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Approach to literature that focuses on the reader rather than the work itself bu attempting to describe what goes on in the reader's mind during the reading of a text. |
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Reader-response strategies/criticism |
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Consciousness of the reader produced by reading the work is the subject.How we read and what influences our readings and what that reveals about ourselves |
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A literary technique that attempts to create the appearance of life as it is actually experienced. |
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Moment in a story when previously unknown or withheld information is revealed to the protagonist, resulting in the discovery of the truth of his or her situation and usually a decisive change in course for that character. |
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The conclusion of a plot's conflicts and complications. Also known as falling action. |
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Consist of murder that has to be avenged by a relative of the victim. |
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The point in a story when the protagonist's fortunes turn in an unexpected direction. |
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The repetition of identical or similar concluding syllables in different words, most often at the ends of lines. |
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Describes the pattern of end rhymes. |
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Refers to the recurrence of stressed and unstressed sounds in poetry. |
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A complication creates some sort of conflict for the protagonist. |
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Refers to metrical feet which move from unstressed to stressed sounds, such as the iambic foot and the anapestic foot. |
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Involves a love affair that meets with various obstacles but overcomes them to end in a blissful union. |
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More complex than flat characters and often display the inconsistencies and internal conflicts found in most real people; fully developed. |
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Enjambment, when one line ends without a pause and continues into the next line for its meaning. |
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Strong form of verbal irony that is calculated to hurt someone through, for example, false praise. |
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Literary art of ridiculing a folly or vice in order to expose or correct it. |
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The process of measuring the stresses in a line of verse in order to determine the metrical pattern of the line. |
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In drama, it is a subdivision of an act. They usually consist of units of action in which there are no changes in the setting or breaks in the continuity of time. |
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Describes the effort by an author to induce emotional responses in the reader that exceed what the situation warrants. |
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Stanza consisting of exactly six lines. |
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36 lined poem divided into six sestets and a three-line concluding stanza called an envoy. The six words at the end of the first sestet's lines must also appear at the ends of the other five sestets. |
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The physical and social context in which the action of a story occurs. Major elements: time, place, and social environment. |
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English sonnet; organized into three quatrains and a couplet, which typically rhyme abab cdcd efef gg. |
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Allows the author to present a character talking and acting, and lets the reader infer what kind of person the character is. |
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Common figure of speech that compares two things using words such as like, as, than, appears, and seems. |
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Incongruity between what is expected to happen and what actually happens due to forces beyond human comprehension or control. |
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A stage building that served as dressing rooms. |
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Near rhyme, Off Rhyme, and approximate rhyme: the sounds are almost but not exactly alike. Example: home, same; worth, breath. |
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An approach to literature that examines social groups, relationships, and values as they are manifested in literature. |
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Dramatic convention by means of which a character, alone onstage, utters his or her thoughts aloud. |
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Fixed form of lyric poetry that consists of fourteen lines, usually written in iambic pentameter. |
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Voice used by an author to tell a story or speak a poem. |
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A foot consisting of two stressed syllables, but is not a sustained metrical foot and is used mainly for variety or emphasis. |
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A playwright's written instructions about how the actors are to move and behave in a play. |
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In poetry, it refers to a grouping of lines, set off by a space, that usually has a set pattern of meter and rhyme. |
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Choral ode, in which the chorus responds to and interprets the preceding dialogue. |
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Does not change throughout the work, and the reader's knowledge of that character does not grow. |
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Characters that embody stereotypes such as the dumb blonde. They become types rather than individuals. |
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Predictable, conventional reactions to language, characters, symbols, or situations. |
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Stream-of-consciousness technique |
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Takes a reader inside a character's mind to reveal perceptions, thoughts, and feelings on a conscious or unconscious level. This suggests the flow of thought as well as its content. |
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The emphasis, or accent, given a syllable in pronunciation. |
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The distinctive and unique manner in which a writer arranges words to achieve particular effects. |
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The secondary action of a story, complete and interesting in its own right, that reinforces or contrasts with the main plot. |
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The anxious anticipation of a reader or an audience as to the outcome of a story. |
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A person, object, image, word, or event that evokes a range of additional meaning beyond and usually more abstract than its literal significance. |
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A kind of metaphor in which a part of something is used to signify the whole. Example: ten sails=ten ships |
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The ordering of words into meaningful verbal patterns such as phrases, clauses, and sentences. |
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The author intervenes t odescribe and sometimes evaluate the character for the reader. |
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An interlocking three-line rhyme scheme: aba, bcb, cdc, ded, and so on. |
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The central meaning or dominant idea in a literary work. A theme provides a unifying point around which the plot, characters, setting, point of view, symbols, and other elements of a work are organized. |
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The central idea of an essay. |
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The author's implicit attitude toward the reader or the people, places, and events in a work as revealed by the elements of the author's style. |
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A story that presents courageous individuals who contront powerful forces within or outside themselves with a dignity that reveals the breadth and depth of the human spirit in the face of failure, defeat, and even death. Tragedies recount an individual's downfall. |
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This is an error or defect in the tragic hero that leads to his downfall. |
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Form of dramatic irony found in tragedies. |
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Type of drama that combines certain elements of both tragedy and comedy. The plot tends to be serious, leading to a terrible catastrophe, until an unexpected turn in events leads to a reversal of circumstance, and the story ends happily. |
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A tercet in which all three lines rhyme. |
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Consists of one stressed syllable followed by an unstressed syllable such as "lovely". |
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The opposite of hyperbole, understatement refers to a figure of speech that says less than is intended. |
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Reveals an interpretation of events that is somehow different from the author's own interpretation of those events. |
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Figure of speech that occurs when a person says one thing but means the opposite. |
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A generic term used to describe poetic lines composed in a measured rhythmical pattern, that are often, but not necessarily, rhymed. |
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A type of fixed form poetry consisting of nineteen lines of any length divided into six stanzas: five tercets and a concluding quatrain.aba,aba,... until quatrain:abaa. |
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A realistic style of play that employs conventions including plenty of suspense created by meticulous plotting. |
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