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Stack #34806
| Question | Answer |
|---|---|
| allegory | a narrative in verse or prose in which the literal events (persons, places, things) consistantly point to a parallel sequence of symbolic ideas. Often used to dramatize abstract ideas, historical events, religious systems, or political issues |
| allegory con't | Has two levels of meaning: a literal level that tells a surface story and a symbolic level in which the abstract ideas unfold |
| alliteration | the repetition of two or more consonent sounds in successive words in a line of verse or prose. Can be used at the beginning of words (cool-cats). Central feature of Anglo-Saxon poetry and is still used by contemp writers |
| allusion | a brief and sometimes indirect reference in a text to a person, place or thing-ficticious or actual. May appear in work as an initial quotation, passing mention of name, etc.Implies a common set of knowledge between the reader and writer. |
| apostrophe | a direct address to someone or something. Often addresses something not ordinarily spoken to. (O Mountain!) |
| synecdoche | use of a significant part of a thing to stand for the whole of it or vice versa Ex To say "wheels" for "cars" or "rhyme" for "poetry" |
| theme | generally recurring subject or idea conspicuously evident in a literary work. A short work like a fable may have one theme, but longer works may contain multiple themes |
| tone | attitude toward a subject conveyed in a litereary work. The reuslt of the elements that the author brings together to create the works, feelings and manner. |
| understatement | an ironic figure of speech that deliberately describes something in a way that is less than the true sense. |
| propaganda | information that is spread for the purpose of promoting some cause |
| statagies to avoid plagiarism | (blank) |
| slander | a false or malicious statement about someone |
| libel | a false published statement that injures an individuals reputation or otherwise exposes him or her to public contempt |
| censorship | deleting parts of literature, plays, etc |
| bias | to influence in a particular, typically unfair direction, prejiduce |
| exact rhyme | a full rhyme in which the sounds following the initial letters of the words are identical in sound, as in follow and hollow, , go and slow, disband and this hand |
| slant rhyme | a rhyme in which the final consonant sounds are different, as in letter and litter, bone and bean. may also be callednear rhyme off rhyme or imperfect rhyme |
| end rhyme | rhyme that occurs at the end of lines, rather than with them. Is the most common type of rhyme in English language poetry |
| stanza | a recurring pattern of two or more lines of verse, poetry's equiv to the paragraph in prose. The basic organizational principall of most formal poetry |
| euphony | when the sounds of words working together pleases the minds and ear |
| cacophony | a harsh, disconnect sound |
| onomatopia | attampt to represent a thing or action by a word that imitates the sound associated with it - zoom, whiz, crash, bang, pitter-patter |
| rhyme | occurace of stresses and pauses this is part of the poems sound |
| stress (accent) | greater amount of force given to one syllable in speaking than is given to another |
| iambic meter | succession of alternate unstressed and stressed syllables |
| slack syllables | unstressed |
| end stopped | when a line ends in a full pause |
| dactylic | a line mad up primarily of one stressed syllable followed by two unstressed syllables |
| iambic pentameter | a line of 5 iambs a meter especially familiar b/c it occurs in all blank verses, heroic couplets, and sonnets |
| monometer | 1 foot |
| dimeter | 2 feet |
| trimeter | 3 feet |
| tetrameter | 4 feet |
| pentameter | 5 feet |
| hexameter | 7 feet |
| octameter | 8 feet |
| accentual meter | poet does not write in feet bu instead counts accents - the idea is to have the same number of stresses in each line |
| quantitive meter | greek and latin poetry is measured by long and short vowel sounds |
| form | desin of a thing as a whole the config of all its parts |
| closed form | a poet follows some sort of pattern,often falling into stanzas that indicates groups of rhyme. The poet who writes this way seems to strive for perfection |
| open form | no final "click" poet views wtiting as a process - not striving for oerfection - lets the poem discover itself as it goes along |
| blank verse | best know one line pattern, most of the portions of Shakespears plays are in blank verse, as well as Milton's Paradise Lost , Tennyson's Ulysses, certain monologues of Browning and Frost |
| couplet | two line stanza, usually rhymed lines often tend to be equal in length whether sort or long Ex - Blow Snow! |
| heroic couplet | ends in light pause, named for its later use by Dryden and others in poems, epics of heroes |
| closed couplet | heavy end stop |
| parallel | when the poet places a pair of words, phrases, clauses or sentences side by side in agreement or similarity |
| antithesis | words, phrases, clauses or sentences in contrast and opposition |
| tercet | a group of three lines |
| quatrain | a stanza consisting of four lines used in more rhymed poems than any other form |
| fixed forms | "traditional verse forms" inherits from other poems certain familiar elements of structure |
| conventions | expected features such as themes, subjects, attitudes or figures of speech |
| sonnet | fixed form that has attracted fo the longest time the largest number of noteworthy practitioners. Orig an Italian form |
| English sonnet | Shakespearean - rhymes coher in four clusters:ababcdcdefef - has three places where the succession of thought is likely to turn in another direction - may follow one idea thru 3 quatrains and then in the couplet end in a surprise |
| Italian sonnet | Petrarchan - follows rhyme scheme abba, abba in its first 8 lines (octave), then adds bew rhyme sounds in the last six lines, the sestet, Organization in two parts sometimes helps arrange a poets thoughts-in octave poet states problem, and then in sestet |
| Italian sonnet con't | offer resolution |
| diction | choice of words |
| concrete | refers to what we can immediately perceive with our senses - dog, actor, chemicals |
| abstract | express ideas or concepts: love, time, truth |
| allusion | insirect reference to any person, place or thing - ficticious, historical or actual |
| neoclassical period | Augustan age- period from about 1660 into the late 18th century |
| poetic diction | "system of words refined from the grossness of domestic use" |
| decorum | propriety |
| vulgate | speech not much affected by schooling |
| colloquial | causal conversation or informal writing of literate people |
| general english | most literate and speech writingm more studied than colliquial but not pretentious |
| formal english | impersonal language of educated persons, usually only written, possibly spoken on dignified occassions |
| fiction | name for short stories not extremely factual, partially mad eup, imagined - the facts may or may not be true, get a sense of how people act, not an authentic chronical of how a person acted |
| fable | brief story that sets forth some pointed statement of truth |
| moral | message, sometimes stated at the end |
| parable | brief narrative that teaches a moral, its plot is plausibly realistic, main characters are human rather than animals or natural forces |
| tale | sounds better than story - although they are the same - soem authors use "tale's as if to imply it has been handed down from the past - a story usually short that sets forth strange and wonderful events in more or less bare summary without detailed charac |
| tall tale | folk story which recounts the deeds of a superhero or of the storyteller |
| fairy tale | set in a world of magic and enchantment - sometimes the work of a modern author |
| dramatic situation | when a person is involved in some conflict |
| exposition | opening portion that sets the scene, introduces the maim characters, tells us what happened before the strory opened, provied background and care about the events to follow |
| complicaiton | when a "new" conflict is introducted |
| protagonist | better term than hero but is the same |
| suspense | pleasurable anxiety we feel that heightens our attention to the story |
| antagonost | character who is playing the "bad" person |
| forshadowing | indication of events to come |
| crisis | a moment of high tension |
| climax | moment of greatest tension at whcih the outcome is to be decided |
| conclusion | resolution or denouncement - the outcome |
| plot | artistic arrangement of those events |
| in media res | "in the midst of things" when you skip the "beginning" and begins in the middle of the story - presenting the exciting moment first and then filling in later |
| flashback | retrospect - a scene relived in a characters memory |
| summary | terse, general narration |
| short story | more realistic tahn tale and of mdern origin, writer usually presents the main events in greater fullness |
| scene | vivid or dramatic moment described in enough detail to create the illusion that the reader is practically there |
| epiphany | some moment of insight, discovery, a revelation by which a characters life, or view of life, is greatly altered |
| story of initiation | when the character is initiated into experience or maturity |
| narrator | the one from whose perspective the story is told from |
| point of view | to identify the narrator of a story, describing any part he or she plays in the events and any limits placed upon his knowledge |
| narrator - a participant | writing in the 1st person a major character, a minor chracter |
| narrator - a non participant | writing in the 3rd person - all knowing, seeing into one major or minor character, is objective - not seeing just one character |
| all knowing (omniscient) | the narrator sees into the minds of all (or some) characters moving when necessary from one to another |
| editorial omniscient | when the narrator adds an occassional comment or opinion |
| limited omniscient | selective - when a non paticipating narrator sees events through the eyes of a single character |
| impartial omniscient | narrator who presents the thoughts and actions of the characters, but does not judge them or comment on them |
| objective point of view | the narrator does not enter the mind of any character but describes events from the outside - telling us what people say and how their faces look "the fly on the wall" |
| innocent or naive narrator | character who fails to undertand all the implications of the story - ex Huck Finn |
| unreliable narrator | narrators point of view is that of a person who, we perceive is deceptive, self deceptive, deluded or deranged. Aso though seeking ways to be faithful to uincertainty, contemp writers have been particularly fond of unreliable narrators |
| stream of consciousness | the procession of thoughts passing through the mind - kind of selective omniscience - the presentation of thoughts and sense impressions in a life - not in logical sequence |
| total omniscience | a knlwledge of the minds of all characters - requires high skill to manage |
| stock characters | stereotyped characters - often known by some outstanding trait - the "bragging soldier", "prince charming" |
| character | an imagined person who inhabits a story |
| motivation | sufficient reason to behave in the way they do, make decisions, etc |
| flat character (static) | has only one outstanding trait or feature, or at most a few distinguishing marks, Tend to remain the same throughout t he story |
| round character (dynamic) | presents the reader with more facets of personality-authors present them in greater depth and more generous detail |
| allusion | a reference to soem famous person,place, or thing on history, in other fiction or in actuality |
| antihero | tend to be loners, character lacking in one or more of the usual attributions of a traditional hero-bravery, skill, idealism, sense of purpose |
| setting | its time and place inlcuding the physical environment of a story - a house, street, city, region. May also involve the time of the story, year or century and may also include weather |
| naturalism | fiction or grim realism in which the writer observes human characters like a scientist observing ants, seeing them a the products and victims of environment and heredity |
| tone | whatever leads us to infer the authors attitude; it implies the feelings of the author |
| style | individual traits or characteristics of a piece of writing; indicates a mode of expression: the language a writer uses |
| diction | choice of words: bastract or concrete, bookish or close to speech, also use of imagery, patterns of sounds, figures of speech |
| minimalists | flat, laid - back, unemotional tone in bare, unadorned styl. Gives nothing but facts |
| verbal irony | (most familier) the speakers meaning to be far forn the usual meaining of the words |
| sarcasm | when the irony is found in a somewhat sour statement tinged with mockery |
| ironic point of view | an entire story can be told from this point of view |
| irony of fate or cosmic irony | suggests that some malicious fate or other spirit in the universe is deliberately frustrating human efforts |
| theme | whatever general idea or insight the entire story reveals |
| symbol | in literature, a thing that suggests more than its literal meaning |
| Aeschylus (classical) | Prometheus Bound |
| Aristophanes (classical) | Lysistrata |
| Euripedes (classical) | Medea |
| Homer (classical) | The Odyssey |
| Horace (classical) | The Odes |
| Ovid (classical) | Metamorphoses |
| Sappho (classical) | Hymn to Aphrodite |
| Sophocles (classical) | Oedipus Tyrannus (Oedipus Rex) |
| Virgil (classical) | The Aeneid |
| Sir Gawain and the Green Knight | Unknown Author - Medieval period |
| Beowulf | Unknown Author - Medieval Period |
| Everyman | Unknown Author - Medieval Period |
| Geoffrey Chaucer (Medieval) | The Canterbury Tales |
| John Gower (Medieval) | Vox Clemantis |
| Margery Kemp (Medieval) | The Book of Margery Kemp |
| Sir Thomas Mallory (Medieval) | Le Morte D' Arthur |
| William Langland (Medieval) | Piers Plowman |
| Ben Johnson (Renaissance) | "To Celia" |
| Christopher Marlowe (Renaissance) | Dr. Faustus |
| Edmund Spenser (Renaissance) | The Faerie Queen |
| John Donne (Renaissance) | "A Valediction: Forbidding Mourning" |
| John Milton (Renaissance) | Paradise Lost |
| Michael Drayton (Renaissance) | "Since There's No Help, Come Let Us Kiss and Part" |
| Sir Phillip Sydney (Renaissance) | Astrophel and Stella |
| Sir Thomas Wyatt (Renaissance) | "They Flee From Me" |
| William Shakespear (Renaissance) | The Merchant fo Venice |
| Alexander Pope (Restoration) | "The Rape of the Lock" |
| Anne Bradstreet (Restoration) | "The Author To Her Book" |
| Daniel Defoe (Restoration) | Robinson Crusoe |
| Henry Fielding (Restoration) | Tom Jones |
| John Dryden (Restoration) | "Mac Flecknoe" |
| John Gay (Restoration) | The Beggar's Opera |
| Jonathon Swift (Restoration) | Gulliver's Travels |
| Robert Herrick (Restoration) | To the Virgins, To Make Much Of Time |
| Thomas Gray (Restoration) | An Elegy Written in a Country Churchyard |
| William Congreve (Restoration) | The Way of the World |
| Charles Dickens (Romantics) | Great Expectations |
| Chralotte Bronte (Romantics) | Jane Eyre |
| Emily Dickenson (Romantics) | Because I Could Not Stop for Death |
| George Eliot (Romantics) | Middlemarch |
| Herman Melville (Romantics) | Moby Dick |
| Jane Austen (Romantics) | Emma |
| John Keats (Romantics) | To Autumn |
| Kate Chopin (Romantics) | The Awakening |
| Mark Twain (Romantics) | The Adventures Of Huckleberry Finn |
| Mary Shelley (Romantics) | Frankenstein |
| Nathaniel Hawthorne (Romantics) | The Scarlett Letter |
| Samuel Taylor Coleridge (Romantics) | Rime of the Ancient Mariner |
| Thomas Hardy (Romantics) | Tess of the D'Ubervilles |
| Walt Whitman (Romantics) | O Captain! My Captain! |
| William Wadsworth (Romantics) | The Word is Too Much With Us |
| Alice Walker (Modern) | The Color Purple |
| Anne Sexton (Modern) | Cinderella |
| Authur Miller (Modern) | The Crucible |
| E.E. Cummings (Modern) | Anyone Lived in a Pretty How Town |
| Ernest Hemingway (Modern) | A Farewell to Arms |
| F Scott Fitzgerald (Modern) | The Great Gatsby |
| Gwendolyn Brooks (Modern) | We Real Cool |
| J.D. Salinger (Modern) | Catcher in the Rye |
| James Joyce (Modern) | Ulysses |
| John Steinbeck (Modern) | The Grapes of Wrath |
| Langston Hughes (Modern) | Theme for English B |
| Robert Frost (Modern) | Fire and Ice |
| Sylvia Plath (Modern) | The Bell Jar |
| T.S. Eliot (Modern) | The Love Song of J Alfred Prufrock |
| Virginia Woolf (Modern) | Mrs. Dalloway |
| Wilfred Owen (Modern) | Anthem for Doomed Youth |
| William Butler Yeats (Modern) | The Second Coming |
| William Faulkner (Modern) | The Sound and the Fury |
| allegory | a story in which person, place and things form a system of clearly labeled equivalents |
| simple allegory | characters and other ingredients often stand for other definite meanings, which are often abstractions |
| supreme allegories | found in some biblical parables |
| classic allegories | medieval play - hero represents us all |
| symbolic act | a gesture with larger significance |
| satyr play | an obscene parody of a mythic story, performed with the chorus dressed as satyrs(unruly mythic attendants that were 1/2 human 1/2 goat |
| prologue | prep scene |
| parados | song for the entrance of the chorus |
| episodes | actions enacted, like the acts or scenes in modern plays sep by song or dance |
| exodus | the last scene, which the characters and chorus conclude the action and depart |
| persona | masks worn by the actors that had a projecting hole that threw their voice |
| cothurni | high, thick soled shoes that made actors appear taller on stage |
| tragic flaw | fatal weakness, some moral achilles heel, that brings down the hero |
| hubris | extreme pride, overconfidence |
| reversal | an action that turns out to have the opposite effect from the one intended |
| realism in drama | an attempt to reproduce faithfully the surface appearance of life, especially that of ordinary people in everyday situations |
| naturalism | a kind of realism in fiction and drama dealing with the more brutal or unpleasant aspects of reality |
| tragicomidies | developed in mid 20th century - play that stir us not only to pity and fear but also laughter |
| comic relief | section of comedy introduces a sharp contrast in mood |
| theater of the absurd | general name for a type of play 1st staged in Paris in the 50's |
| feminist theater | exploers the lives, problems and occasional triumphs of contemp women, also written in the realistic style |
| elements of lit of classical period | epic and lyric forms, drama, tragedies, comedy |
| elements of lit of medieval period | oral tradition, folk ballads, mystery ballads, miracle plays, stock epitaths, moral tales |
| elements of renaissance | human life theme, development of human potential, many aspects of love; sonnet, drama written in verse, trgedies and comedies, histories |
| elements of lit in 17th & 18th cent | reason and logic, harmony, stability and wisdom, social contract exists between gov't and people and natural rights (life, liberty, property); satire, essays, letters, biographies, diaries, novels |
| movements of 17 and 18th cent | industrial revolution and high poverty rate |
| elements of lit in 19th cent | gothic elements/terror/horror stories/novels, evil attributed to society, not nature |
| movements of 19th cent | Napoleon rises to power, Tory philosophy, railroads begin to run, conflict arises between rich and poor, sweatshop come to light, romantic traingles, bigomous marriages, Novel becomes mass produced for the 1st time, lit begins to reach the masses, magazin |
| elements of lit in 20th cent | man is nothing except what he makes of himself, loss of the hero in lit, free verse poetry, epiphanies begin to appear, speeches, memoirs, Novels, present tense, magic realism, "seize life for the moment and get all you can out of it" |
| movements of the 20th cent | WW I, WW II |
Created by:
jrheaagnew