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American Lit Final
Lit terms, titles, authors, periods
| Question | Answer |
|---|---|
| Postmodernism | continuation of the Modernist agenda and reaction against it literature that calls attention to itself a s literature |
| Sestina | complicated poetic form 39 lines divided into 6 set and concluding tercet iambic pentameter |
| Villanelle | 19 lines and is divided into 5 tercets and a concluding quatrain and written in iambic pentameter |
| Modernism | non-linear narrative structure, thematic ambiguity, self-mocking tone and privileging of form and tech. |
| Imagism | poetry should focus on the exact, sharp, clear, concrete image |
| Realism | representation of things as they really are |
| Regionalism | focuses on character, dialect, customs, history, and landscape of particular region |
| Naturalism | social and natural biological, environmental and economical forces determining human behavior |
| Petrarchan Sonnets | making order from chaos |
| Objective Point of view | like a movie camera everything must be revealed through dialog and action |
| First Person Observer | narrator is outside the action |
| First Person Retrospective Narrator | narrator looks back on the story's events |
| Verisimilitude | the likeness of reality |
| local color movement | faithful portrayal of speech, customs, dress, living conditions of a location |
| minimalism | hints to guide readers opinion |
| confessional | poetry; first person; outlet for authors demons |
| metafiction | fiction acknowledges its fiction (breaking 4th wall) |
| James | The Real Thing |
| Jewett | A White Heron |
| Chopin | At the Cadian Ball |
| Gilman | The Yellow Wallpaper |
| Wharton | The Other Two |
| Cather | A Wagner Matinee |
| Robinson | Richard Cory and Mr. Flood's Party |
| Frost | Home Burial and Mending Wall |
| William | They Young Housewife, Danse Russe, THe Widow's Lament in Springtime, The Red Wheelbarrow, This Is Just to Say |
| T.S. Eliot | The Love Song of J. Alfred Prufrock |
| Millay | I, Being Born a Woman and Distressed and Oh, Oh You Will Be Sorry for That Word |
| Hughes | Mother to Son, THe Negro Speaks of Rivers, I, Too, Harlem |
| Fitzgerald | The Ice Palace |
| Faulkner | the Evening Sun |
| Hemingway | Hills Like White Elephants, A Very Short Story |
| Hurston | The Gilded Six Bits |
| Welty | A Worn Path |
| Roethke | My Papa's Waltz, I Knew a Woman |
| Bishop | Sestina, One Art |
| Brooks | the mother, The Bean Eaters |
| O'Connor | A Good Man is Hard to Find |
| Plath | Morning Song, Daddy |
| Updike | A & P |
| Alexie | What You Pawn I Will Redeem |
| Carver | Are These Actual Miles? |
| O'Brien | The Things They Carred |
| What Movement: The Real Thing | Verisimilitude- the poor models real; he can only draw what he sees; he can't change them in his drawings. They are reality |
| What Movement: The White Heron | Realism- her internal struggle; real situation Regionalism- specific area in story Romantic; Passion for the wild |
| What Movement: At the Cadian Ball | Regionalism- explaining and describing area Local color- culture |
| What Movement: Yellow Wall Paper | Feminism- women problems Realism- real life |
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