PRELIMS Flashcards
1
Q
Literature creation of the meaning and structure out of the pandemonium and confusion.
A
REAL LIFE
2
Q
James Bondi fights the bad guys and saves the world
A
STORY
3
Q
All fiction can be broken down into a few fundamental elements:
A
- One character
- A conflict
- A resolution of that conflict
4
Q
The beginning is also known as
A
Protasis
5
Q
The end is also known as
A
Catastrophe
6
Q
The middle is also known as
A
Epitasis
7
Q
Who said that the whole is what has
a beginning (protasis), middle (epitasis), and end (catastrophe).
A
ARISTOTLE (384-322 BCE) GREEK PHILOSOPHER
7
Q
It works best when the writer wishes to
explore the personalities of the characters, the nature of their existence and the flavor of an era.
A
Episodic plots
7
Q
It is a series of interconnected events in which every occurrence has a specific purpose.
A
PLOT
8
Q
It is the chronological telling of events.
A
STORY
8
Q
It begins at a certain point, moves through a
series of events to a climax and then ends up at another point.
A
LINEAR PLOT
9
Q
It is all about establishing connections, suggesting causes, and showing relationships.
A
PLOT
10
Q
This is also a chronological structure, but it
consists of a series of loosely related incidents, usually of chapter length, tied together by a common theme and/or characters.
A
EPISODIC PLOT
11
Q
James Bondi fights the bad guys and
saves the world
A
STORY
11
Q
The traditional plot structure must have a
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Situation
Conflict
Resolution
12
Q
He says that the plot of the story must consist of these five parts.
A
GUSTAV FREYTAG (1816-1895)
GERMAN NOVELIST AND PLAYWRIGHT
13
Q
The character is fighting against animals or the forces of nature such as a storm or even the sea.
A
MAN VS NATURE
14
Q
The advantage of using this plot is that the
reader knows, or at least has an idea, of where the plot goes next, and the reader is guaranteed to get a beginning and ending.
A
LINEAR PLOT
14
Q
It is the cause and effect arrangement.
A
PLOT
15
Q
This structure is most often used in picture books and songs. It builds a story through a “repetitive pattern or text structure: each page repeats the text from the previous
page, adding a new line/plot element. As the details pile up, the tale builds to a climax” (Carver).
A
CUMULATIVE PLOT
16
Q
It is sometimes referred to as the
dramatic orc.
A
Freytag’s pyramid
17
Q
The king died and the queen died of grief.
A
PLOT
17
Q
The king died and the queen died.
A
STORY
17
Q
The character are fighting against each other
A
MAN VS MAN
18
Narratives are written without traditionally recognizable plots and yet still evoke in you a feeling that you are going somewhere when you read them.
POINTLESS PLOT
19
It occurs when the protagonist finds themselves pitted against a supernatural force.
MAN VS SUPERNATURAL
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It is a literary device characterized by
a struggle between two opposing forces.
CONFLICT
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The protagonist is facing machines or technology (such as mechanical failure
or robots) and must prevail against it.
MAN VS MACHINE/TECHNOLOGY
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Characters in the story end up in the same place that they were at the beginning of the story.
CIRCULAR PLOT
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The character stands up against man-made
institutions and social rules, and is forced to
make moral choices.
MAN VS SOCIETY
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It is often used to reveal a deeper meaning in a narrative while highlighting characters'
motivations, values, and weaknesses.
CONFLICT
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The protagonist is working against what has been forefold for that person
MAN VS FATE
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It provides crucial tension in any story and is used to drive the narrative forward.
CONFLICT
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The struggle is internal, and the character must overcome his or her own nature and make a choice between two or more paths
MAN VS HIMSELF
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Also known as the denouement, Also known as the denouement, this final scene (the conclusion of act three in a traditional structure) is where the protagonist returns to some semblance of normalcy or accepts their new normal.
REORIENTATION (RESOLUTION)
26
About halfway through a story, there needs to be a major event. As a result, the protagonist sets their eyes on the prize and pivots their strategy from reaction to action.
TACTICAL PLAN (MIDPOINT)
26
This is your starting point. In this section, you establish the setting and introduce your main character.
FLAWED CHARACTER (hook)
27
As act two gets underway, your character sets out on their journey and reacts to their new surroundings and challenges.
WORTHY OPPONENT
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It's here that the story approaches the climax. This is where the protagonist finally meets their nemesis face to face.
ENLIGHTENMENT (PLOT POINT 2)
28
By the end of this act, character arcs conclude and the protagonist has undergone a transformation that leaves them in the opposite state they were in when the reader first met them.
REORIENTATION (RESOLUTION)
29
After you've introduced readers to the people and places of your story, next comes the inciting incident. This is the event that fuels the plot and sets the protagonist off on
their journey, forcing them out of their comfortable existence.
INTENSE DESIRE (plot point 1)
30
In every story, the main character goes through a transformation. Hence, the writer must give readers a solid feeling of who the main character is and what their life is like before they embark on their mission.
FLAWED CHARACTER (hook)
31
As the story begins its upward climb to the climax, the intensity and tension kick into high gear.
TACTICAL PLAN (MIDPOINT)
31
External conflicts begin to apply pressure on them. This is where antagonists, or bad guys, are often
introduced.
WORTHY OPPONENT
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This is the peak of a story's dramatic and emotional intensity and must provide a big payoff for readers.
ENLIGHTENMENT (PLOT POINT 2)
32
As the protagonist moves full steam ahead, something goes wrong. The protagonist hits an obstacle. It's a turning point and creates suspense by making the reader question whether the protagonist will be victorious at the end.
BIG FIGHT (pinch point 2)
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The protagonist doubts their own abilities as they gather the energy to face the enemy and complete the
journey.
BIG FIGHT (pinch point 2)
33
Mapping out a main plotline is a big task for the writers. While a traditional three-act structure is good for an audience to follow the
trajectory of their story, breaking a story down into seven acts can help them lay out the story arc.
A PSN APPROACH TO STORYTELLING
34
As this section builds towards the big climactic showdown, the protagonist gains a new perspective, and they find the confidence to persevere as the end of a traditional act two draws to a close.
BIG FIGHT (pinch point 2)
34
It is a contradiction of expectation between what is said and what is really meant.
IRONY
34
Who was composed A PSN APPROACH TO STORYTELLING?
Peter Solis Nery
35
It occurs when the audience or the
reader knows more than the character about events.
Dramatic Irony
36
It is the exposure of vices of follies
of an individual, a group, an institution, an idea, or a society with
the hope of correcting them or
forcing awareness
Satire
36
It is a biting remark that is worded ironically, so it may sound like praise but it is really an insult.
Sarcasm
36
It is a contrast between what is said
and what is meant.
Verbal Irony
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It is the contrast between the actual
result of a situation and what was
intended or expected to happen.
Situational Irony
38
The first person narrator is the main character or one of the main characters in the story
SUBJECTIVE FIRST PERSON
38
It is the subcategory of irony.
Sarcasm
39
The narration sees, knows, and usually reveals everything about the characters in the story. It is godlike because like an all-powerful, all-knowing deity, the narration can see
into the hearts and minds of its characters, revealing their
most intimate secrets.
OMNISCIENT THIRD PERSON
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The first person POV can still be divided into two angels:
- Objective first person
- Subjective first person
41
It is meant to hurt and wound a
person
Sarcasm
42
It answers the question, "Who is telling the story?”
POINT OF VIEW
43
The narrator does not appear in the events of the story, but rather tells the story by referring to all characters and places in the third person using the third person pronouns and proper nouns.
THIRD PERSON POV
43
The story is narrated by a fictional character who plays a minor part in the story or isn't present at the story at all.
OBJECTIVE FIRST PERSON
44
It is also called perspective.
POINT OF VIEW
45
It is the main idea or underlying meaning a writer explores in a novel, short story, or other literary work.
LITERARY THEME
46
The best themes are not explicitly stated in a work of creative writing. Is is true or false?
TRUE
46
The story is told by the narrator from his or her point of view.
FIRST PERSON POV
47
It is the angle, the perception, the position that you take to take your story.
POINT OF VIEW
47
This implies that the reader is either the protagonist or a character in the story and the events are happening to them.
SECOND PERSON POV
48
The third person POV can be divided into three:
- Omniscient third person
- Objective third person
- Close third person
49
Wherein the narration simply describes what the characters do and say without giving the readers access
to their thoughts. It is like a video camera, recording and
reporting everything it sees but allowing the readers to make up their own minds about the characters' feelings, thoughts, and motivations.
OBJECTIVE THIRD PERSON
50
It is seldom used but equally valid.
SECOND PERSON POV
50
Also known as limited third person or free indirect discourse, wherein the narration uses third person pronouns, and like the omniscient, it gets inside the minds of the characters, but the whole story is generally told from the point of view of only one character.
CLOSE THIRD PERSON
51
It is believed that an author's lifetime and fact-based knowledge on an author's personality, life events, education, family, economic status, society, and political views deeply influence the meaning and message of a literary piece.
HISTORICAL CRITICISM
52
It includes community, beliefs, customs, ideas, languages, and norms that individual was raised with;
Cultural context
53
It uses the pronoun "you" to address the reader.
SECOND PERSON POV
54
It focuses on links between a work's content and the writer's life; often use the writer's intentions, experiences, motives, or beliefs to interpret his/her literary texts.
BIOGRAPHICAL CRITICISM
55
This literary criticism analyzes a literary piece by looking into a literary piece's background which
includes the cultural, social context, and ideas prevalent around those times, including the author's biography.
HISTORICAL CRITICISM
55
She seeks revenge for her
son's death and attacks Heorot. Beowulf follows her to her underwater lair and kills her.
GRENDEL'S MOTHER
55
It is a critical approach to literature in which information about an author's life and background is used to better understand his works..
BIOGRAPHICAL CRITICISM
56
The hero of the poem, a Geatish warrior who travels to the land of the Danes to defeat the monster Grendel and later Grendel's mother. He later becomes king of the Geats and ultimately dies battling a dragon.
BEOWULF
57
King of the Danes, builder of the great hall Heorot, which is attacked by Grendel. Hrothgar seeks Beowulf's help to rid Heorot of the monster's menace.
KING HROTHGAR
58
A monstrous descendant of Cain, who attacks Heorot and terrorizes the Danes. He is defeated by Beowulf in a fierce hand-to-hand combat.
GRENDEL
59
The historical-biographical literary criticism analyzes the literary piece by looking into a literary piece's background such as in:
- Cultural context
- Social context
- Ideas prevalent around those times
- The authors biography
- Fact-based knowledge
59
What are the themes of Beowulf?
- Heroism
- Loyalty
- Fate
- The struggle between good and evil
60
It is the setting where
the social interaction happens.
Social context
61
Seeks to discover the so called "authorial intent" or the author's intention for his/her text to mean in
his/her time and place. Critics of this approach try to understand a literary work's social, cultural, and political context that produced it.
HISTORICAL CRITICISM
