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Literature LCC WGU 2
Literature-notes chapter 2
| Question | Answer |
|---|---|
| argumentative essay | an essay whose primary purpose is to persuade us to agree with what it says |
| leading argument | main argument |
| narrative arguments | help us identify with the subject of the argument |
| evaluative arguments | persuade us that a situation we bprobably regarded negatively is actually something positive |
| definition | what emerges from the evaluation of the arguments |
| objectively | rational observers |
| subjectively | passionate individuals |
| Good arguments appeal to what? | Both objectively and subjectively |
| things | objects that are primarily what they appear to be |
| signs | visual objects that signify, or mean something in addition to what they are as a thing |
| branding | creating a set of qualities that a company wants associated with its products in the the minds of consumers. |
| Antihero | a protagonist of a mondern play or novel who has the converse of most of the traditional attributes of the HERO. this hero is graceless, inept, sometime stupid, sometimes dishonest. |
| Antagonist | the character directly opposed to the protagonist. a rival, opponent, or enemy of the protagonist. |
| Allegory | a form of extended metaphor in which objects, persons, and actions in a narrative are equated with meanings that lie outside the narrative itself. |
| Allusion | a figure of speech that makes brief reference to a historical or literary figure, event, or object. |
| Aside | a dramatic convention by which an actor directly addresses the audience but is not supposed to be heard by the other actors on the stage. |
| Archetype | a term brought into literary criticism from the psychology of Jung, who holds that behind each individual's "unconscious"-the blocked off residue of the past- lies the "collective uncounscious" of the human race-blocked off memory of our racial past. |
| Conflict | the struggle that grows out of the interplay of two opposing forces |
| Crisis | |
| Climax | A rhetorical term for a rising order of importance in the ideas expressed |
| Characterization | The creation of imaginary persons so that they seem lifelike. |
| Cosmic Irony | |
| Convention | any device or style or subject matter which has become, in its time and by reason of its habitual usage, a recognized means of literary expression, an accepted element in technique. |
| Complication | The part of a plot in which the entanglement caused by the conflict of opposing forces is developed. It is the tying of the knot to be untied in the resolution. |
| Denoucement (Resolution) | literally, "unknotting" the final unraveling of a plot; the solution of a mystery; an explanation or outcome. |
| Dramatic Irony | the words or acts of a character may carry a meaning unperceived by the character but understood by the audience. |
| Deus Ex Machina | the employment of some unexpected and improbable incident to make things turn out right. |
| Epiphany | literally, a manifestation or showing-forth, usually of some divine being. |
| Exposition | one of the four chief types of composition, the others being argumentattion, description and narroation. its purpose is to explain something. |
| Falling Action | the second half or resolution of a dramatic plot. it follows the climax, beginning often with a tragic force, exhibits the failing fortunes of the hero and the successful efforts of the counterplayers, and cuminates in the catastrophe. |
| Foil | literally, a "leaf" of bright metal placed under a jewel to increase its brilliance. |
| Flat Character | E. M. Forster's term for a character constructed around a single idea or quality. Example... "I never will desert Mr. Micawber, " |
| Flashback | a device by which a work presents material that occurred prior to the opening scene of the work. |
| Foreshadowing | the presentation of material in a work in such a way that later events are prepared for. it can result from the establishment of a mood or atmosphere, or from an event that adumbrates the later action, or from the appearance of physical objects or facts |
| Hero | the central character in a work. the character who is the focus of interest. |
| Irony | a broad term referring to the recognition of a reality different from appearance. |
| Irony of situation (Situaltional Irony) | |
| In Media res | a term literally meaning "in the midst of things."it is applied to the literary technique of opening a story in the middle of the action & then supplying information about the beginning of the action through flashbacks & other devices 4 exposition |
| Monologue | a composition giving the discourse of one speaker. |
| Motivation | the reason, justifications, and explanations for the action of a chater |
| Motif | a simple element that serves as a basis for expanded narrative or less strictly, a conventional situation, dievice, interest, or incident |
| Mood/Atmoshpere | the tone of a literary work particularly-but not exclusively- when that mood is established in part by setting or landscape |
| Narrative | an account of events; anything that is narrated |
| Persona | literally, a mask. the term is widely used to refer to a "second self" created by an author and through whom the narrative is told |
| Plot | a concept about which there has been much disagreement |
| Protagonist | the chief character in a work. the word was originally applied to the "first" actor in early Greek drama |
| Point of View | the vantage point from which an author presents a story |
| Recognition | plot is one in which the principal reversal or peripety results from soneone's acquisition of knowledge preveiously withheld but which, now known, works a decisive change. |
| Rising Action | the part of a dramatic plot that has to do with the complication of the action. it begins with the exciting force, gains in interest and power as the opposing groups come into conflickt, and proceeds to the climax |
| Round Character | a term used by e. M. Forster for a character sufficiently complex to be able to surprise the reader without losing credibility. example "has the incalculability of life about it." |
| Setting | the background against which action takes place. |
| Subplot "Double Plot" | a subordinate or minor story in a piece of fiction. |
| Stock Character | conventional character types (morality play) |
| Satire | a work or manner that blends a censorious attitude with humor and wit for imporving human institutions or humanity. |
| Soliloquy | a speech delivered while the speaker is alone, calculated to inform the audience of what is passing in the character's mind |
| Truism | |
| Tone | the attitudes toward the subject and toward the audience implied in a literary work |
| Theme | a central idea |
| Verbal Irony | |
| 1st person point of View | |
| 2nd person point of view | |
| 3rd person objective point of view | |
| 3rd person limited point of view | |
| 3rd person omniscient point of view |
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