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ApproachesFinal
Approaches to Literature Final
| Question | Answer |
|---|---|
| a created artifact, a structure that develops from the human imagination and that is expressed rhythmically in words | poem/poetry |
| tells a story using a certain shape or form, originally a song for dancing | narrative ballad |
| spoken and written signifiers of thoughts, objects, and actions; building blocks of both poetry and prose | Words |
| type of language that refers to objects or conditions that can be perceived or imagined | specific language |
| type of language that signifies broad classes of persons, objects, and phenomena | general language |
| type of diction that describes conditions or qualities that are exact and particular | concrete diction |
| type of diction that refers to qualities that are rarefied and theoretical | abstract diction |
| level of diction that is relaxed and un-self-conscious (the language of people buying groceries, gasoline, and pizza, and of people who may just be "hanging out") | Low or informal diction |
| a word originally meaning "making one's own", refers to words, phrases, and expressions that are common and acceptable in a particular language, even though they might, upon analysis, seem peculiar or illogical | idiom |
| level of diction that exactly follows the rules of syntax, seeking accuracy of expression even if unusually elevated or complex words are brought into play. | high or formal diction |
| level of diction that maintains the correct language and word order, but avoids elaborate words and elevated tone, just as it avoids idioms, colloquialisms, contractions, slang, jargon, and fads of speech. | middle or neutral diction |
| a habit of speech that is characteristic of many groups, regions, and nations | dialect |
| term that describes much of the language that people use every day | slang |
| specialized words and expressions that are usually employed by members of specific professions or trades | jargon |
| refers to word order and sentence structure | syntax |
| the most easily recognized rhetorical device that produces lines or portions of lines that impress our minds strongly | parallelism |
| a contrasting situation or idea that brings out surprise and climax | antithesis |
| common pattern of creating emphasis (abba ordering) | antimetabole or chiasmus |
| the ordinary dictionary meaning of a word indicating conventional correspondences between words and objects or ideas | denotation |
| the life of language, and the most difficult to control, is a result of this. For example, childish suggest a persion who is bratty and immature, while childlike suggests a persion who is innocent, while the dictionary definitions would not vary much. | connotation |
| the most significant character in poetry | speaker or persona |
| type of character in poetry whom the speaker addresses directly and who is therefore "inside the poem" | listener |
| form of poetry that occurs between two persons, so the characters are both the speakers and listeners | dialogue |
| a related but distinct type of situation involving a listener, in which the speaker talks directly to an on-the-spot listener. | dramatic monologue |
| word that refers to words that trigger your imagination to recall and recombine images (memories or mental pictures of sights, sounds, tastes, smells, sensations of touch, and motions) | imagery |
| the most frequently occurring literary imagery that we can visualize exactly or approximately | visual images |
| these type of images trigger our experiences with sound | auditory images |
| images from smell | olfactory image |
| images from taste | gustatory images |
| images of touch and texture | tactile images |
| images of general motion | kinetic |
| images of human or animal movement | kinesthetic |
| equates known objects or actions with something that is unknown or to be explained; merges identity ("your words are music to my ears") | metaphor |
| illustrates the similarity or comparability of the unknown to something unknown or to be explained; focuses on resemblance ("you words are like music to me") | simile |
| a "thought beyond a thought"; a figurative device through which something apparently wrong or contradictory is shown to be truthful and non-contradictory | paradox |
| the repetition of the same word or phrase throughout a work or a section of a work in order to lend weight and emphasis | anaphora |
| "a redirection of attention" in which the speaker addresses a real or imagined listener who is not present | apostrophe |
| a dramatic figurative device which poets explore relationships to environment, ideals, and inner lives | personification |
| "taking one thing out of another"; a device in which a part stands for the whole or a whole for a part ("all hands aboard" describes the whole of a ships crew) | synecdoche |
| "transfer of a name";substitutes one thing for another with which it is closely identified (White House signifying the the policies and activities of the president) | metonymy |
| wordplay stemming from the fact that words with different meanings have surprisingly similar or even identical sounds and that some individual words have surprisingly differing and even contradictory meanings | pun or paronomasia |
| "bringing together of feelings"; used when a poet describes a feeling or perception with words that usually refer to different or even opposite feelings or perceptions | synesthesia |
| overstatement; an exaggeration for effect | hyperbole |
| deliberate underplaying or undervaluing of a thing | understatement |
| a term that describes the shaping of attitudes in poetry | tone |
| a mode of indirection, a means of making a point by emphasizing a discrepancy or opposite | irony |
| type of irony in which a poet introduces ironic effects of language itself | verbal |
| type of irony derived from discrepancies between the ideal and the actual | situational irony |
| type of irony in which one character is unaware of an important detail known by another character | dramatic irony |
| a vital genre in the study of tone, designed to expose human follies and vices | satire |
| the general word describing the study of poetic sounds and rhythms | prosody |
| the continuous stream of speech, whether conversation, oratory, or poetry is provided mainly by these sounds | vowel sounds |
| a meaningful sound that begins with one voul sound and then is completely by the movement to another vowel sound | diphthong |
| sounds made by the momentary stoppage and release of breath either when the lips touch each other or when the tongue touches the hard palate | stop sounds |
| sounds produced by the steady release of the breath in conjunction with various positions of the tongue in relation to the lips, teeth, and palate | continuant sounds |
| two special sounds that begin with the stops t and d and then become the continuants sh and zh (as in chew and judge) | affricates |
| sounds midway between vowels and consonants that move from an originating sound and then move to another vowel sound | semivowel sounds |
| consonants that are produced with the vibration of the vocal chords | voiced |
| consonants produced by the breath alone | voiceless |
| consonants that require stoppage of breath in the mouth so that the sound can be release through the nose | nasal consonants |
| in poetry, this consists of a single meaningful strand of sound | syllable |
| the most intense syllables are called: | heavy stress syllables |
| in traditional verse, poets select these patterns that consists of a regularized relationship of heavy stresses to light stresses | feet |
| the systematic study of poetic rhythm | scansion |
| the number of feet in a poem's lines | meter |
| the most important poetic foot in English that contains a light stress followed by a heavy stress | Iamb |
| the type of poetic foot that consists of a heavy accent followed by a light | trochee |
| the type of two-syllable poetic foot that consists of two successive, equally heavy accents | spondee |
| the type of two-syllable foot that consists of two unstressed syllables | phrrhic |
| the type of three-syllable foot that has a heavy stress followed by two lights | dactyl |
| the type of three-syllable foot that consists of two light accents followed by a heavy accent | anapest |
| a single stressed syllable by itself or an unstressed syllable by itself, creates this | imperfect foot |
| a final foot that consists of only one syllable that is missing a syllable | catalectic syllable |
| poets frequently alter and enlarge the regular patterns of poems through this method | substitution |
| a rhythm in which the major stresses would be released from the line | sprung rhythm |
| pauses that grammatically and rhythmically create separate units of meaning called: | cadence groups |
| the name of pauses in scansion are called: | caesura |
| diagonal slashes used while writing out writing a line of scansion | virgules |
| when a caesura ends a line, usually marked by punctuation, that line is considered: | end-stopped |
| if a line has no punctuation at the end and the thought carries over to the next line, it is called: | run-on |
| the repetition of identical vowel sounds in different words | assonance |
| highlighting ideas by words containing the same consonant sound | alliteration |
| blend of consonant and vowel sounds designed to imitate or suggest a situation or an action | onomatopoeia |
| "good sound"; words containing consonants that permit an easy and smooth flow of spoken sound | euphony |
| "bad sound"; percussive and choppy sounds make for orous and noisy pronunciation | cacophony |
| refers to words containing identical final syllables | rhyme |
| type of rhymes with identical rhyming sounds | exact rhymes |
| rhyme used within individual lines | internal rhyme |
| type of rising rhyme that utilizes one-syllable words in an iambic foot and two-syllable words in which the accent falls on the second syllable | iambic rhyme (heavy stress rhyme, or accented rhyme) |
| rhyming using words of two syllables in which the heavy stress is followed by light syllables | troachic rhyme (double rhyme) |
| rhyming using words of three syllables in which the heavy stress is followed by light syllables | dactylic rhyme (triple rhyme) |
| rhymes that are created out of words with similar but not identical sounds | inexact rhyme |
| sounds that are identical in spelling but different in pronunciation | eye rhyme (sight rhyme) |
| a poem's pattern of rhyming sounds, which can be schematized by alphabetical letters | rhyme scheme |
| a stanzaic pattern of 4 line units | quatrains |
| form of poetry written in specific and traditional patterns of lines produced through line length, meter, rhyme, and line groupings | closed-form poetry |
| various numbers of lines may be grouped together through rhyme and other means to form this | stanza |
| one of the most common closed-form poetry in English; unrhymed iambic pentameter, which represents the adaptation and fusion of sentences to poetic form | blank verse |
| when the iambic-pentameter couplet was considered appropriate for epic, or heroic poetry, it was termed: | heroic couplet (neoclassic couplet) |
| the heroic couplet thrives on these two rhetorical strategies | parallelism and antithesis |
| a three line stanza | tercet or triplet |
| a tercet variation in which stanzas are interlocked through a pattern that required the center termination in one tercet to be rhymed twice in the next | terza rima |
| the most complex variation of the tercet pattern which is a nineteen-line form containing six tercets, rhymed aba, and concluded by four lines | villanelle |
| consists of fourteen lines and is one of the most popular and durable closed poetic forms | sonnet |
| the sonnet form that is in iambic pentameter and contains two quatrains and two tercets | Petrarchan sonnet (Italian sonnet) |
| sonnet form based on seven rhymes, containing three quatrains and a concluding couplet | Shakespearean sonnet (English sonnet) |
| stanzaic form originally designed to be sung to a repeating melody | song or lyric |
| more variable stanzaic form than lyric, with varying line lengths and intricate rhyme schemes | ode |
| "mournful song"; poem of lamentation | elegy |
| a poem describing rural lives and concerns, with direct allegorical implications for the lives of city-dwellers | pastoral |
| fuses narrative description with dramatic dialogue, originated in folk literature and is one of the oldest closed forms in English poetry | ballad |
| quatrain form; similar to the ballad stanza; shares with the ballad the alternation of four-beat and three-beat iambic lines but adds a second rhyme to the first and third lines of each quatrain | common measure (hymnal stanza) |
| originated in Japan, imposes strict rules on the writer; short, simple, objective, clear and often symbolic | haiku |
| brief poems composed to mark the death of someone | epitaphs or epigrams |
| a five-line form; comic, often bawdy | limerick |
| form of poetry that is unique and unpredictable; attempts to fuse form and content by stressing speechlike rhythms, creating a natural and easy-flowing word order, altering and varying line lengths according to importance of ideas, etc. | open-form poetry (free verse) |
| form of poetry that not only emphasizes the idea and emotion of their subjects but is also fashioned into a generalized or pictorial shape on the page, using words, lines, and spaces | visual poetry (shaped verse, picture poetry) |
| symbols that possess a ready-made, clearly agreed upon meaning wherever they are used | cultural or universal symbols |
| symbols that are not widely or universally recognized | contextual, private, or authorial symbols |
| used to connect new literary works with the broader cultural tradition of which the works are a part by acknowledging brief quotations from other works and referencing historical events and any aspect of human culture | allusion |
| story, narrative, or plot usually associated with the relationships of gods to humanity, battles among gods, or heroes. | myth |
| refers collectively to stories and beliefs, either of one particular society or of a number os focieties | mythology |
| a system of beliefs and religious or historical doctrine | mythos |
| term that states that not only do we live with myths, but we habitually create them | mythopoeic |
| recurring images; all humans share a universal or collective unconsciousness | archetypes |
| systems of mythology that are part of a vast common heritage | universal or public |
| genre of literature that focuses on one or a few major characters who enjoy success or endure failure as they face challenges and deal with other characters | drama |
| the playwright's instructions about facial and vocal expression, movement and action, gesture and body language, stage appearance, lighting, etc. | stage directions |
| the first or leading struggler or actor; usually the central character | protagonist |
| the one who struggles against; opposes the main character typically | antagonist |
| a character that profits from experience and undergoes a development in awareness, insight, understanding, moral capacity, and the ability to make decisions | round, dynamic, developing, growing character |
| a character that does not undergo any change or growth | flat, static, fixed, unchanging character |
| characters designed to seem like individualized women and men; given thoughts, desires, motives, personalities, and lives of their own | Realistic characters |
| characters that are often undeveloped and symbolic | Nonrealistic characters |
| unindividualized characters whose actions and speeches make them seem to have been taken from a mold | stereotype or stock characters |
| characters who set off or highlight the protagonist and provide insight into the action | ancillary characters |
| a type of ancillary character who is to be compared and contrasted with the protagonist | foil |
| a type of ancillary character who is often a confidant of the protagonist | choric figure |
| when the choric figure expresses ideas about the play's major issues and actions, he is called a: | raisonneur (commentator) |
| the point of view of a play; the ways in which dramatists direct attention to the play's characters and their concerns | perspective |
| when a play offers consistent and sustained symbols that refer to general human experiences, that play can be constructed as an: | allegory |
| term used to describe when actors move about the stage according to patterns they imagine the characters might move | blocking |
| gestures or movements that make the play dynamic, spontaneous, and often funny | stage business |
| a picture-frame stage that is like a room with one wall missing so that the audience can look in on the action | proscenium stage |
| stage which enlarges the proscenium stage with an acting area projecting into the audience by 20 or more feet | thrust stage (apron stage) |
| a curtain that becomes transparent when illuminated from behind | scrim |
| lengthy songs that young men sang/chanted, named by the Athenians | dithyrambs |
| a boisterous, lewd, and freely critical type of burlesque comedy | Old Comedy |
| a social, discreet, and international drama comedy | Middle Comedy |
| a type of comedy play featuring the development of situation, plot, and character | New Comedy |
| a short dramatic interlude performed in conjunction with the mass, either with or without musical accompaniment, developed in churches | trope |
| a strong element of Athenian Old Comedy that's main purpose is to make audiences laugh; typically crammed full of extravagant dialogye, stage business, and slapstick | farce |
| a form of drama in which most situations and characters are so exaggerated that they seem ridiculous | melodrama |
| a type of drama that explores social problems and the individual's place in society | social drama (problem drama) |
| drama in which a major character undergoes a loss but also achieves illumination or a new perspective | tragedy |
| authors of three surviving tragic playwrights | Aeschylus, Sophocles, Euripides |
| the end or goal of tragedy; produces a therapeutic effect through an actual purging of emotions (tragedy heals) | catharsis |
| a situation that forces the tragic protagonist to make a difficult choice | tragic dilemma |
Created by:
charsany
Popular English Vocabulary sets