WGU Literature History terms
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| A period of British literature beginning in 1700 and ending in 1745. | Augustan Age
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| Writers in this period linked themselves with writers in the age of the Roman Emperor Augustus. | Augustan Age
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| These writers imitated the literary forms of Horace, Virgil, and Ovid and drew upon the perceived order, decorum, moderation, civility, and wit of these writers. | Augustan Age
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| Messages or testimony transmitted orally from one generation to another. | Oral Tradition
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| The messages or testimony are verbally transmitted in speech or song and may take the form, for example, of folktales, sayings, ballads, songs, or chants. | Oral Tradition
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| Dumb show | Pantomime
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| A performance using gestures and body movements without words. | Pantomime
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| Greek for "sudden change" | Peripeteia (Also spelled peripetea)
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| The sudden reversal of fortune in a story, play, or any narrative in which there is an observable change in direction. | Peripeteia
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| In tragedy, this is often a change from stability and happiness toward the destruction or downfall of the protagonist. | Peripeteia
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| the turn of fortune at the climax of the plot, usually in the third act, in Gustav Freytag’s structural model of a play. | Peripeteia (Also known as peripety)
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| “Comedy of the professional actors” | Commedia dell'arte
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| This is a form of comedy which emerged in Italy in the mid-sixteenth century that usually involved love intrigues, stock characters, and a mostly improvised dialogue surrounding a scenario. | Commedia dell'arte
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| This influenced European dramatists, particularly Elizabethan writers. | Commedia dell'arte
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| These mimed scenes before a play or before each act in a play summarized or foreshadowed the coming events of the plot. | Dumb Show
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| These shows were common in early Renaissance drama, but Greenblatt notes that they already seemed old-fashioned in Shakespeare's time. Still, writers employed them up until the 1640s (Greenblatt 1139). | Dumb Show
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| These are rules for drama derived from a passage in Aristotle's Poetics. | Classical Unities
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| A play should have one main action that it follows, with no or few subplots. | Unity of action
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| A play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place. | Unity of place
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| The action in a play should take place over no more than 24 hours. | Unity of time
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| What are the Classical unities or three unities? | Unity of action, Unity of place, & Unity of time
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| A form of high comedy, usually about love, that relies on intellectual rather than physical comedy and is meant to appeal to a "cultivated" audience. | Comedy of Manners
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| This is often associated with Restoration drama, and the setting is frequently aristocratic or high society. | Comedy of Manners
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| This is still a vibrant form and can be traced back to Horace Walpole's Castle of Otranto (1764). | Gothic Novel
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| This refers to a kind of literature that creates a sense of terror and suspense. | Gothic
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| This can be characterized by its use of claustrophobic and confining spaces, macabre and medieval-based settings, and gloomy moods. | Gothic
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| Another feature is its recurring use of dark, threatening, violent forces which often trap virtuous young heroines. | Gothic
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| A period of literature (in Germany, c.16001720) marked by an acute sense of polarity and inner tension - illustrated by the joys and pains of earthly existence vs. transcendental yearning. | Baroque Literature
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| This is both a period and the style that dominated it. | Baroque
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| This style used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, and music. | Baroque
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| An elaborate, extravagantly complex, sometimes grotesque, style of artistic expression prevalent in the late sixteenth to early eighteenth centuries. | Baroque
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| This influence on poetry was expressed by Euphuism in England, Marinism in Italy, and Gongorism in Spain. | Baroque
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| Extravagant, complex, or bizarre, especially in ornamentation. | Baroque
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| Use of metaphor and allegory, widely found in... | Baroque literature
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| In 1925, Franz Roh first applied the term ... | Magical Realism
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| These postmodern writers mingle & juxtapose realistic events with fantastic ones, or they experiment with shifts in time & setting, "labyrinthine narratives and plots" & often they combine myths & fairy stories with gritty Hemingway-esque detail. | Magical Realism
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| This mixture creates truly dreamlike and bizarre effects in their prose. | Magical Realism
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