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World Literature > PRELIMS > Flashcards

PRELIMS Flashcards

1
Q

Literature creation of the meaning and structure out of the pandemonium and confusion.

A

REAL LIFE

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2
Q

James Bondi fights the bad guys and saves the world

A

STORY

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3
Q

All fiction can be broken down into a few fundamental elements:

A
  • One character
  • A conflict
  • A resolution of that conflict
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4
Q

The beginning is also known as

A

Protasis

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5
Q

The end is also known as

A

Catastrophe

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6
Q

The middle is also known as

A

Epitasis

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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

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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

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7
Q

It is a series of interconnected events in which every occurrence has a specific purpose.

A

PLOT

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8
Q

It is the chronological telling of events.

A

STORY

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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

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9
Q

It is all about establishing connections, suggesting causes, and showing relationships.

A

PLOT

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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

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11
Q

James Bondi fights the bad guys and
saves the world

A

STORY

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11
Q

The traditional plot structure must have a

A

Situation
Conflict
Resolution

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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

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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

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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

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14
Q

It is the cause and effect arrangement.

A

PLOT

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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

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16
Q

It is sometimes referred to as the
dramatic orc.

A

Freytag’s pyramid

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17
Q

The king died and the queen died of grief.

A

PLOT

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17
Q

The king died and the queen died.

A

STORY

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17
Q

The character are fighting against each other

A

MAN VS MAN

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18
Q

Narratives are written without traditionally recognizable plots and yet still evoke in you a feeling that you are going somewhere when you read them.

A

POINTLESS PLOT

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19
Q

It occurs when the protagonist finds themselves pitted against a supernatural force.

A

MAN VS SUPERNATURAL

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20
Q

It is a literary device characterized by
a struggle between two opposing forces.

A

CONFLICT

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21
Q

The protagonist is facing machines or technology (such as mechanical failure
or robots) and must prevail against it.

A

MAN VS MACHINE/TECHNOLOGY

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21
Q

Characters in the story end up in the same place that they were at the beginning of the story.

A

CIRCULAR PLOT

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22
Q

The character stands up against man-made
institutions and social rules, and is forced to
make moral choices.

A

MAN VS SOCIETY

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23
Q

It is often used to reveal a deeper meaning in a narrative while highlighting characters’
motivations, values, and weaknesses.

A

CONFLICT

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24
Q

The protagonist is working against what has been forefold for that person

A

MAN VS FATE

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24
Q

It provides crucial tension in any story and is used to drive the narrative forward.

A

CONFLICT

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24
Q

The struggle is internal, and the character must overcome his or her own nature and make a choice between two or more paths

A

MAN VS HIMSELF

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25
Q

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.

A

REORIENTATION (RESOLUTION)

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26
Q

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.

A

TACTICAL PLAN (MIDPOINT)

26
Q

This is your starting point. In this section, you establish the setting and introduce your main character.

A

FLAWED CHARACTER (hook)

27
Q

As act two gets underway, your character sets out on their journey and reacts to their new surroundings and challenges.

A

WORTHY OPPONENT

28
Q

It’s here that the story approaches the climax. This is where the protagonist finally meets their nemesis face to face.

A

ENLIGHTENMENT (PLOT POINT 2)

28
Q

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.

A

REORIENTATION (RESOLUTION)

29
Q

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.

A

INTENSE DESIRE (plot point 1)

30
Q

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.

A

FLAWED CHARACTER (hook)

31
Q

As the story begins its upward climb to the climax, the intensity and tension kick into high gear.

A

TACTICAL PLAN (MIDPOINT)

31
Q

External conflicts begin to apply pressure on them. This is where antagonists, or bad guys, are often
introduced.

A

WORTHY OPPONENT

32
Q

This is the peak of a story’s dramatic and emotional intensity and must provide a big payoff for readers.

A

ENLIGHTENMENT (PLOT POINT 2)

32
Q

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.

A

BIG FIGHT (pinch point 2)

33
Q

The protagonist doubts their own abilities as they gather the energy to face the enemy and complete the
journey.

A

BIG FIGHT (pinch point 2)

33
Q

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

A PSN APPROACH TO STORYTELLING

34
Q

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.

A

BIG FIGHT (pinch point 2)

34
Q

It is a contradiction of expectation between what is said and what is really meant.

A

IRONY

34
Q

Who was composed A PSN APPROACH TO STORYTELLING?

A

Peter Solis Nery

35
Q

It occurs when the audience or the
reader knows more than the character about events.

A

Dramatic Irony

36
Q

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

A

Satire

36
Q

It is a biting remark that is worded ironically, so it may sound like praise but it is really an insult.

A

Sarcasm

36
Q

It is a contrast between what is said
and what is meant.

A

Verbal Irony

37
Q

It is the contrast between the actual
result of a situation and what was
intended or expected to happen.

A

Situational Irony

38
Q

The first person narrator is the main character or one of the main characters in the story

A

SUBJECTIVE FIRST PERSON

38
Q

It is the subcategory of irony.

A

Sarcasm

39
Q

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.

A

OMNISCIENT THIRD PERSON

40
Q

The first person POV can still be divided into two angels:

A
  • Objective first person
  • Subjective first person
41
Q

It is meant to hurt and wound a
person

A

Sarcasm

42
Q

It answers the question, “Who is telling the story?”

A

POINT OF VIEW

43
Q

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.

A

THIRD PERSON POV

43
Q

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.

A

OBJECTIVE FIRST PERSON

44
Q

It is also called perspective.

A

POINT OF VIEW

45
Q

It is the main idea or underlying meaning a writer explores in a novel, short story, or other literary work.

A

LITERARY THEME

46
Q

The best themes are not explicitly stated in a work of creative writing. Is is true or false?

A

TRUE

46
Q

The story is told by the narrator from his or her point of view.

A

FIRST PERSON POV

47
Q

It is the angle, the perception, the position that you take to take your story.

A

POINT OF VIEW

47
Q

This implies that the reader is either the protagonist or a character in the story and the events are happening to them.

A

SECOND PERSON POV

48
Q

The third person POV can be divided into three:

A
  • Omniscient third person
  • Objective third person
  • Close third person
49
Q

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.

A

OBJECTIVE THIRD PERSON

50
Q

It is seldom used but equally valid.

A

SECOND PERSON POV

50
Q

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.

A

CLOSE THIRD PERSON

51
Q

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.

A

HISTORICAL CRITICISM

52
Q

It includes community, beliefs, customs, ideas, languages, and norms that individual was raised with;

A

Cultural context

53
Q

It uses the pronoun “you” to address the reader.

A

SECOND PERSON POV

54
Q

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.

A

BIOGRAPHICAL CRITICISM

55
Q

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.

A

HISTORICAL CRITICISM

55
Q

She seeks revenge for her
son’s death and attacks Heorot. Beowulf follows her to her underwater lair and kills her.

A

GRENDEL’S MOTHER

55
Q

It is a critical approach to literature in which information about an author’s life and background is used to better understand his works..

A

BIOGRAPHICAL CRITICISM

56
Q

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.

A

BEOWULF

57
Q

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.

A

KING HROTHGAR

58
Q

A monstrous descendant of Cain, who attacks Heorot and terrorizes the Danes. He is defeated by Beowulf in a fierce hand-to-hand combat.

A

GRENDEL

59
Q

The historical-biographical literary criticism analyzes the literary piece by looking into a literary piece’s background such as in:

A
  • Cultural context
  • Social context
  • Ideas prevalent around those times
  • The authors biography
  • Fact-based knowledge
59
Q

What are the themes of Beowulf?

A
  • Heroism
  • Loyalty
  • Fate
  • The struggle between good and evil
60
Q

It is the setting where
the social interaction happens.

A

Social context

61
Q

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.

A

HISTORICAL CRITICISM

World Literature (1 decks)

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