setting is the modern city. Rural Gothic would instead associate fear and decay with isolated countryside communities or landscapes."},{"text":"The Urban Gothic transplants terror, decay and suspense into the remote medieval castle.","correct":false,"explanation":"A remote medieval castle belongs to traditional Gothic fiction. Urban Gothic specifically transplants terror, decay and suspense into the modern industrial city."},{"text":"The Domestic realism transplants terror, decay and suspense into the pastoral rural landscape.","correct":false,"explanation":"Domestic realism and a pastoral landscape do not describe Stevenson’s relocation of Gothic terror. Urban Gothic transfers these conventions into the modern industrial city."}]},{"id":"8ecf4cf1-2e9b-4e11-bf9b-b4215d1ca4e2","cardType":"basic","points":2,"front":"How does labyrinthine London reflect Jekyll?","back":"Its physical maze mirrors the psychological maze of Jekyll’s mind.","mcqOptions":[{"text":"Its physical maze mirrors the psychological maze of Jekyll’s mind.","correct":true,"explanation":"London’s confusing streets symbolically reflect Jekyll’s divided, secretive consciousness. Both the city and his mind are difficult to navigate and conceal disturbing truths."},{"text":"Its physical maze mirrors the orderly rational structure of Jekyll’s mind.","correct":false,"explanation":"Jekyll’s mind is divided and conflicted rather than orderly or wholly rational. London’s physical maze mirrors the psychological maze created by his repression and double identity."},{"text":"Its physical maze mirrors the social isolation of Utterson’s life.","correct":false,"explanation":"Although Utterson is emotionally reserved, the labyrinth primarily reflects Jekyll’s divided consciousness. Its tangled geography mirrors the psychological maze of Jekyll’s mind."},{"text":"Its physical maze mirrors the physical transformation of Hyde’s body.","correct":false,"explanation":"The city’s labyrinth is a spatial image of mental confusion, not bodily transformation. It mirrors the psychological maze of Jekyll’s divided and secretive mind."}]},{"id":"a78f07f9-4d18-4a3e-a2ba-61a875c51c42","cardType":"cloze","points":null,"front":"Flickering lamps symbolise [ ] struggling against [ ].","back":"Flickering lamps symbolise human reason and morality struggling against dark primal instincts.","mcqOptions":[{"text":"Flickering lamps symbolise human reason and morality struggling against dark primal instincts.","correct":true,"explanation":"The fragile lamplight represents civilisation, rationality and moral restraint, while the surrounding darkness evokes the powerful primitive instincts embodied by Hyde."},{"text":"Flickering lamps symbolise dark primal instincts struggling against human reason and morality.","correct":false,"explanation":"This reverses the symbolism: light conventionally represents reason and morality, while darkness suggests primitive evil. Human reason and morality struggle against dark primal instincts."},{"text":"Flickering lamps symbolise industrial progress and wealth struggling against rural poverty and hardship.","correct":false,"explanation":"The lamps do not primarily represent an economic conflict between city and countryside. Their fragile light symbolises human reason and morality resisting dark primal instincts."},{"text":"Flickering lamps symbolise Hyde’s physical weakness struggling against Jekyll’s bodily strength.","correct":false,"explanation":"The imagery concerns psychological and moral conflict, not a contest of physical strength. The light represents human reason and morality struggling against dark primal instincts."}]},{"id":"a8452936-de72-453b-a8ef-1c0a99192141","cardType":"basic","points":1,"front":"What does Hyde embody as Jekyll’s Doppelgänger?","back":"Jekyll’s dark, repressed alter ego.","mcqOptions":[{"text":"Jekyll’s dark, repressed alter ego.","correct":true,"explanation":"As Jekyll’s Doppelgänger, Hyde externalises the violent and immoral desires that Jekyll suppresses to preserve his respectable public identity."},{"text":"Jekyll’s strict, punishing moral conscience.","correct":false,"explanation":"A punishing moral conscience would restrain forbidden desires, whereas Hyde releases them. Hyde embodies Jekyll’s dark, repressed alter ego and acts without moral inhibition."},{"text":"Jekyll’s idealised, respectable public identity.","correct":false,"explanation":"The respectable public identity belongs to Jekyll himself, not Hyde. Hyde is the contrasting Doppelgänger who embodies Jekyll’s dark, repressed alter ego."},{"text":"Jekyll’s rational, disciplined scientific self.","correct":false,"explanation":"Hyde behaves through appetite, impulse and violence rather than disciplined rationality. He embodies Jekyll’s dark, repressed alter ego, liberated from social restraint."}]},{"id":"04fb4a28-d9b1-4a23-8c66-1c95a87a9289","cardType":"basic","points":2,"front":"What Victorian hypocrisy does the Jekyll/Hyde split expose?","back":"Public virtue and sobriety masking suppressed sinful desires.","mcqOptions":[{"text":"Public virtue and sobriety masking suppressed sinful desires.","correct":true,"explanation":"Jekyll’s split reveals how respectable Victorian conduct could function as a social performance, concealing desires that strict moral expectations forced individuals to repress."},{"text":"Public vice and drunkenness masking private moral purity.","correct":false,"explanation":"This reverses Stevenson’s criticism: the respectable exterior is virtuous and sober, while the concealed interior contains sinful desires. The hypocrisy lies in outward respectability masking repression."},{"text":"Public wealth and education concealing unavoidable poverty.","correct":false,"explanation":"Although class inequality is relevant to Victorian society, Jekyll’s double identity chiefly exposes moral hypocrisy: public virtue and sobriety conceal suppressed sinful desires."},{"text":"Public religion and charity proving complete moral innocence.","correct":false,"explanation":"Respectable behaviour does not prove inner innocence in the novella. Stevenson exposes how public virtue and sobriety can mask suppressed sinful desires."}]},{"id":"23f257f8-5259-45ba-ba05-0f4684b4e2fe","cardType":"basic","points":1,"front":"Which part of Jekyll’s psyche is represented by the respectable front of his house?","back":"The Ego - his respectable social self.","mcqOptions":[{"text":"The Ego - his respectable social self.","correct":true,"explanation":"The Ego manages instinctive desires in relation to social reality. Jekyll’s respectable house front therefore represents the controlled identity he presents to Victorian society."},{"text":"The Id - his uncontrolled instinctive desires.","correct":false,"explanation":"The Id corresponds more closely to Hyde and the neglected rear entrance because it represents primitive desire. The respectable front represents the Ego, Jekyll’s social self."},{"text":"The Superego - his punitive moral conscience.","correct":false,"explanation":"The Superego represents internalised moral rules rather than the practical social identity presented to others. The respectable house front symbolises the Ego, Jekyll’s public self."},{"text":"The unconscious - his hidden antisocial impulses.","correct":false,"explanation":"Hidden impulses are associated with Hyde and the building’s sinister rear section, not its respectable facade. The front represents the Ego, Jekyll’s controlled social self."}]},{"id":"5ad2fe57-03b6-4e3f-b83d-8008892519da","cardType":"basic","points":1,"front":"Which part of Jekyll’s psyche is represented by the decayed back laboratory?","back":"The Id - his dark, repressed desires.","mcqOptions":[{"text":"The Id - his dark, repressed desires.","correct":true,"explanation":"In Freudian psychology, the Id contains primitive instincts and forbidden desires. The laboratory’s decay and secrecy therefore reflect the urges Jekyll represses and releases through Hyde."},{"text":"The Ego - his rational, conscious judgement.","correct":false,"explanation":"The Ego mediates rationally between instinct and morality, so it is not represented by the decayed laboratory. The laboratory represents the Id and Jekyll’s dark, repressed desires."},{"text":"The Superego - his strict, moral conscience.","correct":false,"explanation":"The Superego represents internalised morality and social rules, which align more closely with Jekyll’s respectable identity. The laboratory instead represents the Id and his repressed desires."},{"text":"The Persona - his respectable public identity.","correct":false,"explanation":"The respectable persona is the socially acceptable identity Jekyll displays publicly, not the corruption hidden behind his house. The laboratory represents the Id and his repressed desires."}]},{"id":"6dcd0c44-833b-45cc-bd5d-1db2fad07d0a","cardType":"cloze","points":null,"front":"[ ] means being on a [ ] between states, places or identities.","back":"Liminality means being on a threshold between states, places or identities.","mcqOptions":[{"text":"Liminality means being on a threshold between states, places or identities.","correct":true,"explanation":"Liminality describes an in-between condition, while a threshold marks the boundary or transitional point between states, places or identities."},{"text":"Duality means being on a threshold between states, places or identities.","correct":false,"explanation":"Duality means the coexistence of two contrasting aspects, rather than occupying an in-between position. Liminality is the condition of being on a threshold between states or identities."},{"text":"Liminality means being on a boundary between states, places or identities.","correct":false,"explanation":"Although a boundary separates areas, the precise critical definition uses threshold to emphasise transition and passage. Liminality means being on a threshold between states, places or identities."},{"text":"Transgression means being on a frontier between states, places or identities.","correct":false,"explanation":"Transgression means violating a moral or social boundary, while a frontier is not the term used in this definition. Liminality means being on a threshold between states or identities."}]},{"id":"7730a4e7-6fc3-44a4-b374-648732712239","cardType":"basic","points":2,"front":"How do doors function as liminal symbols in the novella?","back":"They are thresholds between respectability and Hyde’s hidden violence.","mcqOptions":[{"text":"They are thresholds between respectability and Hyde’s hidden violence.","correct":true,"explanation":"Doors mark points of transition between Jekyll’s respectable public world and the concealed spaces associated with Hyde, making them important symbols of liminality and divided identity."},{"text":"They are barriers permanently containing Hyde’s hidden violence.","correct":false,"explanation":"The doors do not permanently contain Hyde, since characters repeatedly cross them and hidden violence enters public life. They function as thresholds between respectability and Hyde’s concealed violence."},{"text":"They are defences protecting respectability from outside violence.","correct":false,"explanation":"The threat comes from within Jekyll and his property, not simply from the outside world. Doors are thresholds connecting respectable appearances with Hyde’s hidden violence."},{"text":"They are entrances welcoming Hyde into respectable society.","correct":false,"explanation":"The doors conceal and regulate access rather than openly welcoming Hyde into society. Symbolically, they are thresholds between outward respectability and the violence hidden behind it."}]},{"id":"43ec9acc-b7cf-4050-a9b2-343954e49c4c","cardType":"basic","points":2,"front":"How does London fog function as a liminal image?","back":"It is a shifting curtain that veils and unveils truth.","mcqOptions":[{"text":"It is a shifting curtain that veils and unveils truth.","correct":true,"explanation":"The fog repeatedly changes and obscures vision, acting like a moving curtain. Its movement between concealment and revelation reflects the novella’s uncertain boundaries and hidden truths."},{"text":"It is a solid barrier that permanently conceals truth.","correct":false,"explanation":"The fog shifts and sometimes clears, so it does not permanently hide everything like a solid barrier. It is a shifting curtain that alternately veils and unveils truth."},{"text":"It is a cleansing shower that washes away corruption.","correct":false,"explanation":"Fog obscures and contaminates London’s atmosphere rather than cleansing it like rain. It functions as a shifting curtain that veils and unveils the truth."},{"text":"It is a guiding light that exposes all hidden truth.","correct":false,"explanation":"Fog restricts sight rather than consistently illuminating events, so it cannot be a guiding light. Its shifting presence both conceals and reveals truth like a curtain."}]},{"id":"fe942884-7f1b-44e7-9850-81172673cb70","cardType":"basic","points":2,"front":"What does the noun \"pall\" suggest in the Soho fog description?","back":"A coffin cloth, linking London to death and decay.","mcqOptions":[{"text":"A coffin cloth, linking London to death and decay.","correct":true,"explanation":"A pall is a cloth spread over a coffin. The funeral association makes the fog seem oppressive and connects the London setting with death, corruption and decay."},{"text":"A wedding veil, linking London to love and renewal.","correct":false,"explanation":"Confusing a pall with another type of covering misses its specifically funerary meaning. A pall is a coffin cloth, so the image links London with death and decay."},{"text":"A royal robe, linking London to wealth and power.","correct":false,"explanation":"A pall is not a ceremonial garment worn by royalty. It is a cloth placed over a coffin, creating associations with London’s death, corruption and decay."},{"text":"A theatre curtain, linking London to art and illusion.","correct":false,"explanation":"The surrounding fog may resemble a curtain visually, but the noun “pall” specifically denotes a coffin cloth. Its connotations therefore connect London to death and decay."}]},{"id":"dda257fe-4d08-43ba-b0e1-9f2888952ca4","cardType":"basic","points":2,"front":"What do \"charging\" and \"routing\" suggest about the fog?","back":"A violent battle between light/dark and good/evil.","mcqOptions":[{"text":"A violent battle between light/dark and good/evil.","correct":true,"explanation":"“Charging” suggests an aggressive attack, while “routing” suggests defeating and scattering an enemy. Together they present the fog’s movement as a violent moral and visual battle."},{"text":"A peaceful dance between light/dark and good/evil.","correct":false,"explanation":"A dance might describe graceful movement, but “charging” and “routing” are forceful military verbs. They suggest a violent battle between light and darkness, or good and evil."},{"text":"An orderly march between light/dark and good/evil.","correct":false,"explanation":"A march suggests controlled, organised movement and does not capture the verbs’ aggression. “Charging” and “routing” create the impression of a violent battle between opposing forces."},{"text":"A natural balance between light/dark and good/evil.","correct":false,"explanation":"The verbs imply conflict and defeat rather than stable balance. Their military associations present light and darkness, and symbolically good and evil, as engaged in a violent battle."}]},{"id":"58aa7217-21eb-4bd0-ae8c-7f3134e33d94","cardType":"cloze","points":null,"front":"Late-Victorian fears drew on [ ] on evolution and [ ] on criminology.","back":"Late-Victorian fears drew on Darwin on evolution and Lombroso on criminology.","mcqOptions":[{"text":"Late-Victorian fears drew on Darwin on evolution and Lombroso on criminology.","correct":true,"explanation":"Darwin’s evolutionary theory unsettled traditional ideas about humanity, while Lombroso’s criminology claimed that physical features could reveal primitive, biologically determined criminal types."},{"text":"Late-Victorian fears drew on Lamarck on evolution and Lombroso on criminology.","correct":false,"explanation":"Lamarck also proposed an evolutionary theory, making him a tempting substitute, but the key Victorian context here is Darwin on evolution and Lombroso on criminology."},{"text":"Late-Victorian fears drew on Darwin on evolution and Freud on criminology.","correct":false,"explanation":"Freud is associated with psychoanalysis and the unconscious, not the criminological theory referenced here. The intended pairing is Darwin on evolution and Lombroso on criminology."},{"text":"Late-Victorian fears drew on Lombroso on evolution and Darwin on criminology.","correct":false,"explanation":"This reverses the thinkers’ fields. Darwin developed evolutionary theory, while Lombroso applied ideas about biological development and atavism to criminology."}]},{"id":"aa3b208e-792a-450c-addb-2b8336caec49","cardType":"basic","points":1,"front":"What did Lombroso claim criminals were?","back":"Evolutionary throwbacks who had failed to evolve properly.","mcqOptions":[{"text":"Evolutionary throwbacks who had failed to evolve properly.","correct":true,"explanation":"Lombroso’s theory of atavism treated criminals as primitive evolutionary types whose physical features supposedly revealed incomplete development. This pseudoscientific idea influenced Victorian fears about degeneration."},{"text":"Victims of poverty who had been denied proper opportunities.","correct":false,"explanation":"This is a social explanation of crime, whereas Lombroso promoted a biological and pseudoscientific one. He claimed criminals were evolutionary throwbacks who had failed to evolve properly."},{"text":"Rational lawbreakers who had freely chosen immoral behaviour.","correct":false,"explanation":"This treats crime as a conscious moral choice, but Lombroso argued that criminality was biologically determined. He described criminals as evolutionary throwbacks who had not evolved properly."},{"text":"Evolutionary leaders who had developed beyond ordinary people.","correct":false,"explanation":"This reverses Lombroso’s idea of degeneration by presenting criminals as more advanced. He instead claimed they were evolutionary throwbacks who had failed to evolve properly."}]},{"id":"9dbfbfe0-c838-458a-8734-181acefdc2e6","cardType":"cloze","points":null,"front":"Hyde’s animal imagery exploits [ ]: fear of regression into a [ ].","back":"Hyde’s animal imagery exploits atavism: fear of regression into a beast-like state.","mcqOptions":[{"text":"Hyde’s animal imagery exploits atavism: fear of regression into a beast-like state.","correct":true,"explanation":"Atavism was the Victorian fear that a person could revert to an ancestral, less evolved condition. Hyde’s animal qualities embody this disturbing regression beneath civilised humanity."},{"text":"Hyde’s animal imagery exploits social Darwinism: fear of regression into a more advanced form.","correct":false,"explanation":"Social Darwinism concerns the application of evolutionary ideas to human societies, while regression cannot produce a more advanced form. The relevant fear is atavism, a return to a beast-like state."},{"text":"Hyde’s animal imagery exploits physiognomy: fear of regression into a morally perfect state.","correct":false,"explanation":"Physiognomy links outward appearance with inner character, but the imagery specifically presents evolutionary regression rather than moral perfection. It exploits atavism: fear of returning to a beast-like state."},{"text":"Hyde’s animal imagery exploits anthropomorphism: fear of regression into a fully civilised state.","correct":false,"explanation":"Anthropomorphism gives human qualities to non-human things, the reverse of Hyde’s animalisation. The imagery instead exploits atavism, presenting regression from civilisation into a beast-like state."}]},{"id":"00a9b2ff-9a90-4833-a9d5-67f46edd8a4d","cardType":"basic","points":2,"front":"How does \"ape-like fury\" characterise Hyde?","back":"It makes Hyde seem animalistic and evolutionarily regressive.","mcqOptions":[{"text":"It makes Hyde seem animalistic and evolutionarily regressive.","correct":true,"explanation":"The simile associates Hyde’s violence with an ape, stripping him of rational humanity. Victorian readers could connect this brutality with atavism and regression to an earlier evolutionary state."},{"text":"It makes Hyde seem heroic and evolutionarily advanced.","correct":false,"explanation":"The uncontrolled violence is not presented as heroic or advanced. Comparing Hyde to an ape makes him animalistic and evolutionarily regressive, reinforcing fears that civilisation conceals primitive instincts."},{"text":"It makes Hyde seem mechanical and scientifically progressive.","correct":false,"explanation":"An ape comparison belongs to evolutionary and animal imagery, not imagery of machines or scientific progress. It makes Hyde seem animalistic and regressive rather than modern and mechanical."},{"text":"It makes Hyde seem childlike and morally innocent.","correct":false,"explanation":"Although apes can suggest lesser development, the phrase emphasises savage violence rather than childhood innocence. Hyde appears animalistic and evolutionarily regressive, with primitive impulses overwhelming moral restraint."}]},{"id":"367e1587-1d03-408b-99e7-fea412a1e182","cardType":"basic","points":2,"front":"What does Hyde’s \"hissing intake of the breath\" evoke?","back":"A serpent, suggesting Satan and the Fall.","mcqOptions":[{"text":"A serpent, suggesting Satan and the Fall.","correct":true,"explanation":"Hissing strongly evokes a snake or serpent. In Christian symbolism, the serpent recalls Satan tempting humanity in Eden, associating Hyde with evil, temptation and the Fall."},{"text":"A wolf, suggesting predatory strength and freedom.","correct":false,"explanation":"Wolves howl or growl rather than hiss, so this animal does not fit the sound imagery. The hissing evokes a serpent, linking Hyde with Satan and humanity’s Fall."},{"text":"A raven, suggesting prophecy and approaching death.","correct":false,"explanation":"A raven’s characteristic sound is a croak, not a hiss. Stevenson’s sound imagery evokes a serpent, creating a biblical association with Satan, temptation and the Fall."},{"text":"A ghost, suggesting grief and the supernatural.","correct":false,"explanation":"A hiss does not specifically identify a ghost and carries a stronger animal association. It evokes a serpent, connecting Hyde with Satan and the biblical corruption of humanity."}]},{"id":"914e6281-b6a4-4e27-8cb7-77e1a342cab0","cardType":"basic","points":1,"front":"What does \"troglodytic\" imply about Hyde?","back":"Hyde seems primitive and caveman-like.","mcqOptions":[{"text":"Hyde seems primitive and caveman-like.","correct":true,"explanation":"“Troglodytic” literally relates to cave-dwelling and therefore characterises Hyde as primitive. The description supports the novel’s presentation of him as an atavistic, less evolved human being."},{"text":"Hyde seems refined and aristocratic.","correct":false,"explanation":"Refinement and aristocratic manners are the opposite of the word’s cave-dwelling associations. “Troglodytic” makes Hyde seem primitive and caveman-like, reinforcing his distance from civilised society."},{"text":"Hyde seems modern and machine-like.","correct":false,"explanation":"The word points backwards towards prehistoric cave-dwellers rather than forwards towards modern machinery. It makes Hyde seem primitive and caveman-like, supporting the theme of evolutionary regression."},{"text":"Hyde seems scholarly and monk-like.","correct":false,"explanation":"Confusing cave-dwelling with religious seclusion misses the word’s primitive connotations. “Troglodytic” presents Hyde as caveman-like and less evolved, not as educated or spiritually disciplined."}]},{"id":"f16a5bd7-ee47-4355-80b4-0ccb0ab121cc","cardType":"cloze","points":null,"front":"Scientific Gothic makes humanity seem like [ ] over a violent, [ ].","back":"Scientific Gothic makes humanity seem like a thin layer of civilisation over a violent, animalistic core.","mcqOptions":[{"text":"Scientific Gothic makes humanity seem like a thin layer of civilisation over a violent, animalistic core.","correct":true,"explanation":"Scientific Gothic questions the security of human progress by portraying civilisation as a fragile surface. Beneath it remain primitive instincts that science may expose or release."},{"text":"Scientific Gothic makes humanity seem like a thin layer of civilisation over a violent, rational core.","correct":false,"explanation":"A rational core would imply that reason is humanity’s deepest nature, contradicting the genre’s anxiety about concealed savagery. The thin civilised layer covers an animalistic core."},{"text":"Scientific Gothic makes humanity seem like an unbreakable structure of morality over a violent, animalistic core.","correct":false,"explanation":"Scientific Gothic presents civilisation as fragile rather than unbreakable, allowing primitive instincts to break through. Humanity is therefore imagined as a thin layer of civilisation over an animalistic core."},{"text":"Scientific Gothic makes humanity seem like a permanent triumph of progress over a violent, civilised core.","correct":false,"explanation":"The genre challenges confidence in permanent progress and does not portray civilisation as humanity’s hidden core. It presents civilisation as a thin surface concealing violent, animalistic impulses."}]},{"id":"0daa9b5f-62c9-48db-8d56-5f5cd3ba3633","cardType":"basic","points":2,"front":"How does the laboratory door foreshadow Hyde before he appears?","back":"It projects hidden moral rot behind respectable surfaces.","mcqOptions":[{"text":"It projects hidden moral rot behind respectable surfaces.","correct":true,"explanation":"The neglected, sinister door interrupts an otherwise respectable street. It symbolically anticipates Hyde by suggesting that corruption and immorality can remain concealed behind a socially acceptable exterior."},{"text":"It projects domestic warmth behind respectable surfaces.","correct":false,"explanation":"The door is neglected and threatening rather than welcoming, so it does not suggest domestic comfort. It foreshadows Hyde by projecting hidden moral rot behind outward respectability."},{"text":"It projects public virtue behind respectable surfaces.","correct":false,"explanation":"Public virtue would merely confirm the street’s respectable appearance rather than create Gothic unease. The door instead hints that hidden moral rot exists behind respectable surfaces."},{"text":"It projects economic poverty behind respectable surfaces.","correct":false,"explanation":"The door’s decay functions primarily as a moral symbol, not simply evidence of financial hardship. It foreshadows Hyde by implying concealed corruption beneath respectable appearances."}]}]}],"examCountdown":{"examDate":"2027-05-12","paperLabel":"Paper 1"},"heading":"Gothic Methods","title":"Gothic Methods Flashcards","topbar":{"backHref":"/gcse/english-literature/aqa/flashcards"},"topicSidebar":"$L37"}]}],"topicId":"437da0ea-db40-5418-8358-a1c2a81a7ea6","walled":"$L38"}],"$L39","$L3a"]