Terms : Hide Images
| 7348287343 | narrative | Tells a story by presenting events in some logical or orderly way | 0 | |
| 7348288268 | epics | Long narrative poems about heroic figures whose actions determine the fate of a nation or an entire race. Ex. Beowulf | 1 | |
| 7348294230 | folk tale/fairy tale | Come from oral tradition. Developed along with other narrative forms. Can be traced back centuries through many different cultures. Simple characters. Stories move direction to their conclusions. Ex. The Canterbury Tales | 2 | |
| 7348303147 | romance | Supplanted the epic and written initially in verse then later in prose. Events are controlled by enchantments rather than by the will of divine beings. Ex. Sir Gawain and the Green Knight | 3 | |
| 7348316453 | picaresque | Relating to an episodic, often satirical work about a rogue or rascal but appealing hero. Ex. Don Quixote by Miguel de Cervantes. | 4 | |
| 7348329140 | pastoral romance | A prose tale set in an idealized rural world. | 5 | |
| 7348331995 | character | fictional representation of a person-usually (but not necessarily) a psychologically realistic depiction. Includes traits, motivation, development, and stereotypes. | 6 | |
| 7348334737 | novel | An episodic narrative similar to a picaresque but unified by a central character and a single setting. Ex. Robinson Crusoe by Daniel Defoe | 7 | |
| 7348347436 | short story | Is limited in length and scope. Does not devote a great deal of space to develop a highly complex plot or a large number of characters. Ex. The Story of an Hour by Kate Chopin | 8 | |
| 7348352953 | epiphany | A moment of illumination in which something hidden or not understood becomes immediately clear. Usually conveyed through mundane and otherwise meaningless events, dialogue, or details. Sudden insights experienced by either a character or the readers. Ex. Araby by James Joyce | 9 | |
| 7348356963 | short short stories | Under five pages in length. Ex. All About Suicide by Luisa Valenzuela | 10 | |
| 7348363925 | novella | A short novel or long short story. Ex. The Metamorphosis by Franz Kafka | 11 | |
| 7348371231 | plot | Is the way in which a story's events are arranged and events that are related to one another and relate to the story as a whole. Includes conflict, flashbacks, foreshadowing. | 12 | |
| 7348402138 | setting | the place and time at which a story is set. Includes time period, and geographical location. May affect characters in the story, determine relationships among characters, affect plot, create a mood, and reinforce central ideas. | 13 | |
| 7348423129 | point of view | The angle or vantage point from which events are presented. | 14 | |
| 7348430971 | style, tone, and language | A way of using language. Includes imaginative figures of speech, patterns of imagery, diction or syntax, levels or styles of speech used by characters, words or phrases, | 15 | |
| 7348463328 | symbolism | The use of symbols to represent ideas or qualities | 16 | |
| 7348597155 | allegory | A story that has two parallel and consistent levels of meaning-one literal and the other figurative- Communicates a doctrine, message, or moral principle by making it into a narrative in which the characters personify ideas, concepts, qualities, or other abstractions. | 17 | |
| 7348597156 | allegorical framework | The set of ideas that conveys the allegory's message. | 18 | |
| 7348598000 | allegorical figures | A character, object, place, or event in the allegory. | 19 | |
| 7348611359 | theme | what the story is about on an abstract level. For example, love, revenge, friendship, or mortality. | 20 | |
| 7348631527 | conflict | The struggle between opposing forces that emerges as the action develops. Clash between the protagonist and antagonist. | 21 | |
| 7348641134 | protagonist | The story's principle character. | 22 | |
| 7348643465 | antagonist | Someone or something presented in opposition to the protagonist. | 23 | |
| 7348645228 | exposition | The writer presents basic information of the story, which establishes the scene, introduces characters, and suggests conflicts to come, is found in | 24 | |
| 7348649065 | crisis | Is the peak in the story's action, a moment of considerable tension or importance. | 25 | |
| 7348651041 | climax | The point of greatest tension or importance, the scene that presents a story's decisive action or event. The conflict is resolved at the climax. | 26 | |
| 7348653294 | denouement | Draws the action to a close and accounts for all remaining loose ends. | 27 | |
| 7348656722 | deus ex machina | Latin for "a god from a machine". An intervention of some force or agent previously extraneous to the story. Ex. A last minute rescue by a character not previously introduced. | 28 | |
| 7348662682 | medias res | Latin for "in the midst of things". Starting with a key event and later going back in time to explain evens that preceded it. | 29 | |
| 7348674215 | flashback | Moves out of sequence to examine an event or situation that occurred before the time in which the story's narrator can re-create an earlier situation. | 30 | |
| 7348681602 | foreshadowing | The introduction early in a story of situations, events, characters, or objects that hint at things to come. A chance remark, a natural occurrence, or a seemingly trivial event is eventually revealed to have great significance. | 31 | |
| 7348702864 | characterization | Is the way writers develop characters and reveal those character' traits to readers. May portray characters through their actions, through their reactions to situations or to other characters, through their physical appearance, through their speech and gestures and expressions, and even through their names. | 32 | |
| 7348711992 | round | Well developed, closely involved in and responsive to the action. | 33 | |
| 7348714168 | flat | Barely developed or stereotypical | 34 | |
| 7348715078 | foil | Is a supporting character whose role in the story is to highlight a major character by presenting a contrast with him or her. | 35 | |
| 7348719208 | stock characters | Easily identifiable types who behave so consistently that readers can readily recognize them. | 36 | |
| 7348722180 | caricatures | Characterized by a single dominant trait, such as miserliness, or even by one physical trait, such as nearsightedness. | 37 | |
| 7348725334 | dynamic character | a character who undergoes some fundamental change over the course of a story. A change in a character's material conditions does not make the character dynamic. The change must pertain to the person's character. | 38 | |
| 7348730492 | static character | These characters may face the same challenges a dynamic character might face but will remain essentially unchanged. | 39 | |
| 7348738361 | motivation | The reasons behind his or her behavior. Helps readers understand or accept a character's behavior and choices. | 40 | |
| 7348744504 | historical setting | Particular historical period, and the events associated with it. Helps readers understand a story fully. | 41 | |
| 7348747727 | geographical setting | Helps to explain anything from why language and customs are unfamiliar to the reader. | 42 | |
| 7348758992 | physical setting | Time of day, inside or out-of-doors, or weather. | 43 | |
| 7348765452 | atmosphere | The various physical attributes of setting combine to create a story's --- The mood that pervades a story, usually established through descriptions of setting. | 44 | |
| 7348782898 | persona | Literally means "mask". Is used to denote the narrator. | 45 | |
| 7348787182 | first person | A narrator that uses I or sometimes we to tell the story. Often this person is a major character. | 46 | |
| 7348793000 | irony | A discrepancy between what is said and what readers believe to be true. | 47 | |
| 7348795699 | dramatic irony | Occurs when a narrator or character perceives less than readers do. | 48 | |
| 7348799728 | situational irony | Occurs when what happens is at odds with what readers are led to expect. | 49 | |
| 7348801695 | verbal irony | Occurs when the narrator says one thing but actually means another. | 50 | |
| 7348804222 | unreliable narrator | Can intentionally or unintentionally misrepresent events and misdirect readers. | 51 | |
| 7348811555 | third-person | A narrator in which is not a character in the story. Uses he, she, they. | 52 | |
| 7348813731 | omniscient narrator | An all-knowing narrator that move at will from one character's mind to another. They are objective and they have none of the naivete, dishonesty, gullibility, or mental instability that can characterize first-person narrators. | 53 | |
| 7348822793 | limited omniscience | a third-person narrator who knows more than a first person narrator could know, but whose knowledge is still limited. usually to the thoughts of one or a few characters. | 54 | |
| 7348828460 | objective (or dramatic) | Remains entirely outside the character's minds. The narrator tells the story only by reproducing dialogue and recounting events. | 55 | |
| 7348837313 | style | If words are plain or elaborate, we are speaking of prose---- The way in which a writer selects and arranges words to say what he or she wants to say. Encompasses elements such as word choice, syntax, sentence length and structure, presence, frequency, and prominence of imagery and figures of speech. | 56 | |
| 7348844784 | tone | The attitude of the narrator or author of a work toward the subject matter, characters, or audience. Can be intimate or distant, bitter or affectionate, straightforward or cautious, supportive or critical, respectful or condescending, and ironic. | 57 | |
| 7348859551 | stream-of-consciousness | This style mimics thought, allowing ideas to run into one another as random associations are made, so that readers may follow and participate in the thought processes of the narrator. Internal monologue. | 58 | |
| 7348864248 | alliteration | The occurrence of the same letter or sound at the beginning of adjacent or closely connected words. | 59 | |
| 7348868878 | near rhyme | Connects the words of the sentence into a smooth, rhythmic whole. | 60 | |
| 7348872707 | parallelism | The use of successive verbal constructions in poetry or prose that correspond in grammatical structure, sound, meter, or meaning. | 61 | |
| 7348877093 | diction | How formal or informal a story's language is. | 62 | |
| 7348879659 | formal diction | Characterized by elaborate, complex sentences; a learned vocabulary; and a serious, objective, detached tone. | 63 | |
| 7348882991 | imagery | Words and phrases that describe what is seen, heard, smelled, tasted, or touched. Can have a significant impact on the story. | 64 | |
| 7348887333 | figures of speech | (Such as similes, metaphors, and personification) Can enrich a story, subtly revealing information about characters and themes. | 65 | |
| 7348891714 | metaphor | A figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable. Compares two dissimilar items. | 66 | |
| 7348894517 | simile | A figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid. Uses the words "like" and "as". | 67 | |
| 7348898116 | personification | a figure of speech, closely related to metaphor that endow inanimate objects or abstract ideas with life or with human characteristics. | 68 | |
| 7348911211 | hyperbole | Exaggerated statements or claims not meant to be taken literally. | 69 | |
| 7348912454 | understatement | The presentation of something as being smaller, worse, or less important than it actually is. | 70 | |
| 7348914375 | allusion | reference to familiar historical or literary personages or events. May also expand readers' understanding and appreciation of a work. | 71 | |
| 7348923141 | symbol | Is a person, object, action, place, or event that, in addition to its literal meaning, suggests a more complex meaning of range of meanings. | 72 | |
| 7348927443 | archetypal symbols | Are so much a part of human experience that they suggest much the same thing to most people. In many cultures. | 73 | |
| 7348929445 | conventional symbols | Are likely to suggest the same thing to most people, provided the people have common cultural and social assumptions. | 74 | |
| 7348932383 | literary symbols | Take on additional meanings in a particular work. Ex. a clock could mean time but in a story it could symbolize passing of time. | 75 | |
| 7348956330 | beast fable | Is a short allegorical tale, usually including a moral, in which animals assume human characteristics | 76 | |
| 7348963337 | plot summary | Is a condensed description of the story in a novel, poem, short story, play, film or other piece of storytelling. | 77 | |
| 7348966197 | subject | A person or thing that is being discussed, described, or dealt with. | 78 | |
| 7348967980 | cliché | Overused phrases or expressions. | 79 | |
| 7348969471 | morals | Lessons dramatized by the work. | 80 | |
| 7348971479 | initiation theme | theme reveals the difficulty of growing up and gaining experience | 81 | |
| 7421227577 | central consciousness | the focal character whose perception of events is voiced by a limited-omniscient narrator. | 82 | |
| 7421233862 | citation | a reference to the source of an idea, argument or piece of evidence ending in order to properly document the author's use of the same in his or her own work. | 83 | |
| 7421255923 | close reading | careful, attentive reading of a work with an eye not just to what happens but to the literary elements like setting, metaphor, and symbol that create meaning in a work. | 84 | |
| 7421267949 | complication | the incident that introduces conflict into a state of relative equilibrium. The complication sets the events of a story in motion. | 85 | |
| 7421292760 | editorializing | a narrator's intrusion into a story to direct the reader's interpretation. | 86 | |
| 7421298750 | enveloping action | When the drama of the lead character's story is surrounded by a larger drama involving society, the conflict is called-- \ \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ the wider social or historical events surrounding the narrower personal struggles of the character in a story. For example, the Anglo-Irish War is the enveloping action of "Guests of a Nation". | 87 | |
| 7421326828 | equilibrium | the state of relative peace both before the protagonist comes into conflict with some opposing force and after the conflict is resolved. | 88 | |
| 7421340672 | first person observer | a first person narrator who witnesses the action from its fringes. This narrator is a minor character who does not significantly influence the course of the plot. | 89 | |
| 7421353135 | first-person participant | a first-person narrator who is involved in the events he or she relates. Often a first-person participant is the protagonist of the story's. | 90 | |
| 7421360813 | heuristics | strategies and techniques of applying general problem-solving frameworks to a particular problem or question. | 91 | |
| 7421389287 | mood | the prevailing feeling of a story, generated by language, setting, and the quality of the action. | 92 | |
| 7421400148 | motif | any word, phrase, idea, object, or situation that recurs throughout a work or that is common to works within a subgenre. | 93 | |
| 7421413981 | projection | a technique of narration by which the emotional state of a character colors the description of the setting. | 94 | |
| 7421426347 | reversal | a condition sometimes suffered by a protagonist (especially in tragedy) in which the climax brings about a dramatic change in fortune, usually a change from real or figurative prosperity to a state of poverty. | 95 | |
| 7421440642 | rising action | incidents in the plot between the complication and the climax; usually these incidents raise the reader's sense of tension. | 96 | |
| 7421467979 | sympathetic character | a character whom the reader likes | 97 | |
| 7421476062 | thesis statement | a short statement that encapsulates an interpretation and asserts claim that is elaborated through the course of the argument. | 98 |
