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COLLEGE(2) FINALS > PHILLIT MODULE 4 > Flashcards

PHILLIT MODULE 4 Flashcards

1
Q

is difficult to classify

A

fiction

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2
Q

usually written in paragraphs, not verses.

A

fiction

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3
Q

seldom performed in front of an audience:

A

fiction

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4
Q

created using imagined events, characters, and even places, which means that it
cannot possibly have happened in real life.

A

fiction

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5
Q

in other words fiction is a ____

A

lie

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6
Q

100 – 1,000 words

A

flash fiction

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7
Q

1,000 – 10,000 words

A

Short story

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8
Q

10,000 – 20,000 words

A

Novellete

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9
Q

20,000 – 30,000 words

A

Novella

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10
Q

30,000 words and beyond.

A

Novel

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11
Q

Another word for fiction is

A

story

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12
Q

In literary terms, a story is an

A

imagined narrative.

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13
Q

a rhetorical mode used as a pattern of paragraph development

A

narration

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14
Q

six basic elements of fiction

A

plot, characters, point of view, voice and dialogue, setting, theme

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15
Q

differentiated plot and story

A

e.m foster

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16
Q

who said that plot examines the causality of
each event, usually connected by the phrase “and so”.

A

E.M FOSTER

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17
Q

provides us with a more in-depth understanding of how and why
each event follows the other,

A

PLOT

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18
Q

traditional Greek drama, which is usually divided into three part

A

protasis, epitasis, catastrophe

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19
Q

German dramatist in the nineteenth century, used Aristotle as jumping off point and
restructured the dramatic plot, which he said can be divided into five parts.

A

Gustav Freytag

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20
Q

plot is divided into five parts:

A

exposition
rising action
climax
falling action
resolution

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21
Q

this is also known as the introduction. The setting, point of view, and the main character’s situation at thebeginning of
the story areintroduced here.

A

exposition

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22
Q

this is where the inciting incident occurs: the moment that starts the story moving along, and the main
character encounters more and more difficulties the further along the story he or she progresses

A

rising action

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23
Q

this is the pinnacle of the story, where all the events in the rising action arrive at this point. This is usually where
your character needs to make a choice that would have long-lasting consequences

A

Climax

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24
Q

this is the “untangling of knots” in a story. This is when the consequences of the choices made by the
characters are finally dealt with.

A

falling action

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25
Q

the ending of the story. This may be open-ended, with an option to be continued in the imagination of the
reader, or closed,with every plot point accounted for by the end of the story.

A

resolution

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26
Q

The plot moves because of the main character’s____???

A

motivation

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27
Q

The main character’s motivation is usually hindered or halted by someone else’s
motivation that runs corollary to the main character. This creates

A

conflict

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28
Q

an internal conflict, in which the characters struggle with themselves regarding moral or
ethical choices.

A

Man vs. Himself/Herself

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29
Q

an external conflict, in which two or more characters are up against each other because of different
motivations.

A

Man vs. Man

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30
Q

an external conflict, in which the characters are up against the forces of nature or circumstances in which
they have no contro

A

Man vs. Nature

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31
Q

Fictional characters are usually made up of three part

A

appearance,attributes,andaspirations.

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32
Q

refers to the physicality of the character. This does not just refer to what they look like I visual level – hair color, eye
color,body shapeand size – but other sensory detailsaswell

A

appearance

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33
Q

refer to the personality and preferences of the character. They can be kind or mean, introvert or extrovert, like ice cream
or know every word of their favorite song.

A

attributes

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34
Q

refer to the motivation of the character. In other words, this answers the question,
“What do they want?”.

A

aspiration

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35
Q

-referstohowoften we see
the character/s in the story

A

Presence

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36
Q

referstowhetherthe reader
is for or against the
motivation of the character

A

Position

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37
Q

the manner of creatingor
portraying a character in a
story.

A

Characterization

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38
Q

how far the plot of your
character moves along

A

Movement

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39
Q

are usually
point-of-view characters and
are central to the plot of the
story

A

major

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40
Q

The major character whose
motivationthe audience
believes and empathizes
with

A

protagonist

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41
Q

are
portrayed using all three
aspects of a character
(appearance, attributes, and
aspirations)

A

Round character

42
Q

usually
exist through out the entire
plot. A change usually occurs
in their characterization
(e.g., from a coward to a
brave person)

A

Dynamic Character

43
Q

only appear
in specific scenes or have
specific role and are not
central to the plot of the
story.

A

Minor character

44
Q

are
portrayed using only one or
two aspects of a character.
They existtosupport round
characters.

A

Flat character

45
Q

characters usuallyexist
only during a certain
section of the plot.
Theircharacterization
does not change (e.g.,
a coward remainsa
coward.

A

Static character

46
Q

this is when you directly describe the characters in terms of their appearance or even
their attributes.

A

Direct characterization

47
Q

this is when you allow the audience to slowly recognize who the characters are and
what kind of person they are.

A

Indirect characterization

48
Q

this is when you show the flaws or strengths of your character compared to other
characters in the story.

A

Comparative characterization –

49
Q

this is when you allow the character’s actions, movements, or physicality to show the reader what kind ofperson they are.

A

Active characterization

50
Q

the perspective from which a story is told or narrated

A

POINT OF VIEW

51
Q

uses the pronouns “I, me, my” and variations thereof. It is usually assumed that the one
who is telling the story from this perspective is the narrator of the story.

A

1ST PERSON

52
Q

uses the pronouns “you, yours, ours” and variations thereof. This is the least used
perspective, because it assumes that the reader is a character in the story.

A

SECOND PERSON

53
Q

uses the pronouns “he, she, it, they” and variations thereof. This assumes that the narrator of the story is
omniscient and is not involved in the characters’ lives and the events of the story.

A

THIRD PERSON

54
Q

PROS
Intimacy
- Can create a deep bond
between the reader and the
character

A

FIRST

55
Q

CONS
Limited
- Based on observation (and
speculation) of the
consciousness

A

1ST

56
Q

PROS Places the reader in the
character’s shoes
- Requires technical control

A

2ND

57
Q

CONS
Can be gimmicky
- Unorthodox

A

2ND

58
Q

PROS
Not bound to one
consciousness
- Distance is modulated by the
reader and the consciousness
- The writer must limit or select what
thenarrator talks about

A

3RD

59
Q

CONS
What appears unconventional
might remove the readers from their
suspension of disbelief

A

3RD

60
Q

CONS
- Requires control of the
consciousnessbeingused
- Multiple POVs can be
problematicunlessthewriter sets
out to mark that for the readers

A

3RD

61
Q

is one whom the audience can believe in and usually fades into the background, allowing the
events in the plot and the actions of the character to take center stage

A

RELIABLE NARRATOR

62
Q

on the other hand, is a point of view that is deliberately inconsistent or opposite of what is
happening in the plot

A

unreliable narrator

63
Q

5 kinds of unreliable narrator

A

picaro, madman, clown, naif, liar

64
Q

is an unreliable narrator who always exaggerates or brags about his own abilities even though he may not have
done them all.

A

the picaro

65
Q

An example of this is the character Humbert from Vladimir Nabokov’s Lolita.

A

the picaro

66
Q

unreliable narrator who is either experiencing mental illness such as schizophrenia, paranoia, or dissociative
identity disorder, or is mentally defending himself because of post- traumatic stress or other psychological disorders

A

the madman

67
Q

An example of this is the character of Esther Greenwald from The Bell Jar by Sylvia Plath,

A

madman

68
Q

unreliable narrator who does not take narration he is performing seriously and intentionally makes fun
of the characters, the narrative, or even himself.

A

the clown

69
Q

An example of this is the character Bras Cubas from Joaquim Maria
Machado de Assis’s The Posthumous Memoirs of Bras Cubas.

A

THE CLOWN

70
Q

an unreliable narrator whose perceptions are either too immature or limited through his point of view, which
makes the character seem either innocent or ignorant about the events in the narrative

A

the naif

71
Q

example is The Great Gatsby by
F. Scott Fitzgerald.

A

the naif

72
Q

is usually an unreliable narrator who deliberately confuses the reader throughout the narrative, usually to
hide his shameful past

A

the liar

73
Q

An example of this would be Holden Caulfield from JD Salinger’s The Catcher in the Rye, who
consciously tells the reader about an invented character background for the reader to sympathize with him.

A

the liar

74
Q

attitude of the writer toward his subject matter or writing, and relies exclusively on the writer’s personalfeelingsor opinions
towardthetopiche iswritingabout.

A

tone

75
Q

refers to the conversational exchange between two or more people. Dialogue is usually used as a means of
characterization, as well as a technique to move the plot along.

A

dialogue

76
Q

of story refers to the tone or style of a particular literary piece.

A

voice

77
Q

Four Ways of Writing Dialogue

A

direct, indirect/ reported, stylized, Asynchronous Dialogue

78
Q

usually happens in the moment. This is usually enclosed in quotation marks and preceded by “He said”
or “She said”. It is part of the action of the scene. It can be interrupted by narration, characterization, or description,
which can work to serve the pace of the story.

A

direct dialogue

79
Q

that happens off-screen and is usually summarized or reported by the narrator.
It compresses unnecessary dialogue while at the same time establishes that a conversation has taken place.

A

Indirect or Reported Dialogue

80
Q

ukjiisually tries to mimic the manner of speech of a character, including the accents and inflections that are
usually abandoned by the writer in an effort to make the language conform to its grammatical and syntactical rules

A

Stylized dialogue

81
Q

dialogue that does more than convey information or an exchange of ideas, but also functions
on a figurative or metaphorical scale.

A

asynchronous dialogue

82
Q

refers to the place and time where the story takes place.

A

setting

83
Q

refers to the physical world inhabited by a character or where the story takes place.

A

place and space

84
Q

can refer to three things: the historical period or kind of society that the story is taking place, the passage of time
within the story, or how the character perceives the movement of time in the story.

A

time

85
Q

is the combination of time and space (and even point of view) to create an emotional landscape
felt throughout the story.

A

mood/atmosphere

86
Q

essentially the central idea in your story. It is the overarching narrative of emotional or symbolic resonance in your story
andusually answersthe question,“What isyour story about?”

A

theme

87
Q

is the writer’s intention about the theme. Essentially, it is trying to convey what the writer thinks or feels about the
subject he or she is writing about.

A

thematic statement

88
Q

refer to objects that represent, stand for, or suggest an idea, belief, concept, and abstraction that may not
otherwise be rendered into concrete images

A

symbol

89
Q

the arrangement of the other elements around the
symbol. There are several kinds of symbolism used in literary texts.

A

context

90
Q

when the narrative moves backward in time, usually as a memory or remembrance of how the past
influenced the current goings-on in the narrative,

A

flashback

91
Q

when the narrative moves forward in time,
usually providing a glimpse of the consequences of the present- day action or activities of the characters.

A

flash forward

92
Q

In medias res literally means

A

“in the middle of things

93
Q

means to provide hints of future events. Usually, the logic of storytelling dictates that for every decision,
there is always a consequence. Foreshadowing provides a hint of that consequence

A

foreshadowing

94
Q

a dramatic unit that begins at one fixed point in time and ends in another.

A

scene

95
Q

several kinds of symbolism used in literary texts

A

motif, tropes, archetype, allusion, and allegory

96
Q

a repetition of a symbol in a story. It can be an object, an action, a word or phrase, or even a
description. Motifs are dependent on the fictional world of the story and may not carry any meaning in the real world.

A

motif

97
Q

are common literary devices, motifs, or figurative language that occur across several creative works. Tropes can
be identified by the way they are commonly used by creators.

A

trope

98
Q

usually refer to character templates in a story that fulfill a certain function. For instance, we know that the
hero is usually the protagonist of the story or that the wise old man is a figure of wisdom and full of advice

A

archetypes

99
Q

reference events or objects beyond the story that the writer assumes the reader knows about. The reader
is the one who connects the reference in the fictional piece to its corresponding reference in the real world

A

allusions

100
Q

also known as an extended metaphor and uses characters and events in literary or other art forms to
represent and symbolize abstractions.

A

ALLEGORY

COLLEGE(2) FINALS (6 decks)

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