Terms : Hide Images
| 10516935039 | Theme | the central idea or dominating thought, which results from the other elements contained in fiction can be complex or abstract but which summarizes the author's purpose in writing the narrative | 0 | |
| 10516943309 | Major themes | Human nature, the Nature of Society, Human Freedom, Ethics | 1 | |
| 10516970140 | metonym | when you substitute one thing for another through association ex: the white house gave a press conference today | 2 | |
| 10516975822 | verbal irony | creates sarcasm (when what is said is not what is meant) | 3 | |
| 10516978108 | dramatic irony | when the audience has knowledge that is withheld from the characters | 4 | |
| 10516980807 | Cosmic Irony | when a person or character falsely believes he has free will | 5 | |
| 10516982124 | Romantic Irony | when the audience is deceived by the story teller | 6 | |
| 10516984233 | situational irony | when what occurs is not what is expected to occur (with a special something) | 7 | |
| 10516986087 | structural irony | the form of something does not match its functions | 8 | |
| 10516989659 | what are the 6 types of irony | verbal, dramatic, cosmic, romantic, structural, situational | 9 | |
| 10516994246 | understatment | to under exaggerate the effect for ironic purpose we had a sprinkling of snow | 10 | |
| 10516997636 | synesthesia | a mingling of sensations; to use one sense to describe another sense (gray breath) | 11 | |
| 10517101604 | stanza | a group of lines in a poem the grouping may be meaningful or arbitrary | 12 | |
| 10517102069 | poetic shift | a change of tone in a poem normally where the meaning of the poem is created | 13 | |
| 10517104536 | enjambment | when the physical end of a line does not coincide with the grammatical end o a line poetry can be meaningful or arbitrary emphasis the word at the beginning and end of a line | 14 | |
| 10517109893 | End-stopped line | When the physical end of a line of poetry coincides with the grammatical end of the line of poetry opposite of enjambment | 15 | |
| 10517111507 | concrete poetry: | when the physical form of the poem enhances the meaning of the poem | 16 | |
| 10548483184 | sign | an object, picture or word which signifies something other than its self (only represent) | 17 | |
| 10548493137 | The Symbol | A symbol is an object, place, character or event that represents something more or something other than itself. -Symbols are built upon individual, cultural and archetypal associations. -Neither the reader nor the writer has control of the symbolic associations of a work. We acquire symbolic associations as we live and experience life and art. | 18 | |
| 10548515409 | Archetype | a symbol that transcends time and culture | 19 | |
| 10548538264 | Paths: | Signifies the journey of Life | 20 | |
| 10548538705 | Crossroads: | Represents decisions and realizations. A change in the course. | 21 | |
| 10548541439 | Ocean (Space): | The Unknowable | 22 | |
| 10548542291 | The Maze: | Uncertainty (sometimes contains a monster which acts as the darker side of the individual) | 23 | |
| 10548563506 | The Threshold | Gateway to a new world; a change. | 24 | |
| 10548565213 | The Underworld: | A place of death and a projection of the subconscious. Ascent from the underworld can be rebirth or new knowledge. | 25 | |
| 10548565495 | Fog: | Symbolizes uncertainty | 26 | |
| 10548580638 | The Bridge: | If the bridge is crossed, there may be no turning back. | 27 | |
| 10548581654 | The Forest: | Like the underworld, it is a place of subconscious fears and hopes. | 28 | |
| 10548583730 | The Tower: | Represents isolation from the world. | 29 | |
| 10548593663 | Fire | Symbolizes the duality of creation and destruction | 30 | |
| 10548633787 | The Anti-Hero: | Opposes the norms of society | 31 | |
| 10548637264 | The Other: | Unable to fit into society. | 32 | |
| 10548639463 | Gothic Hero | Hero with a dark side | 33 | |
| 10548681111 | The Shadow: | The darker opposite of the hero. Destruction of the other can bring harmony to the hero. | 34 | |
| 10548706285 | Tragedy | Tragedy depicts the downfall of a basically good person through some fatal error or misjudgment, producing suffering and insight on the part of the protagonist and arrousing pity and fear on the part of the audience. | 35 | |
| 10548710739 | An aristotelian tragedy... | A true tragedy should evoke pity and fear on the part of the audience. -in effect arrousing pity and fear only to purge them The tragic hero must be essentially admirable and good. In a true tragedy, the hero's demise must come as a result of some personal error or decision. for the tragic hero must always bear at least some responsibility for his own doom. | 36 | |
| 10548717396 | Anagnorisis | ("tragic recognition or insight"):a moment of clairvoyant insight or understanding in the mind of the tragic hero as he suddenly comprehends the web of fate that he has entangled himself in. | 37 | |
| 10548718229 | Hamartia | ("tragic error"):a fatal error or simple mistake on the part of the protagonist that eventually leads to the final catastrophe. can be something as basic and inescapable as a simple miscalculation or slip-up. | 38 | |
| 10548724015 | Nemesis | ("retribution"): the inevitable punishment or cosmic payback for acts of hubris. | 39 | |
| 10548727321 | Peripateia | ("plot reversal"): a pivotal or crucial action on the part of the protagonist that changes his situation from seemingly secure to vulnerable. | 40 | |
| 10548729429 | Hubris | ("violent transgression"): the sin par excellence of the tragic or over-aspiring hero. Though it is usually translated as pride, hubris is probably better understood as a sort of insolent daring, a haughty overstepping of cultural codes or ethical boundaries. | 41 | |
| 10548742083 | Hegelian Tragedy | a dynamic contest between two opposing forces--in effect, a collision or conflict of rights. two esteemed values or goals are in opposition and one of them must give way. a situation in which two rights or values are in fatal conflict. | 42 | |
| 10548747147 | Revenge Tragedy | dramatizes the predicament of a wronged hero, | 43 | |
| 10558319775 | Poetry | Literary expression characterized by particular attention to rhythm, sound, and the concentrated,concrete use of language. | 44 | |
| 10558343104 | A narrative poem | tells a story in verse. | 45 | |
| 10558344344 | Ballad | a songlike poem that tells a story. | 46 | |
| 10558347443 | -Epic: | The hero of the poem embodies the values and aspirations of the poet's culture. | 47 | |
| 10558357821 | dramatic poem | makes use of the conventions of drama | 48 | |
| 10558358559 | -Dramatic Monologue: | A poem or speech in which an imaginary character speaks to a listener. Soliloquy | 49 | |
| 10558361511 | -Dramatic Dialogue: | A poem in which two speakers converse with one another. | 50 | |
| 10558370044 | Lyric Poem | a melodic poem that expresses the observations and the feelings of a single speaker. focuses on a single unified effect. | 51 | |
| 10558380828 | The Elegy: | A reflective poem that laments the loss of someone or something. | 52 | |
| 10558390948 | The Ode: | A long, formal lyric poem, usually meditative, that treats a noble or otherwise elevated subject in a dignified manner. Odes often honor people, commemorate events, respond to nature, or consider aspect of the human condition. | 53 | |
| 10558396718 | The Sonnet | A lyric poem that consists of fourteen lines and that follows one of several traditional rhyme schemes. may address a range of themes, but love is the most common. | 54 | |
| 10558401856 | poetry types by purpose | narrative, dramatic, lyric | 55 | |
| 10558402981 | narrative poem types | ballad, epic | 56 | |
| 10558403855 | dramatic poem types | monologue, dialogue | 57 | |
| 10558404973 | lyric poem types | the elegy, the ode, the sonnet | 58 | |
| 10565221652 | plot/plot structure | the pattern that results from the events in the story and the order in which they are presented | 59 | |
| 10565336822 | plot structure steps | exposition, conflict, rising action, climax, falling action, denouement | 60 | |
| 10565356837 | exposition | Introduction of Characters and Setting The Status Quo -The state of things -Character Relationships -Society -Conflicts | 61 | |
| 10565516744 | Rising Action/Complications | The increase in tension in a story. | 62 | |
| 10565544928 | -External conflict: | A struggle between a character and an outside forcePerson vs. Person Person vs. Environment Person vs. Society Person vs. The Supernatural | 63 | |
| 10565551157 | -Internal Conflict: | A struggle between opposing needs, desires, or emotions within a single character Person vs. Themselves | 64 | |
| 10565635727 | Rising Action | The increase in tension in a story. | 65 | |
| 10565647364 | Climax/Epiphany | the highest point of tension in a story. It is when the protagonist makes a decision for better or worse. | 66 | |
| 10565663123 | falling action | the release of tension in the story. | 67 | |
| 10565722854 | Dénouement | How the story turns out. The introduction of a new status quo, or the restoration of an old status quo | 68 | |
| 10567900485 | ballad | songlike poem that tells a story. | 69 | |
| 10568464240 | Characterization: | The creation and development of a character. | 70 | |
| 10568467046 | Direct Characterization: | The author directly tells thereader about the character. | 71 | |
| 10568468953 | Indirect Characterization: | The author shows rather than tells about the character through: -External Descriptions (clothes, looks) -Internal Descriptions (thoughts, speech) -Other character's opinions. | 72 | |
| 10568470784 | Static: | A character who does not change during the course of the story. | 73 | |
| 10568472165 | Dynamic: | A character who changes because of the events of the story. | 74 | |
| 10568475194 | foil | a secondary character who shares many traits with a major character; however, she is different in one key aspect which highlights an aspect of the major character | 75 | |
| 10568477974 | Protagonist | the main character who is trying to achieve some desire | 76 | |
| 10568478616 | antagonist | the person trying to stop the protagonist from achieving their desire | 77 | |
| 10579031368 | the human condition | we are aware of our own existence and we can question our own existence | 78 | |
| 10579032164 | hegel | philosophy of history | 79 | |
| 10579034564 | Zeitgeist | the spirit of the times, the general cultural, artistic, religious, and philosophic climate of an era | 80 | |
| 10579037840 | dialectical clash | when two ideas/ voice come into conflict -history works through cycles -thesis>antithesis>synthesis | 81 | |
| 10584024365 | Renaissance | It refers especially to the rebirth of learning that began in Italy in the fourteenth century, spread to the north, including England, by the sixteenth century, and ended in the north in the mid-seventeenth century (earlier in Italy). During this period, there was an enormous renewal of interest in and study of classical antiquity. age of new discoveries, both geographical, and intellectual | 82 | |
| 10587099503 | 5 main issues in the renaisnace | belief in the great chain of being, certain significant political changes/ implications of the change of being, humanism, literary doctrine of imitation, reformation | 83 | |
| 10587123719 | Great Chain of Being | every existing thing in the universe had its "place" in a divinely planned hierarchical order, place" depended on the relative proportion of "spirit" and "matter" it contained--the less "spirit" and the more "matter," the lower down it stood. | 84 | |
| 10587141067 | Great Chain of Being hierarchy | inanimate objects, vegetation, animals, humans, angels, gods | 85 | |
| 10587148852 | universal interdepedence | different segments of the chain reflected other segments | 86 | |
| 10587156999 | Chain of Being implication on the political world | provide a rationale for the authority of rulers | 87 | |
| 10587175639 | humanisim | regarded human beings as social creatures who could create meaningful lives only in association with other social beings. placed great emphasis upon the dignity of man and upon the expanded possibilities of human life in this world. | 88 | |
| 10587183024 | imitation | following predecessors, great works express definitive moral values that had already been written in classical antiquity | 89 | |
| 10614755266 | metaphysical poetry | 17th century poetry often in the form of an argument that employs wit and intelligence often employs metaphysical conceit also used in seduction poetry | 90 | |
| 10614764731 | metaphysical conceit | complex comparison between 2 highly dissimilar things normally startiling | 91 | |
| 10614767211 | carpe diem poem | try to encourage readers to live a full life or seduction to convince female to have sex with the male | 92 | |
| 10653697092 | shakespearean sonnet | all shakespearean sonnets are 3 quatrains followed by a couplet each line has ten syllables & generally 5 feet sonnets are written in iambic pentameter | 93 | |
| 10653714129 | line groupings | the groupings of lines by a unique pattern | 94 | |
| 10653719735 | rhyme | when the last 2 sounds of a word sound the same as the last 2 sounds of another word | 95 | |
| 10653727709 | rhyme scheme | the pattern of rhymes in a poem usually designated by letters | 96 | |
| 10653730381 | foot | a specific pattern of stressed and unstressed syllables | 97 | |
| 10653736262 | blank verse | unrhymed iambic pentameter | 98 | |
| 10653737871 | Scansion | Describing the rhythms of poetry by dividing the lines into feet, marking the locations of stressed and unstressed syllables, and counting the syllables. | 99 | |
| 10653747172 | meter | number of feet in a line | 100 | |
| 10653791049 | feet | a specific pattern of stressed and unstressed syllables | 101 | |
| 10653798932 | iamb | unstressed followed by a stressed syllable | 102 | |
| 10653822604 | iambic and anapesitc | are rising meters | 103 | |
| 10653828502 | Trochee and dactyl | are falling meters | 104 | |
| 10653837467 | Names for line lengths | monometer: 1 foot, dimeter 2 feet, trimeter 3 feet, tetrameter 4 feet, pentameter 5 feet, hexameter 6 feet, heptameter 7 feet , octameter 8 feet | 105 | |
| 10760551024 | metaphysics | the study of existence (the fundamental view of the world around us) | 106 | |
| 10760556979 | epistomology | The study of how we know about existence it is the concerned with how our minds are related to reality and whether these relationships are valid or invalid | 107 | |
| 10760571056 | epistomological crisis | starts questioning the validity of their reality (become suspect of what they know) -realize the limits of reality (sees the limit of what we know) | 108 | |
| 10760606807 | philosophy ethics | how do we act in existence | 109 | |
| 10760611442 | exstistential crisis | question your actions because you do do not have perfect knowledge of the universe | 110 | |
| 10760613970 | politics of philosophy | ethics applied to a group of people | 111 | |
| 10760621770 | aesthetics | the study of beauty | 112 | |
| 10760625245 | existentialisim | philosophical movement or tendency, emphasizing existence, freedom, and choice, that influence many diverse writers in the late 19th and 20th centuries | 113 | |
| 10760645309 | the great chain of being | inanimate objects, vegetation, animals, humans, angels, God | 114 | |
| 10760691699 | persoification | the attribution of a personal nature or human characteristics to something nonhuman | 115 | |
| 10760720527 | synecdoche | a figure of speech in which a part is made to represent the whole | 116 | |
| 10760745762 | Metonym | when you substitute one thing for another through association ex: the white house gave a press conference today | 117 | |
| 10760752110 | hyperbole | exaggerated statements or claims not meant to be taken literally. | 118 | |
| 10760759446 | Understatement | to under exaggerate the effect for ironic purpose we had a sprinkling of snow | 119 | |
| 10760779396 | personification | the attribution of a personal nature or human characteristics to something nonhuman | 120 | |
| 10760795793 | Connotation | emotion and ideas associated with a word/ connotes | 121 | |
| 10760802498 | dennotation | dictionary definition of a word/ denotes | 122 | |
| 10760810488 | cliche | overused idioms or expressions that become stale through overuse | 123 | |
| 10760822587 | Pun | play on words that capitalizes on a similarity in spelling or pernunciation between words that have different meanings - can also be when one word has multiple meanings | 124 | |
| 10761136256 | motif | a repeated element in art (the green light) | 125 | |
| 10761142060 | soliloquy | when a character in a play gives a speech in which they are expressing their inner thoughts | 126 | |
| 10761149451 | aside | when a character breaks from the action or dialogue, often turning to look at the audience and make a statement that reflects their thoughts that is understood to not be heard by any of the other characters | 127 | |
| 10761165734 | paradox | when 2 contrasting statements present a truth -your never more alive that when your almost dead | 128 | |
| 10761176025 | oxymoron | a figure of speech in which apparently contradictory terms appear in conjunction (biggest little city) | 129 | |
| 10761219097 | Foreshadowing | the use of hints and clues to suggest what will happen later in a plot. | 130 | |
| 10761251290 | conflict | A struggle between opposing forces, internal or external conflict | 131 | |
| 10761285577 | act | a major division in a play that traditionally breaks the play into the various plot structure parts (act and scene are used to change character, setting, and time) | 132 | |
| 10761294675 | scene | is a minor break of an act | 133 | |
| 10761308404 | Bildungsroman | a novel which tells of an individual's movement from childhood to maturity -the individual usually finds its place in the world | 134 | |
| 10761339463 | 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. | 135 | |
| 10761368526 | line grouping names | A group of two lines is called a couplet. A three line stanza is called a tercet. A four line stanza is a quatrain, and a five line stanza is a quintet. 6 lines sestet, 8 lines octave | 136 | |
| 11041648040 | Setting | The background against which the story takes place. | 137 | |
| 11041659898 | Sensuous World | The description of the physical place through any of the five senses. | 138 | |
| 11041678355 | Time and Chronology | Three elements of time may operate within the narrative. -Time Period, -Time of the Narrative, -Chronological Arrangement: | 139 | |
| 11041684187 | -Time Period: | when historically the story takes place. | 140 | |
| 11041688977 | -Time of the Narrative: | when historically the story is being told from. | 141 | |
| 11041689944 | -Chronological Arrangement: | uses time as the organizing principle - particularly useful for highlighting evolution, change, or process A=Chronological Beginning Z=Chronological End | 142 | |
| 11041695759 | The Social Environment | The manners, customs, culture, and moral values that govern the historic time. | 143 | |
| 11041713497 | Point of View: | The vantage point from which the author chooses to tell the story. 1st Person 2nd Person 3rd Person Omniscient 3rd Person Subjective and Limited | 144 | |
| 11041721459 | 1st Peron Subjective | Told from the point of view of a single character. Normally this is the main protagonist; however, this is not always the case. 1st Person Subjective | 145 | |
| 11041732882 | 2nd Person Perspective | Rare form of literature which places the reader into the narrative. Utilizes the pronoun you. | 146 | |
| 11041741807 | 3rd Person Omniscient | Story narrated by a god like being who can shift from character to character. Showing the internal and external world of various characters allows for a more objective experience. | 147 | |
| 11041764790 | Unobtrusive Narrator: | There is no commentary from the narrator; the narrator is objective and detached from the story | 148 | |
| 11041766024 | unreliable narrator | A narrator who seems trustworthy at first, but the reader starts questioning the validity of the story being told. Useful in creating certain types of irony. | 149 | |
| 11072482835 | human nature | what image of human beings is presented by the work | 150 | |
| 11072492243 | The Nature of society | -is society life-enhancing or life-destroying -do the characters want to reform, conform, or escape -what causes this | 151 | |
| 11072502043 | Human freedom | -do the characters have control of their lives -does a higher power dictate -does environment & social class dictate -is the universe random and arbitrary or is there a grand scheme | 152 | |
| 11072522913 | ethics in theme | -what are the moral conflicts in the story -are right and wrong clearly defined or ambiguous and subjective -right vs wrong/ right vs right/ wrong vs. wrong/ wrong vs. Might -is there an absolute good and evil -is there situational ethics | 153 | |
| 11072570875 | Metaphor | A figure of speech that compares unlike objects | 154 | |
| 11072668943 | simile | A comparison of two unlike things using like or as | 155 | |
| 11072786491 | Apostrophe | A figure of speech that directly addresses an absent or imaginary person or a personified abstraction | 156 | |
| 11072817544 | tone | attitude of the speaker | 157 | |
| 11072829455 | hero cycle | Departure, Initiation, Return | 158 | |
| 11072865129 | atmosphere/ mood (emotional environment) | The emotional reaction the reader and the characters have to the setting, normally created by the sensuous world | 159 | |
| 11078675498 | departure | the hero ventures forth from the world of the common day into a region of supernatural wonder call to adventure threshold crossing beyond the threshold | 160 | |
| 11078711479 | Initiation | -cycles inside cycles -challenge -apperance of helper -flight -growth/ rise | 161 | |
| 11078747387 | Return | - Entrance into the normal world -hero returns with knowledge or power | 162 | |
| 11078840948 | Enlightenment | deism, reason, the mirror wanted to show precisly what was in the universe, reason, observation of physical data, wanted to measure and quantify reality, social contract, society can make human beings better (a thing is nothing more than the sum of its physical parts) | 163 | |
| 11078923822 | romanticisim | imagination, the lamp, the quality it has is something transcendent, society corrupts the individual, noble savage | 164 | |
| 11415924591 | four aspects of setting | sensuous world, chronology, societal, emotional | 165 |
