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| A form of extended metaphor in which objects, people, and actions in a narrative are equated with meanings that lie outside the narrative itself. The purpose is to teach a moral lesson. |
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| A direct or indirect reference to another work of literature, art work, famous person, or event. Writers use allusions as an appeal to the reader to share common knowledge. Three large classes of allusions are Biblical, classical, and historical. |
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| A stated likeness or comparison between two unlike things or the relationship that exists between them. It also can be an inference that if things are alike in some respects, then they are alike in others. |
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| A person or force that opposes the Protagonist, who is the central character in fiction. The antagonist may be an individual, a group of people, a force of nature, or a social force such as prejudice. |
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| A literary device used when a speaker speaks to: an inanimate object, an absent person, a deceased person, an abstract idea or value. |
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| The establishment of proof for a stated proposition with an emphasis on logic. It is designed to demonstrate the truth or falsity of a statement. Argument can rely on logos, ethos, and/or pathos. |
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| What to avoid in an Argument |
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| Nonsequitur, Begging the Question, Circular Reasoning, Straw-man Argument, Ad Hominem, Over-generalization, Post hoc, Ergo Procter Hoc, Either/or Argument, Appeal to the crowd, Faulty analogy |
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| A writer's reason for creating a literary work; these may include entertaining, informing, or persuading an audience. |
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| A basic mode of thinking that answers the question why, as well as an organizational pattern. Cause examines reasons why, Effect examines consequences. The two together create "causation." |
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| The creation, portrayal, or description of characters in text. Minor characters are usually "flat," while major characters are usually "round." |
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| In comparison, two or more objects or concepts are considered together for their likeness; in contrast, the objects are together to show their differences. |
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| A major element of plot, it is a struggle between opposing forces. External vs Internal conflict. |
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| An author's perceptions which are conveyed through words to a reader or listener. |
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| Diction/Effect of Diction |
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| An author's choice of particular words, phrases, figurative language, allusions, etc to help him achieve a purpose. Combined with Syntax, it creates an author's style. |
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| The interaction of setting, conflict, and character in a literary work. |
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| A stylistic hallmark. Effective details are present in classification, comparison/contrast, defining, describing, explaining a process, and explaining with examples and illustrations. The details often help achieve a purpose. |
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| A long narrative poem that celebrates the exploits of a hero. Ex: (Beowolf, The Odyssey). |
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| An interruption in the organization of a story as the writer "flashes back" to tell the reader about past thoughts, events, or episodes. Ex: Holes. |
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| General to Specific/Specific to General |
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| Inductive and deductive reasoning, which are major ways of organizing thinking and writing. Induction moves from specific to general, deduction moves oppositely. |
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| AKA Summarization, is a method of making sense of large amounts of factual or complex information to condense so it is more easily understood by a reader. |
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| A french word that means class or king. It is the category into which a literary work fits. Three broad classes are: prose, poetry, and drama. |
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| A figure of speech which contains an exaggeration for emphasis. |
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| Descriptive language that specifically deals with one of the five senses. |
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| To draw reasonable conclusions from material being presented. Aka "reading between the lines." |
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| A contrast or discrepancy between expectation and reality. Three major forms: Verbal, Situational, Dramatic. |
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| A collective phrase for works that are often classified together because they share a common theme or variation on theme. Ex: Naturalism. |
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| A figure of speech containing an understatement for emphasis. |
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| A comparison between two unlike things without using like or as. |
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| Methods of Interpretation |
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| Literary approaches used to analyze character development, setting, theme, symbolism, etc. Ex: Historical Approach. |
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| A figure of speech in which a word is used to apply to something conventionally associated with it. Ex: He drank the bottle. |
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| A speech given by one character. Usually a one-sided conversation. |
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| The prevailing atmosphere/aura of the story as experienced by the reader. Ex: Joyous. |
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