| 3525467473 | instigating | provoking | | 0 |
| 3525472507 | inquisitive | curious | | 1 |
| 3525479008 | self-delusion | the act or state of deceiving oneself | | 2 |
| 3525483329 | boastful nonchalance | when someone is like oh well I just got a 2350 on the SAT whatever I could've done better. | | 3 |
| 3525515433 | anticipation | expectation | | 4 |
| 3525517731 | Thinly veiled cowardice | when someone is a coward but they don't want to show it | | 5 |
| 3525522028 | Evenhanded objectivity | when the narrator shows both sides | | 6 |
| 3525525197 | Idealism | the practice of forming or pursuing ideals, especially unrealistically | | 7 |
| 3525528134 | Meddlesome | fond of meddling; interfering: a gaggle of meddlesome politicians. | | 8 |
| 3525531751 | Disparaging | expressing the opinion that something is of little worth; derogatory | | 9 |
| 3525533853 | Alarmist | creating needless worry or panic: alarmist rumors. | | 10 |
| 3525536201 | Pious | making a hypocritical display of virtue: | | 11 |
| 3525538881 | Moralistic | a person who teaches or promotes morality. | | 12 |
| 3525540890 | Contentious | causing or likely to cause an argument; controversial | | 13 |
| 3525543286 | Patronizing | treat with an apparent kindness that betrays a feeling of superiority | | 14 |
| 3525545749 | World-weary | feeling or indicating feelings of weariness, boredom, or cynicism as a result of long experience of life | | 15 |
| 3525552200 | Balanced syntactic opposition- when the clauses and words are balanced. | -I am free; I am equal. | | 16 |
| 3525554936 | Passive verb construction | - when the verb is used in the passive voice, not active
-Active: She lit the candle.
-Passive- The candle was lit by her. | | 17 |
| 3525557969 | Pastoral analogies | analogies that allude to farm | | 18 |
| 3525561367 | Double entendre | a word or phrase open to two interpretations, one of which is usually risqué or indecent.
- In Finding Nemo, the characters are told "Ok, everyone, think dirty thoughts!" | | 19 |
| 3526004934 | Reification | make (something abstract) more concrete or real: 'Fighting for justice.' | | 20 |
| 3526011138 | Poetic license | The liberty taken by an artist or a writer in deviating from conventional form or fact to achieve a desired effect.
-The infamous line from Julius Caesar: "Friends, Romans, Countrymen, lend me your ears" is one example as he has omitted the use of the word "and" after "Romans" in order to keep the line in iambic pentameter. Other examples include the contractions "o'er" and "e'er," which are commonly used in poetry. | | 21 |
| 3526015284 | Authorial intrusion | Authorial Intrusion is an interesting literary device wherein the author penning the story, poem or prose steps away from the text and speaks out to the reader. | | 22 |
| 3526016932 | Perfect rhyme | the rhyme exemplified by homonyms, such as bear/bare or wear/where. | | 23 |
| 3526019400 | Slant rhyme | a rhyme in which the stressed syllables of ending consonants match, however the preceding vowel sounds do not match.
- For instance, in words such as "shape/keep" the consonance is very strong. The final consonant sounds remain similar but the ending vowel sounds are different in half rhyme. Similar to these two words, "moon" and "run" and in the words "hold" and "bald" the ending consonant sounds are similar, whereas vowel sounds are different. | | 24 |
| 3526022409 | Stanza | a group of lines forming the basic recurring metrical unit in a poem; a verse.
-Example: a chunk in The Odyssey | | 25 |
| 3526025738 | Heroic Couplet | a traditional form for English poetry, commonly used in epic and narrative poetry, and consisting of a rhyming pair of lines in iambic pentameter.
-this passage from Cooper's Hill by John Denham, part of his description of the Thames:
O could I flow like thee, and make thy stream
My great example, as it is my theme!
Though deep yet clear, though gentle yet not dull;
Strong without rage, without o'erflowing full. | | 26 |
| 3526027508 | Tercet | -a set or group of three lines of verse rhyming together or connected by rhyme with an adjacent tercet.
-An old silent pond? A frog jumps into the pond, splash! Silence again. | | 27 |
| 3526040380 | Terza Rima | a rhyming verse stanza form that consists of an interlocking three-line rhyme scheme. It was first used by the Italian poet Dante Alighieri.
-Yellow, and black, and pale, and hectic red, (b)
Pestilence-stricken multitudes: O thou, (c)
Who chariotest to their dark wintery bed (b) | | 28 |
| 3526042709 | Cinquain | a five-line poem that was invented by Adelaide Crapsey.
-Listen...
With faint dry sound,
Like steps of passing ghosts,
The leaves, frost-crisp'd, break from the trees
And fall. | | 29 |
| 3526044759 | Sestet | the last six lines of a sonnet. | | 30 |
| 3526050118 | Octave | a poem or stanza of eight lines | | 31 |
| 3526050119 | Caesura | a pause near the middle of a line.
For instance, when you say, "Maria has taken breaks," you take breath before further saying that, "But Adam did not," then again you take a little breath and say, "He fell on his ankle." | | 32 |
| 3526054403 | Enjambent- | the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza. | | 33 |
| 3526056805 | Feminine Rhyme- | a rhyme that matches two or more syllables, usually at the end of respective lines, in which the final syllable or syllables are unstressed.
-Yankee Doodle went to town
A-riding on a pony
He stuck a feather in his hat
And called it macaroni | | 34 |
| 3526058255 | Masculine Rhyme- | a rhyme that matches only one syllable, usually at the end of respective lines. Often the final syllable is stressed.
-Loveliest of trees, the cherry now
Is hung with bloom along the bough. | | 35 |
| 3526090679 | affected | influenced or touched by an external factor` | | 36 |
| 3526092736 | Contemptuous- | showing contempt; scornful | | 37 |
| 3526094810 | Flippant- | not showing a serious or respectful attitude | | 38 |
| 3526094812 | Reluctant- | unwilling and hesitant; disinclined | | 39 |
| 3526098992 | Inconsolable- | (of a person or their grief) not able to be comforted or alleviated | | 40 |
| 3526098993 | Incongruous | - not in harmony or keeping with the surroundings or other aspects of something | | 41 |
| 3526101731 | Obsequious- | obedient or attentive to an excessive or servile degree | | 42 |
| 3526101732 | Censoriousness- | severely critical of others | | 43 |
| 3526103255 | Avuncular indulgence- | suggestive of an uncle especially in kindliness or geniality | | 44 |
| 3526107626 | Melancholy- | a feeling of pensive sadness, typically with no obvious cause | | 45 |
| 3526107628 | Disdainful- | showing contempt or lack of respect | | 46 |
| 3526109221 | Melodramatic- | characteristic of melodrama, especially in being exaggerated, sensationalized, or overemotional | | 47 |
| 3526111950 | Contradiction- | a combination of statements, ideas, or features of a situation that are opposed to one another | | 48 |
| 3526113829 | Prevarication | - speak or act in an evasive way | | 49 |
| 3526113830 | Implication | - the conclusion that can be drawn from something, although it is not explicitly stated | | 50 |
| 3526116276 | Cause and Effect | - the principle of causation. | | 51 |
| 3526116277 | Loose Sentences- | a type of sentence in which the main idea (independent clause) is elaborated by the successive addition of modifying clauses or phrases. | | 52 |
| 3526118922 | Periodic sentences- | a stylistic device employed at the sentence level, described as one that is not complete grammatically or semantically before the final clause or phrase. | | 53 |
| 3526118923 | Cumulative sentences- | a main clause followed by a series of subordinate constructions that gather details about a person, place, event, or idea. | | 54 |
| 3526122007 | Symbol- | a thing that represents or stands for something else, especially a material object representing something abstract | | 55 |
| 3526122008 | Allegory- | a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one | | 56 |
| 3526123464 | First person narration- | a point of view (who is telling a story) where the story is narrated by one character at a time | | 57 |
| 3526125500 | Third person omniscient- | This is a common form of third-person narration in which the teller of the tale, who often appears to speak with the voice of the author himself, assumes an omniscient (all-knowing) perspective on the story being told: diving into private thoughts, narrating secret or hidden events, jumping between spaces and times. | | 58 |
| 3526140581 | Protagonist- | the leading character or one of the major characters in a drama, movie, novel, or other fictional text. | | 59 |
| 3526140582 | Antagonist- | a person who actively opposes or is hostile to someone or something; an adversary | | 60 |
| 3526143768 | Hero- | A hero or heroine is a person or character who, in the face of danger and adversity or from a position of weakness, displays courage, bravery or self-sacrifice—that is, heroism—for some greater good | | 61 |
| 3526143769 | Byronic hero- | A seemingly ideal hero, though one with a hidden dark side. | | 62 |
| 3526146091 | Unreliable narrator- | a character whose telling of the story is not completely accurate or credible due to problems with the character's mental state or maturity. | | 63 |
| 3526146133 | Objective narrative- | a character in the story, but also knows the thoughts and feelings of all the other characters | | 64 |
| 3526147729 | Impartial narrative- | narrator presents the thoughts and actions of the characters and does not judge or comment on them | | 65 |
| 3526159233 | Warning | a statement or event that indicates a possible or impending danger, problem, or other unpleasant situation: awarning about heavy thunderstorms | | 66 |
| 3526160916 | Summary | a brief statement or account of the main points of something: Asummary of chapter three of the Fountainhead | | 67 |
| 3526160917 | Counterargument | an argument or set of reasons put forward to oppose an idea or theory developed in another argument.` | | 68 |
| 3526164208 | Modifying | make partial or minor changes, typically so as to improve it or to make it less
e x t r e m e : sh e m u s t b e p r e p a r e d t o m o d i f y h e r t h e s i s s t a t e m e n t | | 69 |
| 3526165036 | R e f u t e : | pr o v e t o b e w r o n g o r f a l s e ; d i s p r o v e : th e s e c l a i m s h a v e b e e n c o n v i n c i n g l y r e f u t e d . | | 70 |
| 3526169140 | Runon sentence | a sentence in which two or more independent clauses are joined without an appropriate punctuation or conjunction: Ilove to write papers I would write one every day if I had the time. | | 71 |
| 3526171919 | Dramatic Theory | a problem structuring method of operations research. It adapts the use of games to complex organisational situations, accounting for emotional responses that can provoke irrational reactions and lead the players to redefine the game:Aristotle's poeticsfrom Ancient Greece and Bharata Muni's Natyasastra from ancient India. | | 72 |
| 3526182383 | Cosmic Irony | the idea that fate, destiny, or a God controls and toys with human hopes and expectations; also, the belief that the universe is so large and man is so small that the universe is indifferent to the helping of man | | 73 |
| 3526241577 | Verbal Irony | irony in which a person says or writes one thing and means another, or uses words to convey a meaning that is the opposite of the literal meaning | | 74 |
| 3526243177 | Situational Irony | irony involving a situation in which actions have an effect that is opposite from what was intended, so that the outcome is contrary to what was expected | | 75 |
| 3526244700 | I n f e r e n c e : | a c o n c l u s i o n r e a c h e d o n t h e b a s i s o f e v i d e n c e a n d r e a s o n i n g . | | 76 |
| 3526246998 | Rime Royal | a rhyming stanza form that was introduced into English poetry by Geoffrey Chaucer: seven line iambic pentameter rhyming ababbcc | | 77 |
| 3526248798 | Ballad Meter | In each stanza, ballad metre needs to rhyme only the second and fourth lines, in the form ABCB (where A and C need not rhyme), while common metre must rhyme also the first and third lines, in the pattern ABAB. | | 78 |
| 3526248944 | Trochaic hexameter | a meter in poetry. It refers to a line of four trochaic feet. | | 79 |
| 3526252558 | Lament | (n.) apassionate expression of grief or sorrow. (v.) mourn (a person's loss or death). | | 80 |
| 3526257368 | Cynical glee | great delight in something wrong | | 81 |
| 3526259312 | Feigned sympathy | fake sympathy | | 82 |
| 3526261253 | Mirthful | full of amusement, lots of laughter | | 83 |
| 3526261254 | Inexorable | impossible to stop or prevent | | 84 |
| 3526287038 | Abhorring | regard with disgust and hatred | | 85 |
| 3526287039 | Fickle | changing frequently, especially as regards one's loyalties, interests, or affection. | | 86 |
| 3526295108 | Hedonistic | engaged in the pursuit of pleasure; sensually selfindulgent | | 87 |
| 3526296138 | Undefiled | not wasted, not defiled, not impure, pure | | 88 |
| 3526368705 | What are 6 types of rhymes? | masculine
feminine
off
slant
imperfect
internal | | 89 |
| 3526409897 | Meter | rhythm | | 90 |
| 3526409899 | alliteration | repetition of the first sounds of the consonants | | 91 |
| 3526411986 | What is alliteration also known as? | head rhyme or internal rhyme | | 92 |
| 3526414761 | What is an example of alliteration? | fire, flew, foray | | 93 |
| 3526417134 | Consonance | repetition of ending consonant sounds | | 94 |
| 3526420712 | What is an example of consonance? | soul, cool | | 95 |
| 3526422191 | Assonance | repetition of vowel sounds | | 96 |
| 3526423975 | What is an example of assonance? | fade and lake | | 97 |
| 3526425736 | Cacophony | harsh and unpleasant sounds | | 98 |
| 3526427743 | What does cacophony imply? | chaos in the poem | | 99 |
| 3526431549 | What are some examples of letters in cacophony? | k, b, p | | 100 |
| 3526434155 | Repetition | repetend--repeated chorus | | 101 |
| 3526442453 | Anaphora | beginning word or phrase of sentences is the same | | 102 |
| 3526445039 | Onomatopoeia | words imitate their sounds | | 103 |
| 3526447312 | What is an example of onomatopoeia? | whisper, crackle, sizzle, piss | | 104 |
| 3526455709 | Phonetic symbolism | sound symbolism, association of word-sounds have common areas of meaning | | 105 |
| 3526483355 | Engaging with text provokes what? | theory and criticism | | 106 |
| 3526484853 | What does the theory do? | organizes and explains | | 107 |
| 3526485020 | what does the criticism do? | the analysis, interpretation, and evaluation | | 108 |
| 3526487277 | what do theories lead to? | critical approaches | | 109 |
| 3526527648 | "To ask of what an author is conscious and of what unconscious as fruitless as to ask which rules of English are consciously employed by speakers and which are followed unconsciously." | -Jonathan Culler | | 110 |
| 3526535292 | Why do we read? | to interpret
to find more questions
To discover the authors point. Insight into the author's soul. To uncover influences and draw connections to other works.
To find the text's own inner, timeless truths. | | 111 |
| 3526560429 | What are some basic ideas behind theory? | People will make meaning out of anything g
Theory is a way of seeing things; criticism is an approach to analysis and interpretation. Each influences the other
Writers have varying levels of awareness of and concerns of literary theory.
Critics describe the very nature of literature in differing ways.
For many critics, theory and criticism is about chaining the world!!! | | 112 |
| 3526569957 | what are the schools of 20th century literary criticism? | Marxist, Linguistic, psychological | | 113 |
| 3526575633 | What does the Marxist literary criticism emphasize? | rebellion against identity/ hegemony | | 114 |
| 3526583656 | What are 4 examples of marxist literary criticism? | feminist, Black, Post-colonial, queer | | 115 |
| 3526579704 | what does the linguistic literary criticism emphasize? | philosophy of language | | 116 |
| 3526589821 | What are 3 examples of Linguistic literary criticism? | New Criticism, Structuralism, Post-Structuralism | | 117 |
| 3526596208 | What does psychological literary criticism emphasize? | consciousness/psyche | | 118 |
| 3526606933 | What are 2 examples of Psychological criticism | Psychoanalytic, Myth, Laconian | | 119 |
| 3526625771 | What would Marx think of Plato's Allegory of the Cave? | Marx would say the real puppet master is the Capitalist System, keeping its captive audience entertained and imprisoned
The system wants you to stay in your place and accept its imaginary stories as truth | | 120 |
| 3526629775 | what does marx think of economic systems? | they hide their true natures | | 121 |
| 3526634928 | how does marx think we have to examine things? | as parts of of a process, not isolated objects | | 122 |
| 3526638810 | what is this called | reification | | 123 |
| 3526641466 | what creates and employs literary features? | ideology | | 124 |
| 3526863321 | what can a literary works' content be seen to reflect? | society's contradictions | | 125 |
| 3526864429 | what can a literary work's form be seen to reveal? | society's inability to keep its story straight | | 126 |
| 3526873217 | who was a german philosopher who studied greek philosophy and roman poetry? | Karl Marx | | 127 |
| 3526873376 | what did he co-write? | The Manifesto of the Communist party | | 128 |
| 3526876750 | Materialism | the material world is the deriving force behind any ideas you call your own | | 129 |
| 3526878930 | what is a material world to a marxist? | economic and political interactions | | 130 |
| 3526888650 | what does the Marxist societal economic base look like | who owns property and controls wealth
who gets things made
who is the labor force
where do profits go | | 131 |
| 3526910554 | Key questions when reading Marx | What is the commodity? How is it reified?
Who exploits the laboring class?
How is the laboring class mistreated, tricked, fooled?
Where do we see the Capitalist's fear and guilt for their means of production?
What is the class structure? Who has the power?
Is there a Marxist figure who champions the proletariat?
Is the setting marked by imperialism?
is the economic system perpetuating a lie? | | 132 |
