Literary Elements Test
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| Linear Plot | Most basic plot structure; also called DRAMATIC structure as this is the structure most commonly used in drama
Follows chronological time and story revolves around a singular event
Plot structure that most closely aligns with Freytag's pyramid
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| *Freytag's Pyramid | Exposition, Rising Action, Turning Point/Reversal of Fortune, Falling Action, Climax, Denou'ment
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| *Exposition | Introduces setting, central characters, central conflicts
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| *Rising Action | Secondary characters, secondary conflicts are introduced and primary conflicts get more complicated.
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| *Turning Point/Reversal of Fortune | Around midway through the story something is going to happen that will affect the outcome of the conflict.
If the drama will end happily, it is usually positive. If the drama will end unhappily, it is usually negative.
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| *Falling Action | Events start happening more quickly. You may start seeing the outcomes of secondary conflicts.
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| *Climax | You see the final outcome of the central conflict.
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| *Denoue'ment | Means "tie up the ends"; AKA Resolution; features the repercussions of those conflict outcomes.
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| CONFLICTS MAKE _ | PLOTS
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| *Types of Internal Conflict | Man vs. Self
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| T*ypes of External Conflict | Man vs. Man, Man vs. Society, Man vs. Nature, Man vs. Technology, Man vs. Supernatural
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| Episodic Plot | Still employs a linear, chronological structure. Doesn't focus on 1 central event but on several loosely related events, usually related by a central theme/conflict. May NOT follow Freytag's Pyramid; or may even follow it several times throughout.
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| When is Episodic Plot used? | Only in the novel genre
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| *Flashback | when the story goes to a previous moment, possibly before the time of the central story line, to provide context for what is happening in the present of the story
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| *Time Lapse | When a story leaps forward a considerable amount of time
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| *Foreshadowing | Hints or clues throughout a story that predict the outcome of a conflict; Foreshadowing helps to increase believability of the outcome
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| Parallel Plot | a structure that enables an author to combine or weave two or more dramatic plots in a story. In the beginning, these multiple dramatic plots run on their own up to their rising events but then crash together at the climax
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| Suspense | Feeling of tension or excitement about what will happen next in a story; often a reason WHY the author chooses a plot structure
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| How might a parallel plot increase suspense in a story? | the parallel plot is very effective in creating a very emotional moment in the climax among the readers because they have previously been involved in multiple rising actions.
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| Flashback Plot | plot presents occurrences inconsequentially and the author delivers information about earlier events. It allows the author to begin the story in the middle of a high-action point, and flash backward to provide back up to it.
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| In what way do readers gain understanding in the flashback plot? | Such a backstory helps the readers get a full understanding of the present events before going to the upcoming events.
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| *What are the three plot endings? | Closed, open, and cliff-hanger
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| *Closed ending | full resolution; reader knows the repercussions of the end of the conflict
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| *Open | little or no resolution; the reader can fill in the gaps to the ultimate resolution of the conflict
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| *Cliff Hanger | very abrupt ending; left not knowing the repercussions of the end of conflict and possibly not even end of the conflict
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| Framed Narrative | Story within a story; usually a character within the story hears the central narrative from some type of "story teller"
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| Point of View | relates to who
the narrator in a work is, from what
voice or angle of vision or perspective
a story or other literary work is told.Is
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| Difference between the meaning of "point of view" between AP Lit and everyday | Everyday: means opinion
AP Lit: used to ID who the narrator is
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| *First person | the narrator is a character in
the story and speaks with the pronoun
“I” to narrate.
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| *Third person | the narrator is distanced from the
story and speaks with a more
impersonal voice using the pronouns “she,”
“he,” or “they”
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| *Types of 3rd person POV | Omniscient, limited, objective
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| *Third person omniscient | the narrator seems to
know everything about every character, all
their thoughts, motivations, and feelings.
Frequently this narrative “voice” is assumed
to be that of the story’s author.
**“Omniscient” means “all knowing”
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| *3rd person limited | the narrator knows the
thoughts, motivations, and feelings of a
limited number of characters, not of all
characters. Most commonly, the narrator
shows us the story’s action through the
consciousness of only one character.
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| *3rd person objective | The story is laid out
before readers like a drama/movie and has
no narrator. Instead, the characters move
about and speak to one another as though on
stage, and we learn from watching their
actions and listening to their words.
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| Types of Narrators | Is the character reliable or unreliable?
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| Reliable narrator | this narrator seems to be
trustworthy, aware of what is true and
untrue, and we believe that the narrator not
only knows the truth but is also sharing it
with readers.
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| Which narrator is most often truthful? | 3rd person omniscient
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| Naive narrator | a narrator can be unreliable
because he or she just does not understand
events, even though he or she may be the
narrative voice whom we must depend upon
to tell us the story.
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| *Interior Monologue | perspective comes
from within one character’s mind and
readers are aware of that character’s
thoughts.
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| *Stream of Consciousness | perspective
comes from within one character’s mind
and readers are aware of that character’s
thoughts, feelings, perceptions.
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| Interior Monologue vs Stream of Consciousness | one relates to thoughts only while another
includes feelings and perceptions.
interior
monologue respects syntax (word order) and
grammatical form, but stream of
consciousness does not, being intended to
show “a direct quotation of the mind”
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| *Setting | Location, geography, time of year, time of day, year, weather, historical context and cultural context of the story
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| How does setting affect character? | settings can prompt characters to act, force revelations, and reveal characters' true "natures" within a text
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| What can SETTING do in a text? (1-4) | 1. Affect character motivation and actions
2. Reveal the nature of a character
3. Mirror the plot
4. Act as another CHARACTER; such as the antagonist
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| What can SETTING do in a text? (5-9) | 5. Provide SYMBOLISM
6. Create ATMOSPHERE
7. Offer opportunities for IRONY
8. Create thematic topics or THEMES
9. Create verisimilitude -- realistic settings can help us to suspend disbelief
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| REGIONALISM | A genre of literature in which the setting is so pivotal to the plot and character development that the story could not reasonably take place in a different location.
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| *Historical Context | everything surrounding the setting of a particular story. If you don't understand the context, you can not fully understand the story.
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| *Cultural Context | The particular ethics, morals, laws, socioeconomics, ideals of the specific culture in which the characters live in that story. Overall, more narrow than historical context because it deals with the culture of a specific group within the story.
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| 3 elements of character | physical, psychological, emotional
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| characters must have motivation in order to _ | act
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| Character | character can be any person, a figure, an inanimate object, or animal
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| *Flat | character with one or two overarching traits; not very realistic; usually has smaller role
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| *Round | character that is not all good or bad; highly realistic; may make both good choices and bad choices
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| Which two archetypes are also always flat? | STOCK and ARCHETYPE
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| *Stock Character | represent specific stereotypes. These characters are types and not individuals. based on clichés and social prejudices.
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| Another term for a stock character might be _ | TROPE
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| *Archetypes | universal and may follow a pattern of actions or behaviors but often do evolve during the course of a story.
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| *Dynamic characters | develop/evolve throughout the story usually as a result of the conflict of the story.
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| *Static characters | remain pretty much the same from beginning to end. While they may experience the same conflict, they do not change. DEATH IS NOT “CHANGE”
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| *Hero | noble, brave, morally upright
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| *Antihero | In general: rebellious, often ironic
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| Direct Characterization | Author tells the audience what the character is like
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| Indirect Characterization | The audience draws inferences based upon:
Appearance
Dialogue (by character, to character, and by other characters about character)
Actions -- by him and to him
Inner monologue
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| *Protagonist | central character the story revolves around
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| *Antagonist | central character that opposed the protagonist
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