| 10575530431 | Zeitgeist | the general cultural, artistic, religious, and philosophic climate of an era | | 0 |
| 10575537895 | Dialectical Clash | clashing of two ideas: thesis, antithesis, synthesis | | 1 |
| 10575548615 | Humanism | A Renaissance intellectual movement in which thinkers studied classical texts and focused on human potential and achievements | | 2 |
| 10575561238 | Synesthesia | describing one kind of sensation in terms of another ("a loud color", "a sweet sound") | | 3 |
| 10575567848 | Motif | A recurring theme, subject or idea in literary work
Ex. green light in gatsby | | 4 |
| 10575575266 | Archetype | a symbol that transcends time and culture | | 5 |
| 10575599783 | collective unconscious | Carl Jung's concept of a shared, inherited reservoir of memory traces from our species' history | | 6 |
| 10575616617 | sign | an object, picture, or word which signifies something other than itself | | 7 |
| 10575623583 | Symbolism | A person, place or object which has a meaning in itself but suggests other meanings as well. Built upon individual, cultural, and archetypal associations | | 8 |
| 10575657677 | narrative poem | a poem that tells a story in verse | | 9 |
| 10575663369 | Ballad | a songlike poem that tells a story, often about adventure or romance. | | 10 |
| 10575668315 | Epic | long narrative poem where the hero embodies the values and aspirations of the poet's culture | | 11 |
| 10575678923 | dramatic poem | a poem which makes use of the conventions of drama | | 12 |
| 10575684867 | dramatic monologue | Poem or speech in which an imaginary character speaks to a silent listener | | 13 |
| 10575699562 | dramatic dialogue | A poem in which two speakers converse with one another | | 14 |
| 10575706554 | lyric poem | a melodic poem that expresses the observations and feelings of a single speaker | | 15 |
| 10575982203 | elegy | a poem of serious reflection, typically a lament for the dead. | | 16 |
| 10575986271 | Ode | a long, formal lyric poem, usually meditative, that treats a noble or otherwise elevated subject in a dignified manner | | 17 |
| 10575995577 | Sonnet | a poem of fourteen lines using any of a number of formal rhyme schemes, usually about love | | 18 |
| 10576003831 | Stanza | A group of lines in a poem | | 19 |
| 10576005947 | Poetic Shift | within poetry, a dramatic change in the speaker's thoughts, tone, and/or message | | 20 |
| 10576012319 | Enjambment | when the physical end of a line of poetry does not coincide with the grammatical end of the line | | 21 |
| 10576018255 | end-stopped line | when the physical end of a line of poetry matches the grammatical end of the line | | 22 |
| 10576024894 | concrete poetry | when the physical shape of the poem enhances the meaning | | 23 |
| 10576044207 | Plot | the pattern that results from the events in a story and the order in which they are presented | | 24 |
| 10576050013 | Exposition | A narrative device, often used at the beginning of a work that provides necessary background information about the characters and their circumstances. | | 25 |
| 10576057995 | Conflict | A struggle between opposing forces | | 26 |
| 10576062623 | external conflict | person vs. person
person vs. nature
person vs. society
person vs. the supernatural | | 27 |
| 10576073182 | internal conflict | person vs. self | | 28 |
| 10576075231 | rising action | increase in tension in a story. introduction of minor conflicts | | 29 |
| 10576089562 | Climax/Epiphany | the highest point of tension in a story when the protagonist makes a decision for better or worse | | 30 |
| 10576097097 | falling action | the release of tension in the story as elements become inevitable for better or worse | | 31 |
| 10576105796 | denouement | how the story turns out; introducing a new status quo or the restoration of an old one | | 32 |
| 10576131063 | direct characterization | Author directly describes character to the reader | | 33 |
| 10576133634 | indirect characterization | The character is revealed through their personality, appearance, words, actions, and effect on others | | 34 |
| 10576141349 | static character | A character who does not change during the story. | | 35 |
| 10576143586 | round character | A character who demonstrates some complexity and who develops or changes in the course of a work | | 36 |
| 10576146111 | flat character | a stereotypical character | | 37 |
| 10576176688 | dynamic character | A character who grows, learns, or changes as a result of the story's action | | 38 |
| 10576182319 | Foil | A secondary character who contrasts and parallels the main character in a play or story.
Ex. Ismene | | 39 |
| 10576188571 | Protagonist | Main character in a story | | 40 |
| 10576190396 | Antagonist | A character or force in conflict with the main character | | 41 |
| 10635262719 | human condition | the characteristics, key events, and situations which compose the essentials of human existence, such as birth, growth, emotionality, aspiration, conflict, and mortality | | 42 |
| 10635279287 | Major Themes | • Human Nature
• The Nature of Society
• Fate and Freedom
• Ethics | | 43 |
| 10635288139 | English/Shakespearean Sonnet | 1) rhyme scheme of 3 quatrains followed by a couplet
2) 10 beats per line
3) written in iambic pentameter | | 44 |
| 10635303410 | Couplet | Two consecutive lines of poetry that rhyme | | 45 |
| 10635305824 | Tercet | three lines that rhyme | | 46 |
| 10635309874 | Quatrain | four lines that rhyme | | 47 |
| 10635316165 | Sestet | six lines that rhyme with a varying pattern such as CDECDE or CDCCDC | | 48 |
| 10635319097 | Octave | eight lines that rhyme | | 49 |
| 10635333949 | blank verse | unrhymed iambic pentameter | | 50 |
| 10635338139 | Line groupings | lines that are grouped by a certain rhyme scheme | | 51 |
| 10635344203 | Rhythm | stressed and unstressed syllables in a line | | 52 |
| 10635346760 | stressed syllable | Voice goes up | | 53 |
| 10635351709 | unstressed syllable | voice goes down | | 54 |
| 10635353687 | foot | pattern of stressed and unstressed syllables | | 55 |
| 10635359256 | meter | number of feet in a line | | 56 |
| 10635362122 | Scansion | The process of marking lines of poetry to show the type of feet and the number of feet they contain | | 57 |
| 10635368210 | Iamb | an unstressed syllable followed by a stressed syllable | | 58 |
| 10635372670 | iambic pentameter | a poetic meter that is made up of 5 stressed syllables each followed by an unstressed syllable | | 59 |
| 10635398297 | rhyme scheme | the pattern of rhyme in a poem | | 60 |
| 10635400100 | Rhyme | when the last vowel and consonant of one line are repeated in another line | | 61 |
| 10706913672 | Metaphysics | the study of existence | | 62 |
| 10706917194 | Epistemology | The study of knowledge or how we know about existence | | 63 |
| 10706925702 | Ethics | study of how we act in existence | | 64 |
| 10706929040 | existential crisis | a moment at which an individual questions the very foundations of their life: whether this life has any meaning, purpose, or value | | 65 |
| 10706942358 | epistemological crisis | doubting your ability to know about your existence | | 66 |
| 10706948961 | Politics | ethics applied to a group of people | | 67 |
| 10706953099 | Esthetics | study of art | | 68 |
| 10707009820 | act | division in a play; classically, they break down along the plot structure line | | 69 |
| 10707022387 | scene | minor division of an act | | 70 |
| 10738230921 | 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 | | 71 |
| 10738234293 | Simile | a comparison of two unlike things | | 72 |
| 10738243486 | Metonym | A word is substituted for one closely related Ex. the white house released a statement | | 73 |
| 10738258210 | Synecdoche | when you replace one word for another using part-whole Ex. all hands on deck | | 74 |
| 10738269528 | Hyperbole | extreme exaggeration | | 75 |
| 10738274935 | Understatement | the presentation of something as being smaller, worse, or less important than it actually is | | 76 |
| 10738277166 | Personification | the attribution of a personal nature or human characteristics to something nonhuman | | 77 |
| 10738285557 | Connotation | emotional and psychological associations of a word | | 78 |
| 10738292699 | denotation | The dictionary definition of a word | | 79 |
| 10738294615 | cliche | overused expression ex. easy as pie | | 80 |
| 10738302100 | Pun | to use a word that sounds like another word for humerous effect. can also be when one word has two meanings | | 81 |
| 10738742973 | Paradox | when you have two contradictory statements that present a truth ex. you're never more alive until you're almost dead | | 82 |
| 10738762919 | Oxymoron | a figure of speech in which apparently contradictory terms appear in conjunction
ex. cruel kindness, living death | | 83 |
| 10738787259 | Foreshadowing | writer hints at what is to come later in the story | | 84 |
| 10738815398 | Soliloquy | a speech given by a character who is normally alone and it is understood that the character is sharing his thoughts with the audience | | 85 |
| 10738829569 | Aside | a moment when the character breaks from the action and dialogue, sometimes literally turning to the audience and giving a thought that is not heard by anyone on stage | | 86 |
| 10738847515 | Bildungsroman | a novel in which an individual moves from childhood to maturity | | 87 |
| 10738858247 | Tragedy | A serious form of drama dealing with the downfall of a heroic or noble character | | 88 |
| 10738866373 | 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. | | 89 |
| 10908989196 | deus ex machina | device used to fix problems in the play. writer writes himself into a corner | | 90 |
| 10909014777 | point of view | the vantage point from which a story is told | | 91 |
| 10909022007 | 1st person | told from the point of view of a single character | | 92 |
| 10909033961 | 2nd person | rare form of literature which places the reader into the narrative | | 93 |
| 10909042916 | 3rd person omniscient | story narrated by a god like being who can shift from character to character | | 94 |
| 10909055410 | 3rd person limited | story is portrayed through the eyes of a single character | | 95 |
| 10909075332 | Unobtrusive Narrator | There is no commentary from the narrator; the narrator is objective and detached from the story | | 96 |
| 10909080837 | unreliable narrator | a narrator who seems trustworthy at first, but the reader starts questioning the validity of the story being told | | 97 |
| 10909288248 | Sensuous World | the description of the physical place through any of the five senses | | 98 |
| 10909298404 | time period | when historically the story takes place | | 99 |
| 10909302878 | time of the narrative | when historically the story is being told from | | 100 |
| 10909310599 | chronological arrangement | A=chronological beginning B=chronological end
ex. A-Z, Z-A-Y, M-Z, A-M, G-R | | 101 |
| 10909339778 | Societal Environment | the manners, customs, culture, and moral values that govern the historic time | | 102 |
| 10909353411 | atmosphere | normally created by the sensuous world of the piece of fiction. the emotional reaction the reader and the characters have to the setting | | 103 |
| 11052014230 | Apostrophe | a rhetorical device in which the writer breaks out of the flow of the writing to directly address a person or personified object.
ex. Feet, don't fail me now! | | 104 |
| 11052041258 | metaphysical poems | lyrical poems in the form of an argument. Normally witty and intellectual | | 105 |
| 11052044803 | seduction poems | poems used to seduce a person | | 106 |
| 11052048433 | carpe diem poems | argue for a person to make the most out of their life | | 107 |
| 11052052918 | metaphysical conceit | a complex comparison between two highly dissimilar things. Normally a startling comparison. | | 108 |
| 11309511082 | Alliteration | repetition of initial sounds of words | | 109 |
| 11309519282 | Assonance | similar vowel sounds amidst dissimilar consonant sounds
ex. fate and cave | | 110 |
| 11309531742 | Consonance | similar consonant sounds amidst dissimilar vowel sounds
ex. lid and bed | | 111 |
| 11309541768 | half rhyme | product of assonance or consonance; comes at the end of the word
ex. heave and cave | | 112 |
| 11309552869 | internal rhyme | when a rhyme occurs in a line of poetry
ex. once upon a midnight dreary, as I pondered weak and weary. | | 113 |
| 11407843230 | Allusion | a reference to a religious book, a historical person or event, a work of art, mythological story, pop cultural reference, or a literary work | | 114 |
| 11407860099 | frame story | a plot structure in which 1 narrative is told within the middle of another story | | 115 |
| 11407878312 | In Medias Re | a novel or story that begins in the middle and goes back to how it got to that point | | 116 |
| 11407891334 | epistolary | a novel or story written through a series of letters | | 117 |
| 11560143625 | Irony | unexpected occurs with a special significance | | 118 |
| 11560146352 | verbal irony | when what is said is not what is meant. Creates sarcasm | | 119 |
| 11560151376 | dramatic irony | when the audience has knowledge that is withheld from the characters | | 120 |
| 11560155643 | Romantic Irony | When audience is deceived by story teller | | 121 |
| 11560159166 | cosmic irony | when a character falsely believes that he or she has freewill | | 122 |
| 11560164365 | situational irony | when an event occurs that is unexpected with special significance
ex. person gets over a fear of flying and the plane crashes | | 123 |
| 11560174723 | structural irony | when the mode does not match the meaning or the form does not match the function
ex. love letter written in business format | | 124 |
| 12171925651 | 5 branches of philosophy | Metaphysics
Epistemology
Ethics
Politics
Aesthetics | | 125 |
| 12171980713 | Existentialism | essence precedes existence | | 126 |
| 12172002519 | 4 aspects of existentialism | moral individualism, subjectivity, choice and commitment, dread and anxiety | | 127 |
| 12172016348 | Moral Individualism | a person has to decide for themselves the correct course of action. there are no universal guidelines | | 128 |
| 12172024069 | Subjectivity | only the person in the situation truly knows the right choice to make | | 129 |
| 12172032225 | Choice and Commitment | you have the freedom to make choices in this world and you are defined by these choices. when you choose, you choose not only for yourself, but for all of humankind | | 130 |
| 12172047768 | dread and anxiety | allows a person to confront nothingness and the impossibility of finding ultimate justification for the choices he or she must make | | 131 |
| 12172082403 | Id | basic drive to survive | | 132 |
| 12172085454 | ego | decision making following the reality principle - tries to please the id without hurting the super-ego | | 133 |
| 12172115332 | super ego | moral principle - stealing is wrong, so I will not steal | | 134 |
| 12172137880 | nihilism | belief in nothing | | 135 |
| 12172166575 | Dualism | humans have both a physical and spiritual beings | | 136 |
| 12172553186 | Renaissance | "rebirth" learning spree in Europe starting in the 14th century in Italy. Renewed interest in and study of classical antiquity | | 137 |
| 12172572983 | Great Chain of Being | every existing thing in the universe had its "place" in a divinely planned hierarchical order | | 138 |
| 12172590683 | Puritanism | The religion of a group of religious dissidents who came to the New World so they would have a location to establish a "purer" church than the one that existed in England | | 139 |
| 12172613359 | 5 points of Calvinism (puritan beliefs) | Total Depravity
Unconditional Election
Limited Atonement
Irresistible Grace
Perseverance of the Saints | | 140 |
| 12172620532 | Total Depravity | concept of original sin. because of Adam and Eve's fall, every person is born sinful | | 141 |
| 12172630308 | Unconditional Election | god saves those he elects. humans are viable to save themselves. no amount of good deeds will save a person | | 142 |
| 12172648120 | Limited Atonement | man's hereditary corruption (original sin) is partially atoned for by Christ, and this atonement is provided to elect through the holy spirit | | 143 |
| 12172667159 | Irresistible Grace | the grace of god is given to the elect. the saving and transfiguring power of god. | | 144 |
| 12172681441 | Perseverance of the Saints | those elected by God have full power to interpret the will of God | | 145 |
| 12172695188 | Enlightenment | the mirror - tried to measure and quantify what was actually there
-object is sum of its parts
-social contract | | 146 |
| 12172716884 | Romanticism | the lamp - the poet is transforming the world with the light of their imagination.
-object has more: has emotional implications
-society corrupts people | | 147 |
| 12172756264 | Neitzsche | ideas are the synthesis of enlightenment skepticism and romantic imagination
-bridge between romanticism and modernism | | 148 |
| 12172778631 | will to power | everyone is exerting their will at all times, and some have greater access to their will | | 149 |
| 12172800903 | Stages of Civilization | Pre-moral
moral
supra-moral | | 150 |
| 12172808917 | Pre-moral stage | what is good is what is powerful. The most powerful is the master | | 151 |
| 12172817877 | moral stage | slave morality (Christianity): the weakest in society gain more power over the powerful | | 152 |
| 12172835401 | supra-moral stage | humanistic movement toward greater power | | 153 |
| 12172917135 | Ubermensch | the ideal superior man of the future who could rise above conventional Christian morality to create and impose his own values. idea rises in the supra-moral stage of civilization | | 154 |
| 12172980864 | Syntax | In linguistics, syntax is the set of rules, principles, and processes that govern the structure of sentences in a given language, usually including word order. | | 155 |
| 12173009496 | inverted syntax | reversing the normal word order of a sentence | | 156 |
| 12173034634 | literal imagery | while figurative language uses similes, metaphors, hyperbole, and personification to describe something often through comparison with something different.
ex. the grass looks green | | 157 |
| 12173048575 | figurative imagery | Language that goes beyond the literal meaning, such as simile, metaphor, personification and hyperbole | | 158 |
| 12173115619 | tone | the author's attitude toward the subject | | 159 |
| 12173125562 | Hero Cycle | I. Departure
II. Initiation
III. Return | | 160 |
| 12173133287 | departure | first part of the hero cycle; the hero ventures forth from the world of the common day into a region of supernatural wonder. crosses threshold | | 161 |
| 12173154535 | initiation | 2nd part of hero cycle; hero must prove him/herself worthy of "hero status" so, he/she must face a series of challenges or trials | | 162 |
| 12173178559 | return | resurrection/rebirth: Entrance back into the normal world with newfound knowledge and power | | 163 |
| 12173213560 | Allegory | a story in which every element is to be taken symbolically | | 164 |
| 12173233381 | Utopic | modeled on or aiming for a state in which everything is perfect; idealistic. | | 165 |
| 12173237056 | dystopic | a community or society that is undesirable or frightening | | 166 |
