G10 Critical Reading of Narratives Flashcards

1
Q

is the process of sharing stories.

reflect who we are as beings.

may come in the form of short
stories, plays, poems, essays, and
anecdotes, among others.

A

Narratives

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2
Q

ELEMENTS OF

NARRATIVES

A
Plot
Characters
Point of view
Conflict
Theme
Setting
Tone
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3
Q

Plot

A
Exposition
Rising Action
Climax
Falling Action
Denoument
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4
Q

refers to the arrangement of the main

events in a story

A

Plot

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5
Q

From the word “expose,” this part reveals the background
information, establishes the setting, and introduces the major characters of the
story.

A
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6
Q

In every story, conflict exists. The rising action element is where
the conflict is established and developed through a series of complications.

A
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7
Q

Climax is where the tension is greatest. This is where the turning point
in the story arises.

A
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8
Q

After climax, problems and complications in the story are sorted
out. Here is where falling action occurs.

A
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9
Q

The denouement is also known as the resolution. Conflicts are
resolved, and the story arrives at a conclusion.

A
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10
Q

These are the people, as well as talking animals and live inanimate
objects, in a narrative

A

Characters

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11
Q

These are the most important and leading role players in a
narrative. A major character establishes the theme and generates the resolution
of the conflict.

A
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12
Q

These characters either support or hinder the major

characters in achieving their goal or purpose.

A
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13
Q

This is a lead character that fights for a particular cause or idea

A
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14
Q

This character goes against the protagonist and tries to prevent
him or her from achieving his or her purpose.

A
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15
Q

These characters do not change; they remain the same in
terms of attitude, behavior, traits, and purpose from beginning to end of a
narrative.

A
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16
Q

These characters show some kind of change in terms of

attitude, behavior, traits, and purpose as the narrative unfolds.

A
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17
Q

These characters are two-dimensional; they are relatively

predictable or uncomplicated. They are usually static characters.

A
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18
Q

These characters are complex and multi-layered; they may

exhibit unpredictable behavior. They are usually dynamic characters.

19
Q

This refers to how the story is told. Usually, a narrative consistently
makes use of only one point of view throughout the text

A

Point of view

20
Q

The narrator takes an active part in the story that he or she tells.
Only his or her experiences, thoughts, feelings, motives, and standpoint on a
particular conflict or matter are revealed.

21
Q

– This is the point of view that is least often used in narratives.
This directly addresses the reader using the imperative mood and makes use of pronouns such as you, your, and yours.

22
Q

The narrator does not take the readers into the mind
of any character. He or she only reports the characters’ dialogue and action,
leaving the readers to infer their thoughts and feelings

23
Q

The narrator does not take the readers into the mind
of any character. He or she only reports the characters’ dialogue and action,
leaving the readers to infer their thoughts and feelings

24
Q

The narrator is all-knowing. Words, actions,

thoughts, feelings, and motives of all the characters are revealed to the readers.

25
This pertains to the problem that gives rise to action. It is the opposition between characters or forces in the story. Many writers and scholars claim that the conflict defines the artistic value of a narrative, for without conflict, there is no reason for the characters to move. Without conflict, there is no substantial theme, and the story is not interesting. The basic types of conflict are as follows:
Conflict
26
This internal conflict confronts the character with a choice between good and evil or presents him or her with a challenge to overcome his or her own nature
27
This is a form of external conflict that features characters going against each other. For instance, in Chapter 35 of Jose Rizal’s Noli Me Tangere, Crisostomo Ibarra, the main protagonist in the story, holds a knife against Padre Damaso after the priest insults the protagonist’s father.
28
This external conflict involves a character going against the general public, the community that he or she is a part of, or against a certain fabricated construct (i.e., against a particular standard, rule, or belief). For example, in Noli Me Tangere, Pilosopo Tasyo is considered unusual by most people in his community because of his liberal opinions and unconventional beliefs.
29
In this external conflict, the character is against an element or force of nature (e.g., typhoon, earthquake, fire, wild animal, raging river).
30
This is the central idea of a narrative. It expresses a universal truth about humanity. It is universal because it applies to all settings and goes across cultures, time, and place.
Theme
31
This indicates the time, place, historical context, and atmosphere or overall mood of the event.
Setting
32
This is the author’s attitude toward the theme or subject of the narrative. An author may take an angry, bitter, happy, nostalgic, serious, ironic, or sad attitude toward a particular event or topic.
7. Tone
33
SPECIAL TECHNIQUES THAT MAKE THEIR WORK APPEALING AND INTERESTING TO READ.
Literal Devices
34
This situation in a story is distinctly funny or interesting because the event that happens seems to contradict what is expected or what seems logical to happen.
Situational irony
35
Symbols in the form of objects, places, characters, or actions in the story may represent a particular idea or theme. Objects that are intended as symbols in a story are often repeatedly mentioned, described in detail, or included in the title.
Symbolism
36
This part of the story interrupts the movement of the plot to show the reader a memory or past event. It helps the reader understand a character or a conflict better.
Flashback
37
With this technique, the author gives the reader an idea or hint about what will take place later on in the story. It helps set the mood for the upcoming events.
Foreshadowing
38
``` This refers to the details that set the mood or atmosphere by appealing to the senses (sight, hearing, touch, taste, and smell). ```
Imagery
39
PRINCIPLES OF CRITICAL READING
40
``` Research the background of the author, the context of the material, the unfamiliar words and concepts, and anything else that could help you understand the text. ```
Prereading
41
Read each sentence to understand the vocabulary words, to recognize sentence structures, and to unlock figurative language. See how all of these aspects relate with each other to express a particular message.
Reading for the literal meaning
42
``` writing one’s thoughts, reactions, questions, and identified key ideas in the text. ```
Annotating
43
``` looking into how sentences function in the paragraph as well as identifying how symbols and images contribute to the meaning of the text. ``` Recognize how the sentences are related in a paragraph. Take note of the kind of language as well as the images and symbols used by the author to convey a message to the readers to ultimately analyze the content, language, and structure of the text.
Reading for the implied meaning
44
noting the key ideas and main ideas of the narrative Extract the most important ideas based on your understanding of the story.
Summarizing