All Prose Flashcards

1
Q

A story or poem in which characters and events represent abstract concepts or qualities; a systemic metaphor throughout a literary work.

A

Allegory

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2
Q

Lord of the Flies
Animal Farm
The Crucible

A

Allegory

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3
Q

Sally Sells Sea shells by the Sea shore

“… the sunlight came through the Leaves in Light patches on the grass.” (Hemingway 122)

A

Alliteration

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4
Q

2 or more words in close proximity with the same initial sound to produce a particular effect.

A

Alliteration

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5
Q

An indirect reference to something with which the reader is expected to be familiar. Usually biblical, historical, mythological, or literary references.

A

Allusion

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6
Q

Reference to God(s)
Or
Biblical reference in The Sun Also Rises

A

Allusion

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7
Q

“Isn’t it pretty to think so?” (Hemingway 251)
End of Inception
End of Lord of the Flies

A

Ambiguity

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8
Q

An event or situation that may be interpreted in more than one way.

A

Ambiguity

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9
Q

Assignment of something to a time when it was not in existence.

A

Anachronism

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10
Q

Rose’s clothes in Doctor Who (in 1879 Scotland).

A

Anachronism

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11
Q

Repetition of a word, phrase, or clause at the beginning of two or more sentences in a row.

A

Anaphora

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12
Q

“We shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender.” - Winston Churchill

A

Anaphora

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13
Q

A term used to describe both the individual and the collective anxiety-neurosis of the period following WWII.

A

Angst

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14
Q

Post WWII only!
Suffering, anxiety
Camus

A

Angst

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15
Q

A balancing of two opposite or contrasting words, phrases, or clauses.

A

Antithesis

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16
Q

“To be or not to be.”

“Goodbye because I love you.”

A

Antithesis

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17
Q

An address to the dead as if living; to the inanimate as if animate; to the absent as if present; to the unborn as if alive.

A

Apostrophe

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18
Q

“O Julius Caesar thou are mighty yet; thy spirit walks abroad.”

“Roll on, though deep and dark blue ocean, roll.”

A

Apostrophe

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19
Q

A term formed by repeated experiences in the lives of our ancestors, expressed in myths, religion, fantasies, and literature; recurring in literature and evoke profound emotional responses in the reader.

A

Archetype

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20
Q

Evil stepmother
MPDG (manic pixie dream girl) - bubbly, shallow, Peter pan syndrome, and help men without pursuing own happiness.
christ figure,
evil twin,

A

Archetype

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21
Q

A dramatic convention by which an action directly addresses the audience but it is not supposed to be heard by the other actors on the stage.

A

Aside

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22
Q

Macbeth to Banquo’s murderersat the banquet.

Romeo-“he jests at scars that never felt the wound”

A

Aside

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23
Q

Repetition of a vowel sound within two or more words in close proximity.

A

Assonance

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24
Q

“The voice of the sea speaks to the soul.” (Chopin 56)

A

Assonance

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25
Q

A series of words separated by commas (with no conjunction). The parts of a sentence are emphasized equally; in addition, the use of commas with no intervening conjunction speeds up the flow of the sentence.

A

Asyndeton

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26
Q

“I came, I saw, I conquered”

“As they went in under the light, I saw white hands, wavy hair, white faces, grimacing, gesturing, talking. With them was Brett” (Hemingway 28).

A

Asyndeton

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27
Q

Construction in which both halves of the sentence are about the same length and importance.

A

Balance

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28
Q

I waited patiently for the taxi; he drove nonchalantly by me.

A

Balance

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29
Q

Process by which an unhealthy emotional state produced by an imbalance of feelings is corrected and emotional health is restored.
*Peacefulness

A

Catharsis

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30
Q

“Isn’t it pretty to think so?” (Hemingway)

A

Catharsis

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31
Q

The method an author uses to develop characters in a work. In direct characterization, the author straightforwardly states the character’s traits. With indirect characterization, those traits are implied through what the character says, does, how the character dresses, interacts with other characters, etc.

A

Characterization

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32
Q

“He cared nothing for boxing, in fact he disliked it, but he learned it painfully and thoroughly to counteract the feeling of inferiority and shyness he had felt on being treated as a Jew at Princeton.” (Hemingway)

A

Characterization

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33
Q

“Ask not what your country can do for you; ask what you can do for your country.”

A

Chiasmus

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34
Q

Arrangement of repeated thoughts in the pattern X Y Y X.

A

Chiasmus

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35
Q

Deals with the relations and intrigues of gentlemen and ladies living in a polished and sophisticated society; it evokes laughter mainly at the violations of social conventions and decorum and relies on the wit and humor of the dialogue for its effect.

A

Comedy of Manners

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36
Q

“Dinner for Schmucks”

“Pride and Prejudice”

A

Comedy of Manners

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37
Q

Literary device that cuts tension in the middle of tragedy. Not just to be funny.

A

Comic Relief

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38
Q

Drunken Porter in Macbeth

A

Comic Relief

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39
Q

The drunken porter speech from Macbeth when he compares things such as Drinking and peeing, drinking and sleeping, and drinking and nose painting.

A

Conceit

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40
Q

Unusual or surprising comparison between two very different things. (a special kind of metaphor or complicated analogy.)

A

Conceit

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41
Q

Language that describes specific, observable things, people or places, rather than ideas or qualities.

A

Concrete Language

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42
Q

“After a while we came out of the mountains, and there were trees along both sides of the road, and a stream and ripe fields of grain, and the road went on, very white and straight ahead, and then lifted to a little rise, and off on the left was a hill with an old castle, with buildings close around it and a field Of grain going right up to the walls and shifting in the wind.” (Hemingway)

A

Concrete Language

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43
Q

“What’s the matter? You sick?”

“Yes.”

A

Connotation

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44
Q
  1. Rather than the dictionary definition, the associations associated with a word
  2. Implied meaning
A

Connotation

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45
Q

Repetition of a consonant sound within two or more words in close proximity.

A

Consonance

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46
Q

“Isn’T iT preTTy To think so?” (Hemingway)

A

Consonance

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47
Q

“Lechery, sir, it provokes and unprovokes; it provokes the desire but takes away the performance: therefore, much drink may be said to be an equivocator with lechery: it makes him, and it mars him; it sets him on, and it takes him off; it persuades him, and disheartens him; makes him stand to and not stand to; in conclusion, equivocates him in a sleep, and giving him the lie, leaves him.” (Shakespeare)

A

Cumulative

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48
Q

Sentence which begins with the main idea and then expands on that idea with a series of details or other particulars.

A

Cumulative

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49
Q

Word choice, particularly as an element of style.

A

Diction

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50
Q

Hemingway’s simple word choice: light, dark, hot, nice, pleasant

A

Diction

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51
Q

Teaches a specific lesson; the lesson is explicitly stated

A

Didactic

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52
Q

“Slow and steady wins the race”

“Count no mortal happy till he had passed the final limit of his life secure from pain” (Sophocles)

A

Didactic

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53
Q

Oedipus before he knows the truth

TSAR - Robert is called the steer when we know Jake is really the steer

A

Dramatic Irony

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54
Q

The reader is aware of something that the characters do not know

A

Dramatic Irony

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55
Q

A poem lamenting the death of a particular person

A

Elegy

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56
Q

“O Captain my captain…”

“The Death of the Toad”

A

Elegy

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57
Q

Sentence structure which leaves out something in the second half

A

Elliptical

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58
Q

“If a plant cannot live according to nature, it dies, and so does man.” (Thoreau)

A

Elliptical

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59
Q

Existential boredom, Post WWII, pointless life

A

Ennui

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60
Q

Weariness of existence

A

Ennui

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61
Q

A quotation or aphorism at the beginning of a literary work that suggests a theme.

A

Epigraph

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62
Q

“One generation passeth away, and another generation cometh; but the earth abideth forever… The sun also ariseth, and the sun goeth down, and hasteth to the place where he arose…”– Ecclesiastes

A

Epigraph

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63
Q

A major character’s moment of realization or awareness

A

Epiphany

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64
Q

“How easy it is! To think of all the time I have lost splashing about like a baby!” (Chopin)

A

Epiphany

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65
Q

A single term used to modify the name of a person or thing

A

Epithet

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66
Q

“The Great” in Catherine the Great

“O Captain my captain”

A

Epithet

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67
Q

Words used for sensitive topics

A

Euphemism

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68
Q

Bits, tushie, rump, behind, pass away, tight

A

Euphemism

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69
Q

Act of interpreting the meaning of a text

A

Explication

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70
Q

Edna’s first swim is symbolic of her realization that she has the power to move her life according to her desires, and she wishes to push the boundaries of what society finds acceptable.

A

Explication

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71
Q

Background information, often early on in a narrative, sets up information about characters/conflicts

A

Exposition

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72
Q

“‘You are burnt beyond recognition,’ he added, looking at his wife as one looks at a valuable piece of personal property which has suffered some damage. She held up her hands, strong, shapely hands, and surveyed them critically, drawing up her fawn sleeves above the wrists. Looking at them reminded her of her rings, which she had given to her husband before leaving for the beach.” (Chopin)

A

Exposition

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73
Q

A type of comedy in which one-dimensional characters are put into ludicrous situations; ordinary standards of probability and motivation are freely violated in order to evoke laughter.

A

Farce

74
Q

Monty Python and Don Quixote

A

Farce

75
Q

A product of a writers imagination, usually made up of characters, plot, setting, point of view, and theme

A

Fiction

76
Q

Harry Potter, Hunger Games, The Sun Also Rises, The Awakening

A

Fiction

77
Q

Similes and Metaphors (other things too)
Mme. Resiz and Edna’s wings
Robert/Jake and a “steer”

A

Figurative Language

78
Q

“The bird that would soar above the level plain of tradition and prejudice must have strong wings.” (Chopin)

A

Figurative Language

79
Q

A word or words that are inaccurate literally, but describe by calling to mind sensations or responses that the thing described evokes. This may be in the form of metaphors or similes, both non-literal comparison.

A

Figurative Language

80
Q

A form of expression in which words are used out of the usual sense in order to make the meaning more specific.-put his foot down-kick the bucket-“people who live in glass houses shouldn’t throw stones”

A

Figure of Speech

81
Q

Point of View:
“When I got up to go I found I had taken off my shoes. I hunted for them and found them and carried them down-stairs. I found my room and went inside and undressed and got into bed.” (Hemingway 199)

A

First Person Point of View

82
Q

A character constructed around a single idea or quality; immediately recognizable.

A

Flat Character

83
Q

Bill Gordon - TSAR
Madame Ratignolle - The Awakening
Creon - Oedipus the King

A

Flat Character

84
Q

A character whose traits are the opposite of another and who thus emphasized the strengths and weaknesses of the other character.

A

Foil

85
Q

Adele Ratignolle to Edna Pontellier

A

Foil

86
Q

a literary form or type; classification. e.g. tragedy, comedy, novel, essay, poetry.

A

Genre

87
Q
Drama
Fiction
Science-Fiction/Speculative Fiction
Tragedy
Comedy
Graphic Novel
Farce
A

Genre

88
Q

Overwhelming pride or insolence that results in the misfortune of the protagonist of a tragedy.

A

Hubris

89
Q

“I, Oedipus, whom all men call the Great”

A

Hubris

90
Q

Conscious exaggeration used to heighten effect. Not intended literally, often humorous.

A

Hyperbole

91
Q

“I’m so hungry I could eat a horse.”
“He is older than dirt.”
“I could sleep for 100 years!”

A

Hyperbole

92
Q

A word or group of words, either figurative or literal, used to describe a sensory experience or an object perceived by the senses. This is always a concrete representation.

A

Image

93
Q

“The Jabberwock with eyes of flame,Came whiffling through the tulgey wood,And burbled as it came!” (14-16)
Victor’s description of Edna’s dinner party to Mariequita:“The flowers were in tubs, he said. The champagne was quaffed from huge golden goblets.” (Chopin 173)

A

Image

94
Q

The use of images, especially in a pattern of related images, often figurative, to create a strong unified sensory impression.

A

Imagery

95
Q

FIGURATIVE – the ‘effect’
Victor, of Edna’s dinner party:“Venus rising from the foam could have presented no more entrancing a spectacle than Mrs. Pontellier, blazing with beauty and diamonds at the head of the board…” (Chopin 173)

A

Imagery

96
Q

Variation of the normal word order (subject first, then verb, then complement) which puts a modifier or the verb as the first in the sentence. The element that appears first is emphasized more than the subject.

A

Inversion

97
Q

“Jabberwocky”

“Long time the manxome foe he sought”“So rested he by the Tumtum tree,” (10-11)

A

Inversion

98
Q

A discrepancy between expectation and reality.

A

Irony

99
Q

That Gregor is more concerned about making it to work than the fact that he is now a ‘monstrous vermin’That Edna yearns for independence, but allows herself to be taken in by Alcee Arobin.

A

Irony

100
Q

Opposite of hyperbole; it intensifies an idea understatement by stating through the opposite.

A

Litotes

101
Q

Saying “It wasn’t my best day” instead of “It was my worst day.”
“I’ll open up immediately, this instant. A mild indisposition – an attack of dizziness – has kept me from getting up.” (Kafka 398)
“There are periods of despondency and suffering which take possession of me.” (Chopin 171)

A

Litotes

102
Q

X is Y. A comparison of two things, often unrelated. A figurative verbal equation results where both “parts” illuminate one another. May occur in a single sentence, as a controlling image of the entire work, as obvious, or be implied.

A

Metaphor

103
Q

“Talent is a cistern; genius is a fountain.”Pilgrim at Sea by Par F. Lagerkvist
“But O beware the middle mind that purrs and never shows a tooth”
“Venus rising from the foam could have presented no more entrancing a spectacle than Mrs. Pontellier, blazing with beauty and diamonds at the head of the board, while the other women were all of them youthful houris, possessed of incomparable charms.” (Chopin 173)

A

Metaphor

104
Q

Designation of one thing with something closely associated with it. E. g. calling the head of a committee a CHAIR, a king the CROWN, etc.

A

Metonym

105
Q
Thing associated = The whole
White House = the President
Press = newspaper/media/journalists
“Mr. Pontellier finally lit a cigar and began to smoke… He fixed his gaze upon a white sunshade that was advancing at snail’s pace from the beach.” (Chopin 44) 
sunshade = woman
Tongue = language
drinking = consuming alcohol
A

Metonym

106
Q

An atmosphere created by a writer’s word choice (diction) and the details selected. Syntax is also a determiner because sentence strength, length, and complexity affect pacing.

A

Mood

107
Q

describe on the quiz through diction and syntax:“Venus rising from the foam could have presented no more entrancing a spectacle than Mrs. Pontellier, blazing with beauty and diamonds at the head of the board, while the other women were all of them youthful houris, possessed of incomparable charms.” (Chopin 173)

A

Mood

108
Q

The lesson drawn from a fictional or nonfictional story. A heavily didactic story.

A

Moral

109
Q

“The Tortoise and the Hare”
Slow and steady wins the race.
Oedipus the King
“Count no mortal happy till he has passed the final limit of his life secure from pain.” (Sophocles 671)

A

Moral

110
Q

A frequently recurrent character, incident, or concept in literature.

A

Motif

111
Q

It has a PURPOSE
Water in The Awakening
Drinking in The Sun Also Rises

A

Motif

112
Q

An extended piece of prose fiction.

A

Novel

113
Q

The Awakening

The Sun Also Rises

A

Novel

114
Q

The use of a word whose pronunciation suggests its meaning.

A

Onomatopoeia

115
Q

POW!
KNOCK!
THUMP!
SNICKER-SNACK!

A

Onomatopoeia

116
Q

A rhetorical antithesis. Juxtaposing two contradictory terms, like “wise fool” or “deafening silence”

A

Oxymoron

117
Q

jumbo shrimp
old news
alone together
“O heavy lightness! Serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health!“ (Romeo and Juliet)

A

Oxymoron

118
Q

A short, allegorical story from which a lesson may be drawn.

A

Parable

119
Q

Some seeds thrown on rocky soil, so they don’t flourish… some thrown onto rich soil, so they grow (allegory for faith)

A

Parable

120
Q

A seemingly contradictory statement or situation which is actually true. This rhetorical device is often used for emphasis or simply to attract attention.

A

Paradox

121
Q

Gregor “closing his eyes” to avoid seeing his wriggling legs – no literal eyelids, but he blinds himself to the reality of his situation.

A

Paradox

122
Q

Sentence construction which places in close proximity two or more equal grammatical constructions. May be as simple as listing two or three modifiers in a row to describe the same noun or verb; it may take the form of two or more of the same type of phrases (prepositional, participial, gerund, appositive) that modify the same noun or verb.

A

Parallelism

123
Q

“When I got up to go I found I had taken off my shoes. I hunted for them and found them and carried them down-stairs.” (Hemingway 199)

A

Parallelism

124
Q

Green Eggs and Hamlet

A

Parody

125
Q

An exaggerated imitation of a usually more serious work for humorous purposes. The writer of a parody uses the quirks of style of the imitated piece in extreme or ridiculous ways.

A

Parody

126
Q

Meant to evoke sorrow or pity

A

Pathos

127
Q

Gregor’s death

A

Pathos

128
Q

Moment where a hero’s fortunes reverse.

A

Peripety

129
Q

Oedipus’ discovery of the truth and the curse.

A

Peripety

130
Q

When non-human things (animals, objects, etc.) are given human qualities.

A

Personification

131
Q

Gregor: “In spite of his predicament, he couldn’t suppress a smile at the thought.”

A

Personification

132
Q

The perspective from which a fictional or nonfictional story is told.

A

Point of View

133
Q

“When I got up to go I found I had taken off my shoes. I hunted for them and found them and carried them down-stairs. I found my room and went inside and undressed and got into bed.” (Hemingway 199)

A

Polysyndeton

134
Q

Sentence which uses “and” or another conjunction, with no commas, to separate the items in a series, usually appearing in the form X and Y and Z, stressing equally each member of the series. It makes the sentence slower and the items more emphatic than in the asyndeton.

A

Polysyndeton

135
Q

The main character in a work of fiction.

A

Protagonist

136
Q

Jake in The Sun Also Rises

Gregor in The Metamorphosis

A

Protagonist

137
Q

A Freudian slip is when you say one thing and mean a mother.
Two silk worms had a race; they ended up in a tie.
A backwards poet writes inverse.

A

Pun

138
Q

A play on words that are identical or similar in sound but have sharply diverse meanings.

A

Pun

139
Q

Point of View:
“One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a monstrous vermin.”

A

Third Person Limited Point of View

140
Q

For emphasis or effect“’Gregor, Gregor,’ he called, “What’s going on?” And after a short pause he urged again, with a deeper voice: “Gregor! Gregor!” (395)

A

Repetition

141
Q

Word or phrase used two or more times in close proximity.

A

Repetition

142
Q

Opposite of flat, usually protagonistEdna, Gregor, Creon

A

Round Character

143
Q

A character drawn with sufficient complexity to be able to surprise the reader without losing credibility.

A

Round Character

144
Q

Jonathan Swift, “A Modest Proposal”The Daily ShowDoonesbury

A

Satire

145
Q

A work that reveals a critical attitude toward some element of human behavior by portraying it in an extreme way. Satire doesn’t simply abuse (as with invective) or get personal (as with sarcasm). Satire usually targets groups or large concepts rather than individuals; its purpose is customarily to inspire change.

A

Satire

146
Q

Creon’s treatment of TeiresiasHamlet ALL OVER THE PLACE

A

Sarcasm

147
Q

A type of verbal irony in which, under the guise of praise, a caustic and bitter expression of strong and personal disapproval is given. Sarcasm is personal, jeering, and intended to hurt.

A

Sarcasm

148
Q

late-19th C. New Orleansancient Thebes, outside of the palaceParis, Pamplona, San Sebastian, Madridan apartment in Prague

A

Setting

149
Q

Locale and period in which the action takes place.

A

Setting

150
Q

“damnation rises behind each child, Like a wave cresting out of the black northeast,When the long darkness under sea roars upAnd bursts drumming death upon the wind whipped sand.” (Sophocles )“She felt like some new-born creature, opening its eyes in a familiar world that it had never known.” (Chopin )

A

Simile

151
Q

A figurative comparison of two things, often dissimilar, using the connecting words: “like,” “as,” or “than.”

A

Simile

152
Q

“No man of woman born can harm Macbeth!” and then we learn that Macduff was born via caesarian section.Gregor’s father is lazy, yet by the end of the novella, takes pride in his work and appearance.

A

Situational Irony

153
Q

Applies to works which contain elaborate expressions of the ironic spirit. Also, irony applies to both Hamlet’s situation and to his famous soliloquy, “To be or nor to be.”

A

Situational Irony

154
Q

“Is this a dagger which I see before me,The handle toward my hand? Come, let me clutch thee.I have thee not, and yet I see thee still.Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creation,Proceeding from the heat-oppressed brain? I see thee yet, in form as palpableAs this which now I draw.” (Shakespeare II.i.33-41)

A

Soliloquy

155
Q

When a character in a play speaks his thoughts aloud —usually by him or herself.

A

Soliloquy

156
Q

Teiresias – the blind seer, prophet, fortune tellerIsmene – the weak-willed womanAlcee Arobin – the womanizer

A

Stock Character

157
Q

Archetypal characters that recur repeatedly in various literary genres.

A

Stock Character

158
Q

James Joyce’s UlyssesJ.D. Salinger’s The Catcher in the RyeT.S. Eliot’s “The Love Song of J. Alfred Prufrock”Chuck Palahniuk’s Fight Club

A

Stream of Consciousness

159
Q

Technique of writing that undertakes to reproduce the raw flow of consciousness, with the perceptions, thoughts, judgments, feelings, associations, and memories presented just as they occur without being tidied into grammatical sentences or given logical and narrative order.

A

Stream of Consciousness

160
Q

Terse, simple sentences, and simple, repetitive diction that makes use of opposing terms.

A

Style

161
Q

The choices in diction, tone, and syntax that a writer makes. In combination they create a work’s manner of expression. Conscious and unconscious and may be altered to suit specific occasions. Often habitual and evolves over time.

A

Style

162
Q

A thing, event, or person that represents or stands for some idea or event. Symbols also simultaneously retain their own literal meanings. A figure of speech in which a concrete object is used to stand for an abstract idea —e.g. the cross for Christianity.

A

Symbol

163
Q

Conch in Lord of the FliesWater/Sea in The AwakeningOzymandias’ expression

A

Symbol

164
Q

Part of something is used to stand for the whole —e.g. “threads” for clothes; “wheels” for cars

A

Synecdoche

165
Q

“the hand that mocked, the heart that fed”“all hands on deck!”Glasses, when referring to eyeglasses.

A

Synecdoche

166
Q

In grammar, the arrangement of words as elements in a sentence to show their relationship.

A

Syntax

167
Q

Can involve inversion“the sculptor well those passions read”Particular patterns used again and again “I love thee…”

A

Syntax

168
Q

A central idea of a work of fiction or nonfiction, revealed and developed in the course of a story or explored through argument.

A

Theme

169
Q

The MESSAGE, not just the subject.“Ozymandias” – Power is temporary, but art/words lasts forever.Metamorphosis – Our work is pointless, or those who should be grateful for us seldom are.Etc.

A

Theme

170
Q

A writer’s attitude toward his or her subject matter revealed through diction, figurative language, and organization of the sentence and global levels.

A

Tone

171
Q

Hemingway’s feeling of isolation after WWISophocles’ feelings about moral responsibility to the godsChopin’s issues with women’s traditional roles

A

Tone

172
Q

Representations of serious actions which turn out disastrously.

A

Tragedy

173
Q

Just about everything we read…The AwakeningThe MetamorphosisAntigoneHamlet

A

Tragedy

174
Q

Tragic error in judgment; a mistaken act which changes the fortune of the tragic hero from happiness to misery; also known as hamartia.

A

Tragic Flaw

175
Q

Hubris, usually.OedipusCreon

A

Tragic Flaw

176
Q

A work of fiction or nonfiction is said to be unified if all the parts are related to one central idea or organizing principle. Thus, unity is dependent upon coherence.

A

Unity

177
Q

The Awakening freedom/independence“How Do I Love Thee? Let me count the ways” repetition, focus on love as a religious experience creates strong unity

A

Unity

178
Q

When the reader is aware of a discrepancy between the real meaning of a situation and the literal meaning of the writer’s words.

A

Verbal Irony

179
Q

“as pleasant and relaxed as a coiled rattlesnake” (Kurt Vonnegut from Breakfast of Champions)“O Tell it! Tell everyone! Think how they’ll hate you when it all comes out if they learn that you knew about it all the time!” Antigone to Ismene (Sophocles 1265)

A

Verbal Irony

180
Q

A writer often adopts a fictional voice to tell a story. Voice is usually determined by a combination of subject matter and audience.

A

Voice

181
Q

The writer uses one word to govern several successive words are clauses —e.g. She discovered New York and her world.

A

Zeugma

182
Q

“You held your breath and the door for me” – Alanis Morissette“She was a thief, you got to believe: she stole my heart and my cat.” - So I Married an Axe Murderer “My teeth and ambitions are bared; be prepared!” - Scar

A

Zeugma