Terms : Hide Images
| 5779984135 | hyperbole | deliberate overstatment | 0 | |
| 5779984956 | understatement | opposite of hyperbole (often used in dry verbal irony) | 1 | |
| 5779985582 | personification | giving human characteristics to nonhuman things | 2 | |
| 5779985713 | synecdoche | substituting a part for a whole | 3 | |
| 5779987987 | metonymy | referring to something as a closely-assiocated object | 4 | |
| 5779989598 | vehicle | terms actually used-part of metaphor | 5 | |
| 5779989893 | tenor | implied meaning-part of metaphor | 6 | |
| 5779990809 | imagery | visual evocations of senses (seen, heard, smelled, touched, tasted) | 7 | |
| 5779992483 | diction | word choice (always have adjective before) have connotations, cumulative effect of writer's chosen vocabulary, not just strict denotations/strict meaning of the words | 8 | |
| 5779997825 | epithet | an adjective or descriptive phrase expressing a quality characteristic of the person or thing mentioned. Ex. Richard the Lion-Hearted or The earth is crying-sweet // And scattering-bright the air | 9 | |
| 5779998376 | kenning | Kenning = an old type of an epithet, which is a two-word phrase that describes an object by employing metaphors. Derived from Norse and Anglo-Saxon poetry ex. Whale-road = sea, Bone-house | 10 | |
| 5780029556 | revenge tragedy | Exposition usually by ghost (motivation for revenge) Anticipation with detailed planning of revenge Confrontation between avenger & intended victim Delay as revenger hesitates to perform killing Completion of revenge (often with death of revenger) | 11 | |
| 5780030538 | Verbal irony | occurs when a speaker's literal words (and their surface meaning) are at odds with his or her actual meaning. | 12 | |
| 5780030806 | sarcasm | form of verbal irony | 13 | |
| 5780031718 | Situational irony | Situational irony involves a difference between expectation (what appears to be about to happen) and actual events, or a difference between a character's intentions and actual results of his / her actions. | 14 | |
| 5780032627 | Dramatic irony | Dramatic irony occurs when a character naively speaks what he or she believes to be the truth, and/or acts on what he or she believes to be the truth, while the audience KNOWS that he or she has got it all wrong. | 15 | |
| 5780033365 | Cosmic irony | Cosmic irony a central feature of many of their tragedies, including Oedipus Rex. In essence, "cosmic irony" occurs when divine forces (gods or Fates) conspire against human beings to destroy them. | 16 | |
| 5780033610 | hubris | excessive pride in his own worthiness, or excessive confidence in his own ability to control what happens to him | 17 | |
| 5780035026 | Structural irony: | Sometimes writers incorporate irony as a "structural" feature of a work—i.e., the entire text contains a central irony in the way it is constructed. The most common kind of structural irony involves texts with first-person speakers. When the first-person "speaker" is made to say things that are clearly in opposition to the author's true beliefs, the distance between the author and the speaker can be referred to as "structural irony." | 18 | |
| 5780035456 | Postmodern irony | he relevant aspect for this discussion is the tendency of "postmodern" art or "postmodern" behavior to make allusions to elements from traditional or mainstream culture, but to strip those elements of their traditional or mainstream meanings, or to put an ironic "twist" on them. | 19 | |
| 5780036067 | Kitsch | in poor taste because of excessive garishness or sentimentality, shallow, commercial art | 20 | |
| 5780036350 | Camp | Camp = artificial, exaggerated, affected, theatrical for ironic purposes | 21 | |
| 5780037008 | Pastiche | imitates a famous literary work or writer to honor, but not to mock ex. Rosencrantz and Guildenstern Are Dead → Shakespeare's Hamlet | 22 | |
| 5780037597 | Hypocritical behavior | is inherently ironic because there is a distance between a character's stated beliefs and that character's behavior. Hypocrisy is the behavioral equivalent of verbal irony. chief part of satire | 23 | |
| 5780038778 | Satire | atire is a form of literary social critique that depends on the use of irony. Traditionally, satire is understood to be a humorous but deeply moral genre, which seeks to change bad behavior, on the part of individuals or by society as a whole, by mocking it. | 24 | |
| 5780039827 | omniscient third person narration | the story is told from an all-knowing perspective, with the narrator able to peer inside the minds of all the characters | 25 | |
| 5780040454 | limited third person narration | the narrator has access to the mind of only one (or perhaps a very small number of characters), while all the other characters are known only by their spoken words and visible actions. | 26 | |
| 5780041024 | Tone | author's intent | 27 | |
| 5780041690 | mood | result on author's intent in the reader | 28 | |
| 5780042157 | red | sexual passion, anger, purification, faith | 29 | |
| 5780042361 | black | sorrow, evil, death, judgement, loneliness | 30 | |
| 5780042642 | brown | tradition, organization, solidarity, country | 31 | |
| 5780043272 | gray | mediocrity, sickness, industrialization, aging | 32 | |
| 5780043578 | orange | physical vitality, pride, enthusiasm, endurance | 33 | |
| 5780044194 | yellow | sickness, weakness, decay, fear | 34 | |
| 5780044323 | white | purity, hope, spirituality, wisdom, peace | 35 | |
| 5780044454 | green | vigor, natural, harmony, rebirth, envy, intellect | 36 | |
| 5780044614 | blue | idealism, truth, self-reliance, coolness | 37 | |
| 5780044938 | purple | riches, spirituality, magic, inner-awareness | 38 | |
| 5780045441 | gothic | writing that employs dark and picturesque scenery, startling and melodramatic narrative devices, and an overall atmosphere of exoticism, mystery, and dread. Often, a Gothic novel or story will revolve around a large, ancient house that conceals a terrible secret or that serves as the refuge of an especially frightening and threatening character. Gothic writers have also used supernatural elements, touches of romance, well-known historical characters, and travel and adventure narratives in order to entertain their readers. | 39 | |
| 5780046791 | stanza | a group of lines forming basic recurring metrical unit in a poem; a verse | 40 | |
| 5780047266 | Rhyme scheme | the ordered pattern of rhymes at the ends of the lines of a poem or verse | 41 | |
| 5780047681 | Rhythm = | the measured flow of words and phrases in verse or prose as determined by the relation of long and short or stressed and unstressed syllables | 42 | |
| 5780048247 | Meter = | a stressed and unstressed syllabic pattern in a verse or within the lines of a poem | 43 | |
| 5780048358 | Caesura: | a break in thought or the work | 44 | |
| 5780049050 | Enjambment = | continuation of a sentence without a pause beyond the end of a line, couplet, or stanza | 45 | |
| 5780049572 | Alliteration = | the occurrence of the same letter or sound at the beginning of adjacent or closely connected words | 46 | |
| 5780050943 | Assonance = | the repetition of the sound of a vowel or diphthong in non-rhyming stressed syllables near enough to each other for the echo to be discernible Ex. men sell the wedding bells | 47 | |
| 5780051455 | sonnet: | a poem with 14 lines usually about love. | 48 | |
| 5780051644 | Patrachean sonnet | with octave (eight lines) and sestet (six lines), abba abba cdcdcd/cdecde | 49 | |
| 5780052213 | Shakespearean Sonnet | with 3 quatrains and a rhyming couplet (Poses a question, a possible answer, another possible answer, and then a conclusion, Volta (shift) around line 9) | 50 | |
| 5780053350 | sestina | a poem with six stanzas of six lines and a final triplet, all stanzas having the same six words at the line-ends in six different sequences that follow a fixed pattern, and with all six words appearing in the closing three-line envoi) | 51 | |
| 5780053563 | villanelle | a nineteen-line poem with two rhymes throughout, consisting of five tercets and a quatrain, with the first and third lines of the opening tercet recurring alternately at the end of the other tercets and with both repeated at the close of the concluding quatrain | 52 | |
| 5780054306 | heroic couplets | a pair of rhyming iambic pentameters, much used by Chaucer and the poets of the 17th and 18th centuries such as Alexander Pope | 53 | |
| 5780054587 | Blank verse | verse without rhyme, especially that which uses iambic pentameter | 54 |
