Mr. Johnston's AP Literature Literary Devices
Terms : Hide Images
| 5552809689 | ALLEGORY | story or poem in which characters, settings, and events stand for other people or events or for abstract ideas or qualities. Example: Animal Farm; Dante's Inferno; Lord of the Flies | 0 | |
| 5552809690 | ALLITERATION | repetition of the same or similar consonant sounds in words that are close together. EXAMPLE: "When the two youths turned with the flag they saw that much of the regiment had crumbled away, and the dejected remnant was coming slowly back." -Stephen Crane (Note how regiment and remnant are being used; the regiment is gone, a remnant remains...) | 1 | |
| 5552809691 | ALLUSION | reference to someone or something that is known from history, literature, religion, politics, sports, science, or another branch of culture. An indirect reference to something (usually from literature, etc.). | 2 | |
| 5552809692 | AMBIGUITY | deliberately suggesting two or more different, and sometimes conflicting, meanings in a work. An event or situation that may be interpreted in more than one way-- this is done on purpose by the author, when it is not done on purpose, it is vagueness, and detracts from the work. | 3 | |
| 5552809693 | ANALOGY | Comparison made between two things to show how they are alike | 4 | |
| 5552809694 | ANAPHORA | Repetition of a word, phrase, or clause at the beginning of two or more sentences in a row. This is a deliberate form of repetition and helps make the writer's point more coherent | 5 | |
| 5552809695 | ANASTROPHE | Inversion of the usual, normal, or logical order of the parts of a sentence. Purpose is rhythm or emphasis or euphony. It is a fancy word for inversion. | 6 | |
| 5552809696 | ANECDOTE | Brief story, told to illustrate a point or serve as an example of something, often shows character of an individual | 7 | |
| 5552809697 | ANTAGONIST | Opponent who struggles against or blocks the hero, or protagonist, in a story. | 8 | |
| 5552809699 | ANTITHESIS | Balancing words, phrases, or ideas that are strongly contrasted, often by means of grammatical structure. | 9 | |
| 5552809700 | ANTIHERO | Central character who lacks all the qualities traditionally associated with heroes. may lack courage, grace, intelligence, or moral scruples. | 10 | |
| 5552809702 | APHORISM | brief, cleverly worded statement that makes a wise observation about life, or of a principle or accepted general truth. Also called maxim, epigram. | 11 | |
| 5552809703 | APOSTROPHE | calling out to an imaginary, dead, or absent person, or to a place or thing, or a personified abstract idea. If the character is asking a god or goddess for inspiration it is called an invocation. EXAMPLE: Josiah Holland ---"Loacöon! Thou great embodiment/ Of human life and human history!" | 12 | |
| 5552809705 | ASSONANCE | the repetition of similar vowel sounds followed by different consonant sounds especially in words that are together. | 13 | |
| 5552809711 | STATIC CHARACTER | is one who does not change much in the course of a story. | 14 | |
| 5552809713 | FLAT CHARACTER | has only one or two personality traits. They are one dimensional, like a piece of cardboard. They can be summed up in one phrase. | 15 | |
| 5552809715 | CHIASMUS | In poetry, a type of rhetorical balance in which the second part is syntactically balanced against the first, but with the parts reversed. EXAMPLE Coleridge: "Flowers are lovely, love is flowerlike." In prose this is called antimetabole. | 16 | |
| 5552809717 | COLLAQUIAL | a word or phrase in everyday use in conversation and informal writing but is inappropriate for formal situations. EXAMPLE: "He's out of his head if he thinks I'm gonna go for such a stupid idea. | 17 | |
| 5552809718 | COMIC RELIEF | comic episodes that off set more serious sections | 18 | |
| 5552809719 | CONCEIT | an elaborate metaphor that compares two things that are startlingly different. Often an extended metaphor. a twentieth century term used to describe poetry that uses intimate material from the poet's life. | 19 | |
| 5552809721 | CONFLICT | the struggle between opposing forces or characters in a story. | 20 | |
| 5552809722 | EXTERNAL CONFLICT | conflicts can exist between two people, between a person and nature or a machine or between a person a whole society. | 21 | |
| 5552809723 | INTERNAL CONFLICT | a conflict can be internal, involving opposing forces within a person's mind. | 22 | |
| 5552809724 | CONNOTATION | the associations and emotional overtones that have become attached to a word or phrase, in addition to its strict dictionary definition. | 23 | |
| 5552809725 | COUPLET | two consecutive rhyming lines of poetry. | 24 | |
| 5552809726 | DIALECT | a way of speaking that is characteristic of a certain social group or of the inhabitants of a certain geographical area. | 25 | |
| 5552809727 | DICTION | a speaker or writer's choice of words. | 26 | |
| 5552809728 | DIDACTIC | form of fiction or nonfiction that teaches a specific lesson or moral or provides a model of correct behavior or thinking. | 27 | |
| 5552809729 | ELEGY | a poem of mourning, usually about someone who has died. | 28 | |
| 5552809732 | EPIGRAPH | a quotation or aphorism at the beginning of a literary work suggestive of the theme. | 29 | |
| 5552809734 | EPITHET | an adjective or adjective phrase applied to a person or thing that is frequently used to emphasize a characteristic quality. "Father of our country" and "the great Emancipator" are examples. A Homeric epithet is a compound adjective used with a person or thing: "swift-footed Achilles"; "rosy-fingered dawn." | 30 | |
| 5552809735 | ESSAY | a short piece of nonfiction prose in which the writer discusses some aspect of a subject. | 31 | |
| 5552809736 | EXPLICATION | act of interpreting or discovering the meaning of a text, usually involves close reading and special attention to figurative language. | 32 | |
| 5552809737 | EULOGY | A great praise or commendation, a laudatory speech, often about someone who has died. | 33 | |
| 5552809738 | FABLE | a very short story told in prose or poetry that teaches a practical lesson about how to succeed in life. | 34 | |
| 5552809739 | FARCE | a type of comedy in which ridiculous and often stereotyped characters are involved in silly, far-fetched situations. | 35 | |
| 5552809740 | FIGURATIVE LANGUAGE | Words which are inaccurate if interpreted literally, but are used to describe. Similes and metaphors are common forms. | 36 | |
| 5552809741 | FLASHBACK | a scene that interrupts the normal chronological sequence of events in a story to depict something that happened at an earlier time. | 37 | |
| 5552809742 | FOIL CHARACTER | A character who acts as contrast to another character. Often a funny side kick to the dashing hero, or a villain contrasting the hero | 38 | |
| 5552809743 | FORESHADOWING | the use of hints and clues to suggest what will happen later in a plot. | 39 | |
| 5552809744 | FREE VERSE | poetry that does not conform to a regular meter or rhyme scheme. | 40 | |
| 5552809745 | HYPERBOLE | a figure of speech that uses an incredible exaggeration or overstatement, for effect. "If I told you once, I've told you a million times...." | 41 | |
| 5552809747 | IMAGERY | the use of language to evoke a picture or a concrete sensation of a person , a thing, a place, or an experience. | 42 | |
| 5552809749 | IRONY | a discrepancy between appearances and reality. | 43 | |
| 5552809750 | VERBAL IRONY | occurs when someone says one thing but really means something else. | 44 | |
| 5552809751 | SITUATIONAL IRONY | takes place when there is a discrepancy between what is expected to happen, or what would be appropriate to happen, and what really does happen. | 45 | |
| 5552809752 | DRAMATIC IRONY | is so called because it is often used on stage. A character in the play or story thinks one thing is true, but the audience or reader knows better. | 46 | |
| 5552809753 | JUXTAPOSITION | poetic and rhetorical device in which normally unassociated ideas, words, or phrases are placed next to one another, creating an effect of surprise and wit. EXAMPLE Ezra Pound: "The apparition of these faces in the crowd;/ Petals on a wet, black bough." Juxtaposition is also a form of contrast by which writers call attention to dissimilar ideas or images or metaphors. Martin Luther King: "Injustice anywhere is a threat to justice everywhere." | 47 | |
| 5552809754 | LITOTES | is a form of understatement in which the positive form is emphasized through the negation of a negative form: Hawthorne--- "...the wearers of petticoat and farthingale...stepping forth into the public ways, and wedging their not unsubstantial persons, if occasion were, into the throng..." | 48 | |
| 5552809755 | LOCAL COLOR | a term applied to fiction or poetry which tends to place special emphasis on a particular setting, including its customs, clothing, dialect and landscape. | 49 | |
| 5552809757 | LYRIC POEM | a poem that does not tell a story but expresses the personal feelings or thoughts of the speaker. A ballad tells a story. | 50 | |
| 5552809758 | METAPHOR | a figure of speech that makes a comparison between two unlike things without the use of such specific words of comparison as like, as, than, or resembles. | 51 | |
| 5552809760 | EXTENDED METAPHOR | is a metaphor that is extended or developed as far as the writer wants to take it. (conceit if it is quite elaborate). | 52 | |
| 5552809763 | METONYMY | a figure of speech in which a person, place, or thing, is referred to by something closely associated with it. "We requested from the crown support for our petition." The crown is used to represent the monarch. | 53 | |
| 5552809765 | MOTIF | a recurring image, word, phrase, action, idea, object, or situation used throughout a work (or in several works by one author), unifying the work by tying the current situation to previous ones, or new ideas to the theme. EXAMPLE Kurt Vonnegut uses "So it goes" throughout Slaughterhouse-Five to remind the reader of the senselessness of death. | 54 | |
| 5552809767 | ONOMATOPOEIA | the use of words whose sounds echo their sense. "Pop." "Zap." | 55 | |
| 5552809768 | OXYMORON | a figure of speech that combines opposite or contradictory terms in a brief phrase. "Jumbo shrimp." "Pretty ugly." "Bitter-sweet" | 56 | |
| 5552809769 | PARABLE | a relatively short story that teaches a moral, or lesson about how to lead a good life. | 57 | |
| 5552809770 | PARADOX | a statement that appears self-contradictory, but that reveals a kind of truth. | 58 | |
| 5552809771 | PARALLEL STRUCTURE | (parallelism) the repetition of words or phrases that have similar grammatical structures. | 59 | |
| 5552809773 | PARODY | a work that makes fun of another work by imitating some aspect of the writer's style. | 60 | |
| 5552809774 | PERIODIC SENTENCE | sentence that places the main idea or central complete thought at the end of the sentence, after all introductory elements. | 61 | |
| 5552809775 | PERSONIFICATION | a figure of speech in which an object or animal is given human feelings, thoughts, or attitudes. | 62 | |
| 5552809777 | POINT OF VIEW | the vantage point from which the writer tells the story. | 63 | |
| 5552809778 | FIRST PERSON POINT OF VIEW | one of the characters tells the story. (typically uses first person pronouns: I, me, my, us, we,...) | 64 | |
| 5552809779 | SECOND PERSON POINT OF VIEW | the narrator instructs the reader as if they are telling the reader what they are to experience. (typically uses 2nd person pronoun: you) | 65 | |
| 5552809780 | THIRD PERSON POINT OF VIEW | an unknown narrator, tells the story, but this narrator zooms in to focus on the thoughts and feelings of only one character. (typically uses 3rd person pronouns: he, she, it, they, them...) Third Person Point of View Can be either one of the following: | 66 | |
| 5552809781 | OMNISCIENT POINT OF VIEW | an omniscient or all-knowing narrator tells the story, also using the third person pronouns. This narrator, instead of focusing on one character only, often tells us everything about many characters. | 67 | |
| 5552809783 | POLYSYNDETON | sentence which uses a conjunction with NO commas to separate the items in a series. Instead of X, Y, and Z... Polysyndeton results in X and Y and Z... | 68 | |
| 5552809784 | PROTAGONIST | the central character in a story, the one who initiates or drives the action. Usually the hero or anti-hero; in a tragic hero, like John Proctor of The Crucible, there is always a hamartia, or tragic flaw in his character which will lead to his downfall. | 69 | |
| 5552809785 | PUN | a "play on words" based on the multiple meanings of a single word or on words that sound alike but mean different things. | 70 | |
| 5552809786 | QUATRAIN | a poem consisting of four lines, or four lines of a poem that can be considered as a unit. | 71 | |
| 5552809787 | REFRAIN | a word, phrase, line, or group of lines that is repeated, for effect, several times in a poem. | 72 | |
| 5552809788 | CADENCE | a rise and fall of the voice produced by the alternation of stressed and unstressed syllables in language. | 73 | |
| 5552809790 | RHETORICAL QUESTION | a question asked for an effect, and not actually requiring an answer. | 74 | |
| 5552809792 | SATIRE | a type of writing that ridicules the shortcomings of people or institutions in an attempt to bring about a change. | 75 | |
| 5552809793 | SIMILE | a figure of speech that makes an explicitly comparison between two unlike things, using words such as like, as , than, or resembles. | 76 | |
| 5552809795 | SOLILOQUY | a long speech made by a character in a play while no other characters are on stage. | 77 | |
| 5552809796 | STREAM OF CONSCIOUSNESS | a style of writing that portrays the inner (often chaotic) workings of a character's mind. | 78 | |
| 5552809797 | STYLE | the distinctive way in which a writer uses language: a writer's distinctive use of diction, tone, and syntax. | 79 | |
| 5552809799 | SYMBOL | a person, place, thing, or event that has meaning in itself and that also stands for something more than itself | 80 | |
| 5552809800 | SYNECDOCHE | a figure of speech in which a part represents the whole. "If you don't drive properly, you will lose your wheels." The wheels represent the entire car. | 81 | |
| 5552809805 | THEME | the insight about human life that is revealed in a literary work. | 82 | |
| 5552809806 | ATTITUDE/TONE | the attitude a writer takes toward the subject of a work, the characters in it, or the audience, revealed through diction, figurative language, and organization. | 83 | |
| 5552809807 | TRAGEDY | in general, a story in which a heroic character either dies or comes to some other unhappy end. | 84 | |
| 5552809809 | UNDERSTATEMENT | a statement that says less than what is meant. Example: During the second war with Iraq, American troops complained of a fierce sand storm that made even the night-vision equipment useless. A British commando commented about the storm: "It's a bit breezy." | 85 | |
| 5552929158 | INVERSION | anastrophe, normal order of words is reversed to achieve a particular emphasis or meter. | 86 | |
| 5553041124 | ANAPEST | metrical foot consisting of two unaccented syllables followed by one accented syllable(un-der-stand) | 87 | |
| 5553054386 | AUBADE | a poem or piece of music appropriate to the dawn or early morning. | 88 | |
| 5553057105 | BALLAD | a poem or song narrating a story in short stanzas. Traditional ballads are typically of unknown authorship, having been passed on orally from one generation to the next as part of the folk culture. | 89 | |
| 5553059923 | BLANK VERSE | verse without rhyme, especially that which uses iambic pentameter. | 90 | |
| 5553063541 | CACOPHONY | a harsh, discordant mixture of sounds. | 91 | |
| 5553066240 | CAESURA | a break between words within a metrical foot. (in modern verse) a pause near the middle of a line. any interruption or break. | 92 | |
| 5553068648 | CONSONANCE | the recurrence of similar sounds, especially consonants, in close proximity | 93 | |
| 5553074130 | DACTYL | a metrical foot consisting of one stressed syllable followed by two unstressed syllables or (in Greek and Latin) one long syllable followed by two short syllables. | 94 | |
| 5553074131 | DIRGE | a lament for the dead, especially one forming part of a funeral rite. | 95 | |
| 5553077325 | DOUBLE RHYME | a feminine rhyme involving one stressed and one unstressed syllable in each rhyming line. | 96 | |
| 5553077326 | END RHYME | End rhyme is defined as when a poem has lines ending with words that sound the same. An example of end rhyme is the poem, Star Light, Star Bright. | 97 | |
| 5553077395 | ENJAMBMENT | (in verse) the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza. | 98 | |
| 5553080270 | EUPHONY | the quality of being pleasing to the ear, especially through a harmonious combination of words. | 99 | |
| 5553083233 | EYE RHYME | similarity between words in spelling but not in pronunciation, e.g., love and move. | 100 | |
| 5553085489 | FEMININE ENDING (METER) | in grammatical gender, is the final syllable or suffixed letters that mark words as feminine. It can also refer to: Feminine ending, in meter (poetry), a line of verse that ends with an unstressed syllable. | 101 | |
| 5553087340 | FOOT (POETRY) | In literary circles, this term refers to the most basic unit of a poem's meter. A foot is a combination of stressed and unstressed syllables. | 102 | |
| 5553089316 | HEROIC COUPLET | (in verse) a pair of rhyming iambic pentameters, much used by Chaucer and the poets of the 17th and 18th centuries such as Alexander Pope. | 103 | |
| 5553089317 | IAMB | a metrical foot consisting of one short (or unstressed) syllable followed by one long (or stressed) syllable. | 104 | |
| 5553091322 | IAMBIC PENTAMETER | a line of verse with five metrical feet, each consisting of one short (or unstressed) syllable followed by one long (or stressed) syllable, for example Two households, both alike in dignity. | 105 | |
| 5553091323 | IDYLL | an extremely happy, peaceful, or picturesque episode or scene, typically an idealized or unsustainable one. | 106 | |
| 5553093134 | INTERNAL RHYME | a rhyme involving a word in the middle of a line and another at the end of the line or in the middle of the next. | 107 | |
| 5553097416 | ITALIAN (PETRARCHAN) SONNET | 14 lines, 2 part (octave and sestet) does not end in a couplet | 108 | |
| 5553097417 | KENNING | a compound expression in Old English and Old Norse poetry with metaphorical meaning, e.g., oar-steed = ship. | 109 | |
| 5553097468 | MASCULINE ENDING (METER) | refers to a line ending in a stressed syllable. | 110 | |
| 5553100878 | METER | the rhythm of a piece of poetry, determined by the number and length of feet in a line. | 111 | |
| 5553100879 | NARRATIVE POEM | is a form of poetry that tells a story, often making use of the voices of a narrator and characters as well; the entire story is usually written in metered verse. | 112 | |
| 5553106103 | NEAR, OFF, OR SLANT RHYME | s a type of rhyme formed by words with similar but not identical sounds. In most instances, either the vowel segments are different while the consonants are identical, or vice versa. | 113 | |
| 5553106104 | ODE | a lyric poem in the form of an address to a particular subject, often elevated in style or manner and written in varied or irregular meter. | 114 | |
| 5553107979 | RHYME SCHEME | the ordered pattern of rhymes at the ends of the lines of a poem or verse. | 115 | |
| 5553107980 | 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. | 116 | |
| 5553107981 | SCANSION | the action of scanning a line of verse to determine its rhythm. | 117 | |
| 5553110109 | SESTET | the last six lines of a sonnet. | 118 | |
| 5553110110 | 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. | 119 | |
| 5553112119 | SHAKESPEAREAN SONNET | 14 lines. iambic pentameter, 3 quatrains and a final couplet | 120 | |
| 5553112120 | SPONDEE | a foot consisting of two stressed syllables. | 121 | |
| 5553113786 | STANZA | a group of lines forming the basic recurring metrical unit in a poem; a verse. | 122 | |
| 5553115682 | TROCHAIC | a type of verse that consists of or features trochees (a foot of one stressed followed by one unstressed syllables) | 123 | |
| 5553115683 | AESTHETICISM | an approach to art and life based in the belief that art and beauty should be valued for their own sake | 124 | |
| 5553118563 | ANACHRONISM | something placed in the wrong period of history | 125 | |
| 5553118564 | ANAGNORISIS | moment when a character makes a critical decision | 126 | |
| 5553120981 | ANTECEDENT | a thing or an event that exists or comes before another, and may have influenced it | 127 | |
| 5553120982 | ANTICLIMAX | a situation that is disappointing/ not as exciting as antisipated | 128 | |
| 5553123142 | APOTHEOSIS | highest most perfect development best time in life or career formal statement that a person has become a god | 129 | |
| 5553126699 | ARCHAISM/ARCHAIC | very old word or phrase that is no longer used; old-fashioned | 130 | |
| 5553126700 | ARCHETYPE | a very typical example of a certain person or thing. a recurrent symbol or motif in literature, art, or mythology. | 131 | |
| 5553126701 | ASIDE | a remark or passage by a character in a play that is intended to be heard by the audience but unheard by the other characters in the play. | 132 | |
| 5553130325 | BILDUNGSROMAN | a novel dealing with one person's formative years or spiritual education. | 133 | |
| 5553130326 | BOMBAST | high-sounding language with little meaning, used to impress people. | 134 | |
| 5553130327 | CARICATURE | make or give a comically or grotesquely exaggerated representation of (someone or something). | 135 | |
| 5553133520 | CATALOGUE | a complete list of items, typically one in alphabetical or other systematic order, in particular. | 136 | |
| 5553135597 | CATHARSIS | the process of releasing, and thereby providing relief from, strong or repressed emotions. | 137 | |
| 5553135598 | CHORUS | (in ancient Greek tragedy) a group of performers who comment on the main action, typically speaking and moving together. | 138 | |
| 5553137970 | CONVENTIONAL/STOCK CHARACTER | a stereotypical person whom audiences readily recognize from frequent recurrences in a particular literary tradition. | 139 | |
| 5553147604 | DECONSTRUCTION | a method of critical analysis of philosophical and literary language that emphasizes the internal workings of language and conceptual systems, the relational quality of meaning, and the assumptions implicit in forms of expression. | 140 | |
| 5553149625 | DENOTATION | the literal or primary meaning of a word, in contrast to the feelings or ideas that the word suggests. | 141 | |
| 5553151140 | DENOUEMENT | the final part of a play, movie, or narrative in which the strands of the plot are drawn together and matters are explained or resolved. | 142 | |
| 5553151141 | DEUS EX MACHINE | an unexpected power or event saving a seemingly hopeless situation, especially as a contrived plot device in a play or novel. | 143 | |
| 5553153748 | DICHOTOMOUS THINKING | also known as "black or white thinking," is a symptom of many mental illnesses | 144 | |
| 5553153749 | DISSONANCE | a tension or clash resulting from the combination of two disharmonious or unsuitable elements. | 145 | |
| 5553155866 | DRAMATIS PERSONAE | the characters of a play, novel, or narrative. | 146 | |
| 5553158159 | DYSTOPIAN NOVEL | fictional writing used to explore social and political structures in 'a dark, nightmare world.' The term dystopia is defined as a society characterized by poverty, squalor or oppression and the theme is most commonly used in science fiction and speculative fiction genres. | 147 | |
| 5553160247 | EPIC/ EPIC HERO | is a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet. Many ancient writers used epic poetry to tell tales of intense adventures and heroic feats; defined as a character in an epic poem who is noble and brave and is affected by great events or admired for his achievements. | 148 | |
| 5553166120 | EPIGRAM | a pithy saying or remark expressing an idea in a clever and amusing way. | 149 | |
| 5553166121 | EPIPHANY | a sudden, intuitive perception of or insight into the reality or essential meaning of something, usually initiated by some simple, homely, or commonplace occurrence or experience. | 150 | |
| 5553168809 | EPISTOLARY NOVEL | novel made up of letters | 151 | |
| 5553170679 | ETHOS | credibility | 152 | |
| 5553170680 | ETYMOLOGY | origin of words and the way in which their meanings have changed throughout history | 153 | |
| 5553172752 | EUPHEMISM | a mild or indirect word or expression substituted for one considered to be too harsh or blunt when referring to something unpleasant or embarrassing. | 154 | |
| 5553175108 | FRAME STORY/ NARRATIVE | is a literary technique that sometimes serves as a companion piece to a story within a story | 155 | |
| 5553175109 | GENRE | a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter. | 156 | |
| 5553175110 | GOTHIC NOVEL | an English genre of fiction popular in the 18th to early 19th centuries, characterized by an atmosphere of mystery and horror and having a pseudo medieval setting. | 157 | |
| 5553176959 | HAMARTIA | a fatal flaw leading to the downfall of a tragic hero or heroine. | 158 | |
| 5553176960 | HUBRIS | excessive pride toward or defiance of the gods, leading to nemesis. | 159 | |
| 5553176961 | IDIOM | a group of words established by usage as having a meaning not deducible from those of the individual words (e.g., rain cats and dogs, see the light ). | 160 | |
| 5553180053 | IN MEDIAS RES | starting in the middle | 161 | |
| 5553182135 | INTERIOR MONOLOGUE | a piece of writing expressing a character's inner thoughts. | 162 | |
| 5553182136 | INTERJECTION | an abrupt remark, made especially as an aside or interruption. an exclamation, especially as a part of speech, e.g., ah! or dear me!. | 163 | |
| 5553184014 | LAMENT | a passionate expression of grief or sorrow. | 164 | |
| 5553184015 | LEITMOTIF | a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation. | 165 | |
| 5553185842 | MAGICAL REALISM | painting in a meticulously realistic style of imaginary or fantastic scenes or images. a literary genre or style associated especially with Latin America that incorporates fantastic or mythical elements into otherwise realistic fiction | 166 | |
| 5553185843 | MODERNISM | a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society during the late 19th and early 20th centuries. | 167 | |
| 5553185844 | MONOLOGUE | a long speech by one actor in a play or movie, or as part of a theatrical or broadcast program. | 168 | |
| 5553187817 | MYTH | a traditional story, especially one concerning the early history of a people or explaining some natural or social phenomenon, and typically involving supernatural beings or events. | 169 | |
| 5553192342 | PERIPHERAL/ CENTRAL NARRATOR | First person and narrator is a character in story, witness main characters story | 170 | |
| 5553192343 | NATURALISM | a style and theory of representation based on the accurate depiction of detail. | 171 | |
| 5553194085 | NOVELLA | a short novel or long short story. | 172 | |
| 5553194086 | PASTORAL | a work of literature portraying an idealized version of country life. | 173 | |
| 5553194087 | PATHOS | emotional appeal | 174 | |
| 5553196211 | PERIPETEIA | a sudden reversal of fortune or change in circumstances, especially in reference to fictional narrative. | 175 | |
| 5553196212 | PICARESQUE | of or relating to an episodic style of fiction dealing with the adventures of a rough and dishonest but appealing hero. | 176 | |
| 5553198423 | POST-MODERNISM | is largely a reaction to the assumed certainty of scientific, or objective, efforts to explain reality. | 177 | |
| 5553198424 | REALISM | in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. | 178 | |
| 5553200166 | REPETITION | repeating something that ha s already been said or written before | 179 | |
| 5553200167 | ROMANTICISM | a movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, and the primacy of the individual. | 180 | |
| 5553200168 | SHIFT | move or cause to move from one place to another, especially over a small distance. | 181 | |
| 5553202721 | STRUCTURE | the arrangement of and relations between the parts or elements of something complex. | 182 | |
| 5553202722 | SYNTAX | the arrangement of words and phrases to create well-formed sentences in a language. | 183 | |
| 5553202723 | TOPOS | a traditional theme or formula in literature. | 184 | |
| 5553205228 | TRAGIC FLAW | is a literary device that can be defined as a trait in a character leading to his downfall and the character is often the hero of the literary piece. | 185 | |
| 5553206796 | TRAGIC HERO | is a literary character who makes a judgment error that inevitably leads to his/her own destruction | 186 | |
| 5553206797 | UTOPIAN NOVEL | science fiction, fantasy, perfect living conditions | 187 | |
| 5553210550 | VERISIMILITUDE | the appearance of being true or real. --- realism | 188 |
