Terminology Flashcards

You may prefer our related Brainscape-certified flashcards:
1
Q

proper noun

A

refer to names of people, places or important days and begin with a capital letter
e.g. Easter, Abbie, London

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

abstract noun

A

refers to states, feelings and concepts that do not have a physical existence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

concrete noun

A

refers to objects that have a physical existence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

what are the two types of concrete noun

A

countable - can be pluralised e.g. cup turns to cups

non-countable - do not take a plural form e.g. furniture does not become furnitures

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

what are the six types of verb

A
  • dynamic/material
  • stative/relational
  • mental
  • verbal
  • auxiliary
  • modal auxiliary
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

dynamic/material verb

A

shows actions, events or realisations

e.g. hit, jump, wash, build

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

stative/relational verb

A

identify properties or show states of being, there is no change just a state that is eternal
e.g. be, seem, appear, become, like (I like cats)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

mental verb

A

show internal thought processes such as thinking and can also fall under the same label as dynamic/material verbs
e.g. I think or believe

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

verbal verb

A

show external processes of communicating through speech

e.g. say, scream, shout or whisper

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

primary (auxiliary verbs)

A

an extra ‘helping’ verb which is used in addition to a main verb usually to show a tense
e.g. we were trying, I had gone

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

modal auxiliary verbs

A

an auxiliary verb which shows degrees of possibility, probability or obligation or certainty of an action. Cannot function as a verb independently.
e.g. could, can, would, will, should, shall, may, might, must

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

base adjectives

A

the basic form of an adjective, modifying a noun

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

what are the two types of base adjective

A

premodifiers: before the noun e.g. ‘the red car’

post modifiers: after the noun with a verb e.g. ‘ the car is red’ or ‘the squirrel seems sad’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

comparative adjectives

A

a form used to compare two instances, either adding ‘er’ or using ‘more’
modifies a noun in comparison to something else like bigger or happier
e.g. ‘the parcel was bigger’ or ‘he was more careful’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

superlative adjective

A

a form used to compare more than two instances, identifying a most extreme example, modifies a noun in comparison to others
e.g. ‘biggest, best, worst’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

what are the six types of adverb

A
  • manner
  • time
  • place
  • frequency
  • degree
  • sentence
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

adverbs of manner

A

tells us how something happened, generally ‘ly’ adverbs

e.g. ‘the dog barked loudly or the cat hissed disdainfully’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

adverbs of time

A

tells us when something happened

e.g. ‘I want to/will go to the shops, today, later, yesterday, after, tonight’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

adverbs of place

A

tells us where something happened

e.g. ‘he ran upstairs or I will wait here, downstairs, inside, away’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

adverbs of frequency

A

tells us how often something happened

e.g. ‘frequently, seldom, rarely, often he bought carrots sometimes he bought peppers’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

adverbs of degree

A

tells us how strongly a description applies, to what extent is something true

e. g. ‘I am…. hungry’ - ‘really, slightly, so, quite’
e. g. ‘she was very nervous’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

adverbs of sentence

A

provides an attitude to a whole sentence, what is the general attitude to what happened

e. g. ‘sadly, he was unsuccessful’
e. g. ‘fortunately he liked peas’
e. g. ‘…… it is forecast to rain today’ - ‘however, inevitably, honestly, sadly’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

personal pronouns

A

refer to people, and are differentiate in terms of person (1st, 2nd, 3rd), number (singular or plural) and gender (male or female).

1st person singular - me and I 
1st person plural - we and us 
2nd person - you 
3rd person singular - he and she and it
3rd person plural - they and them
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

demonstrative pronouns

A

orientate the reader or listener towards a person, object or idea, either nearby or far away and completely replace the noun

e. g. this, that, these, those
e. g. this is mine’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

indefinite pronouns

A

refer to a person, object or idea that is non-specific

e.g. ‘someone, anybody, everything’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

possessive pronouns

A

show the ownership of the noun they replace, it can still have a noun as long as it replaces one
e.g. ‘the cat is mine’ instead of ‘the cat is my cat’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

what do pronouns do

A

replace nouns

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

what do determiners do

A

go before a noun but the noun is still there

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

article determiners

A

show that something is definite or indefinite
a/an = indefinite
the = definite

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

possessive determiners

A

show ownership

e. g. my, your, hers, ours, theirs, his
e. g. ‘their mugs’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

demonstrative determiners

A

attached to a noun

e. g. this, that, these and those
e. g. ‘this cat is lovely’ and ‘this is mine’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

quantifiers determiners

A

show either specific or non-specific quantities of a noun
one/two = specific
some, any, a few = non-specific

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

prepositions

A

show the relationship of two things in terms of time or space

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q

premodifier

A

an adverb or adjective which is placed before the thing it is modifying
e.g. the happy mouse

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
35
Q

postmodifier

A

an adverb or adjective which is placed after the thing it is modifying, sometimes linked with a verb

e. g. the cat is ginger
e. g the mouse seemed happy
e. g. we waled slowly

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
36
Q

noun phrase

A

made up of a head (main) noun plus determiners, adjectives and possibly adverbs

e. g. Clifford the big red dog
e. g. Ivor the very naughty dragon

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
37
Q

verb phrases

A

contain a head verb plus extra information in terms of tense and likelihood

e. g. would like to know…
e. g. will be wondering….

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
38
Q

adverbial phrases

A

contain information about where or how. These are different from adverbial clauses because they do not contain a verb.

e. g. on the stairs
e. g. before tea

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
39
Q

clause

A

a group of words centred around a verb phrase. Phrases are put together to form clauses. In order to make a clause, you have to have certain key elements.

can stand on their own to form simple sentences where there is only one verb process, but can be joined together to create more complicated sentences

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
40
Q

phrase

A

a group of words that work together to express a single idea

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
41
Q

subject

A

the person or thing causing the verb process

e.g. the dustman

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
42
Q

verb element

A

the action or change taking place or the process being described

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
43
Q

direct object

A

not all verb elements need an object
an object directly affected by the verb process
e.g. the bucket, an ice cream

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
44
Q

main clause

A

can function independently as simple sentence or as part of a compound, complex or compound-complex sentence

e. g. I like cats
e. .g ice cream is great

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
45
Q

subordinate clause

A

cannot function independently, must be joined to a main clause, often with a subordinating conjunction

e. g. because I like cats
e. g. although ice cream is great…

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
46
Q

relative subordinate clause

A

starts with who, which or that and gives more information about a noun phrase
e.g the noun phrase is the very big sink
then the relative subordinate clause is, which is being fitted

the pretty old woman who likes ice cream

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
47
Q

adverbial subordinate clause

A

provides more information about telling us circumstances of the verb process in terms of place, time, frequency, degree or manner

e. g. after I walked downstairs
e. g. almost every day
e. g. as quickly as possible

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
48
Q

co-ordination

A

is the joining of two clauses with a co-ordinating conjunction that gives them equal weighting

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
49
Q

subordination

A

is the joining of two clauses that gives one clause (the main clause) more weighting than another clause, or clauses (the subordinate clause[s])

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
50
Q

subordinate clauses can be:

A
  • fronted: while the new kitchen is being fitted, we are eating out
  • embedded: the new kitchen, which is being fitted, will be lovely
  • backloaded: the new kitchen will be lovely, when it is finished
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
51
Q

minor sentences

A

a sentence which is missing either (or both) of the key elements of a main verb or a subject

e. g. eyes the colour of rotting squash
e. g. mashed-in nose
e. g. half of one ear missing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
52
Q

simple sentence

A

a sentence with a single verb process

e.g. the is the day of reaping

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
53
Q

compound sentence

A

a sentence where two-clauses are joined, often with a co-ordinating conjunction
e.g. the Dursleys knew that the Potters has a small son, too, but they had never even seen him

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
54
Q

complex sentences

A

a sentence which features one main clause and one or more subordinate clauses often joined with a subordinating conjunction or a relative pronoun
e.g. Mr Dursley was the director of a firm called grunnings, which made drills

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
55
Q

compound-complex sentence

A

a sentence which features two independent main clauses and at least one subordinate clause
e.g. Mrs Dursley was thin and blonde and has nearly twice the usual amount of neck, which came in useful as she spent so much of her time craning over garden fences, spying on the neighbours

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
56
Q

syndetic lists

A

items are divided by a mixture of commas and conjunctions

e.g. we were warm, sheltered and protected

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
57
Q

asyndetic lists

A

items are divided by commas with no conjunctions

e.g. one his return he received, medals, honors, treasures, titles, fame

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
58
Q

polysyndetic lists

A

all items are divided by conjunctions

e.g. men and girls came and went like moths among the whispering and the champagne and the stars

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
59
Q

Declaration

A

An utterance where the speakers use of language makes a legal or social change in a situation
e.g I now pronounce you man and wife

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
60
Q

Imperative

A

Grammatical structure that gives an order to another person - there is no subject and the verb action is fronted
E.g shut the door

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
61
Q

Directive

A

Any utterance which attempts to get the listener to perform a particular action - not limited to a specifically grammatical structure so e.g shut the door and where you born in a barn

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
62
Q

Interrogative

A

Grammatical structure that asks a question of another person. Has a question mark at the end, and is structured with the verb or part of a verb phrase before the subject.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
63
Q

Commissive

A

An utterance which commits the speaker to a particular action

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
64
Q

Assertive

A

An utterance where the speaker assets facts or gives information

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
65
Q

Expressive

A

An utterance which conveys the speakers feelings about something

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
66
Q

Deixis

A

Elements of spoken language which rely on the shared context of the conversation to be understood
e.g. here, there, we, now

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
67
Q

Dispreferred responses

A

Responses which are not what the speaker is hoping will happen in response to their speech

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
68
Q

Positive face

A

The image of themselves which an individual projects; how they want to be seen

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
69
Q

Negative face

A

An individuals ability to act as they wish to

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
70
Q

Face threatening act

A

Any act which threatens someone else’s face for example questioning their truthfulness, insulting them, ordering them to do something they don’t want to, or refusing an invitation

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
71
Q

felicity conditions

A

conditions which must be met in order for the preferred perlocutionary act to occur

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
72
Q

Grice’s Maxims

A

“rules” we tend to follow to keep conversation flowing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
73
Q

Grice’s Maxims quantity

A

taking the appropriate amount - not saying too much or too little

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
74
Q

Grice’s Maxims quality

A

being truthful and sincere or as sincere as the rest of the conversation

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
75
Q

Grice’s Maxims manner

A

being clear and comprehensible

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
76
Q

Grice’s Maxims relevance

A

keeping your contributions relevant to the discussion at hand

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
77
Q

negative politeness

A

disguising a face threatening act by appealing to an individual’s negative face - making the threat seem smaller by minimising inconvenience, adding the appearance of choice e.g. I’m so sorry to bother you but is there any chance you could…

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
78
Q

positive politeness

A

disguising a face-threatening act by appealing to an individual’s positive face making them feel good about themselves e.g. you’re good at this

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
79
Q

preferred response

A

the way in which a speaker wants the listener to respond to their speech

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
80
Q

adjacency pairs

A

pairs of utterances which follow a predictable pattern e.g. thanks/you’re welcome what time is it? Ten past three

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
81
Q

back-channelling

A

minimal responses made by a listener to show that they are listening for example ‘mmmm’ or ‘yeah’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
82
Q

colloquialism

A

an everyday informal word

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
83
Q

contraction

A

shortening of words or phrases expressed with an apostrophe such as can’t or won’t

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
84
Q

dialogue

A

text with multiple speakers

85
Q

elision

A

shortening or blending of words in speech e.g. going to becomes gonna and kind of becomes kinda

86
Q

ellipsis

A

when words are missed out of a sentence to save time or effort but the meaning is still generally understood e.g. going to the shops?

87
Q

false starts

A

when a speaker begins an utterance, stops and then begins again

88
Q

filled pauses

A

noises that are not technically words like ‘er’ or ‘um’ generally used to give the speaker time to think

89
Q

filler

A

a word or phrase such as like or you know generally used to give the speaker time to think

90
Q

hedge

A

word or phrases used to soften an utterance or show uncertainty e.g. sort of, like or a little bit

91
Q

micro pauses

A

pauses of less than a second represented by (.) in a transcript

92
Q

monologue

A

text with a single speaker

93
Q

overlaps

A

where one speaker begins talking before another has finished but the original speaker is still able to finish their turn

94
Q

phatic expression

A

an expression which is designed primarily to create a positive atmosphere or relationship and does not convey much actual information.

95
Q

speaker agenda

A

what a speaker is trying to achieve within an interaction

96
Q

tag question

A

a question formed from a declarative and a tagged-on question. “This is nice, isn’t it?” or “you like cake, don’t you?”

97
Q

timed pause

A

pause of longer than a second indicated by number of seconds in brackets (2)

98
Q

turn-taking

A

speakers take turn to speak avoiding overlaps and interruptions

99
Q

utterance

A

an individual’s turn in conversation

100
Q

locutionary acts

A

the actual utterance

101
Q

illocutionary act

A

what is actually meant by the utterance

102
Q

perlocutionary act

A

the effect of the utterance

103
Q

anaphora

A

the repetition of a word or phrase at the beginning of successive lines or clauses

104
Q

caesura

A

the use of punctuation to create a noticeable break or pause in the middle of a line of poetry

105
Q

dramatic monologue

A

a poem in the form of a speech or narrative by an imagined person, in which the speaker reveals aspects of their character while describing a particular situation or series of events

106
Q

end-stopping

A

the use of punctuation at the end of metrical lines to create pauses

107
Q

enjambment

A

a lack of punctuation at the end of a line of poetry so that it continues to the next line without a pause

108
Q

meter

A

the basic rhythmic structure of a verse or lines in verse

109
Q

poetic voice

A

the way in which a poet creates a distinct identity and voice for the “speaker” of a poem

110
Q

stanza

A

a grouped set of lines within a poem, usually set off from the other stanzas by a blank line or indentation

111
Q

alliteration

A

the repetition of a sound at the beginning of words in close proximity to each other

112
Q

assonance

A

the repetition of a vowel sound within words in close proximity to each other
e.g. eyes as bright as sunlight on a stream

113
Q

consonance

A

the repetition of a consonant sound anywhere within words in close proximity to each other
e.g. the sullen wind was soon awake (w sound)

114
Q

onomatopoeia

A

a word which imitates the sound of a thing or action

115
Q

pararhyme

A

rhyme in which (some of) the consonants match, however the preceding vowel sounds do not match
e.g. heap/harp, better/bitter, hall/hell

116
Q

rhyme

A

correspondence of sound between words or the endings of words
e.g. path/bath, meet/eat, tree/plea

117
Q

what are the 5 types of consonant alliteration

A
  • plosive
  • lateral
  • approximant
  • friacative
  • affricate
118
Q

what is plosive alliteration

A

c/k, d, g, p, t, b

119
Q

what is lateral alliteration

A

l

120
Q

what is approximant alliteration

A

r, y

121
Q

what is friacative alliteration

A

f, s, sh, z

122
Q

what is affricate alliteration

A

j, ch

123
Q

deus ex Machina

A

Literally, ‘God from the machine’, an implausible plot twist which saves the day at the end of a story. A staple feature of melodrama

124
Q

dramatic irony

A

where the audience is aware of something that the characters in a text are not

125
Q

expressionism

A

a style of drama that represents the world non-literally using fantastical or heavily symbolic elements

126
Q

in media res

A

‘in the middle of things’ - a scene or story which starts in the middle of the action rather than at the beginning

127
Q

melodrama

A

a style of drama or novel which contains overblown emotion and improbable events

128
Q

mise-en-scene

A

the arrangement of the scenery, props etc… on the stage of a theatrical production

129
Q

pathos

A

sadness or sympathy created by the character of events of a text

130
Q

realism

A

a style of drama that aims to represent the world in a realistic and believable way

131
Q

stage directions

A

directions provided to actors and directors to tell them how to produce or perform a play

132
Q

verisimilitude

A

when the setting and style of drama is designed to mimic real life

133
Q

antonyms

A

words that have opposite meanings e.g. love and hate

134
Q

collocates

A

words that typically appear together, so often that to replace once with a synonym would sound unnatural e.g. horse and carriage, sense of pride or key issue

135
Q

dysphemism

A

using a blunt or direct word instead of a more polite or indirect alternative, close to taboo
e.g. knocked up or dropped off the perch.

136
Q

euphemism

A

a more socially acceptable word or phrase, usually for a potentially taboo subject
e.g. passed away or expecting

137
Q

idiom

A

a well-used group of words that becomes accepted and used as one long structure rather than retaining its literal meaning (can also be cliché)
a phrase that doesn’t literally mean what is said
e.g. over the moon, saw the light, having cold feet

138
Q

metaphor

A

a structure that presents one thing in terms of another

e.g. he is a pig or she is a bit of a butterfly

139
Q

semantic field

A

a group of words related to the same subject

140
Q

hyponym or hypernym

A

a hypernym (such as vehicle) can be broken down into several hyponyms (such as car, lorry, tractor, van)

e.g. pet into rabbit, fish, cat

141
Q

simile

A

a structure that presents one thing in terms of another through comparison of a specific aspect often using like, as or than

142
Q

personification

A

when a non-human object or creature is given human characteristics
e.g. the house groaned

143
Q

allusion (exophoric reference)

A

a reference to something which is outside the text, usually another literary text, or a song etc…
e.g., she looks like Marilyn Monroe or it’s like in CSI

144
Q

hyperbole

A

exaggeration

e.g. I’m starving or it’s the biggest dog in the world

145
Q

synonym

A

a word that has equivalent meaning to another word e.g. large or big, lexeme or word

146
Q

oxymoron

A

a phrase which contains an inherent contradiction in terms of meaning
e.g. act naturally or bittersweet , deafening silence

147
Q

cliché

A

an idiom that has been used to much that is has ceased to have meaning
e.g. read between the lines, all that glitters isn’t gold

148
Q

neologism

A

a made up or new word created specifically for a text

e.g. Quidditch, Compucheck, Newspeak

149
Q

affordance

A

a feature of a text which allows it to reach a certain audience or audiences

150
Q

asynchronous communication

A

communication where production and reception happen non-simultaneously e.g. in a letter

151
Q

blended-mode

A

a text which contains conventional elements of both speech and writing

152
Q

constraint

A

a feature of a text which limits the ways in which audiences can consume it

153
Q

context

A

the external factors that shape how texts are produced and received

154
Q

discourse community

A

a group of people with shared interests and belief systems who are likely to respond to texts in similar ways

155
Q

discourse events

A

an act of communication occurring in a specific time and location involving writer/speakers, readers/listeners

156
Q

downgrading

A

when a speaker responds to disagreement by becoming less intense about their opinion

157
Q

endophoric storytelling

A

when a story is produced in the same location as where it took place

158
Q

exophoric storytelling

A

when a story is produced outside the location where it took place

159
Q

gap-filling

A

the act of adding a rich sense of meaning to individual words and phrases based on our knowledge and the context in which they appear

160
Q

genre

A

a way of grouping texts based on expected shared conventions

161
Q

implied reader

A

a constructed image of an idealised reader

162
Q

intertextuality

A

a process by which texts borrow from or refer to conventions of other texts for a specific purpose and effect

163
Q

knowledge frame/pragmatic knowledge

A

a mental store of knowledge about the world gained through experience

164
Q

mode

A

the physical channel of communication: either speech or writing

165
Q

multi-purpose text

A

a text that clearly has more than one purpose

166
Q

othering

A

presenting a culture or community as different or strange in some way

167
Q

primary purpose

A

the main and most easily recognisable purpose of a text

168
Q

register

A

a variety of language that is associated with a particular situation of use. In particular refers to how formal or informal a text or producer’s language is

169
Q

representation

A

the portrayal of events, people and circumstances through language and other meaning-making resources (e.g. images and sound) to create a way of seeing the world

170
Q

secondary purpose

A

an additional and perhaps more subtle purpose of a text

171
Q

situation of use

A

a specific place, time and context in which communication takes place

172
Q

subjectivity

A

being seen from a particular perspective

173
Q

synchronous communication

A

communication where production and reception happen simultaneously

174
Q

text producer

A

the person or people responsible (through writing or speaking) for creating a text

175
Q

text receiver

A

the person or people interpreting (through reading or listening to) a text

176
Q

upgrading

A

when a speaker responds to a disagreement by becoming more intense about their opinion

177
Q

additional events

A

secondary events that are not necessarily crucial to the overall story but, through being included, may have been highlighted as important

178
Q

analepsis

A

a literary device in narrative, in which a past event is narrated at a point later than its chronological place in a story (similar to a flashback)

179
Q

antagonist

A

anything - person, creature or force of nature - that advances the story through conflict with the protagonist, presenting barriers or obstruction to the protagonists desires.

180
Q

audience surrogate

A

a character who functions as a surrogate for the audience in terms of asking questions or reacting to another character’s narrative

181
Q

central events

A

main events that are crucial to the overall story

182
Q

defamiliarization

A

presenting common things in an unfamiliar or strange way in order to enhance our perception of them or make us question our assumptions

183
Q

external deviation

A

breaking a pattern which is understood to be a key part of language use in general e.g. using made up words or using a feature not expected in a particular genre

184
Q

external evaluation

A

expressing an attitude to events outside the time frame of the narrative e.g. it makes me angry when people do that

185
Q

first person/ homodiegetic narrator

A

the narrator of a story who is also the protagonist or another character in the story

186
Q

foregrounding

A

drawing particular attention to an aspect of a story

187
Q

internal deviation

A

breaking a pattern which the text has set up e.g. meter, form or viewpoint

188
Q

internal evaluation

A

expressing an attitude to events in the same time frame as the narrative e.g. I was angry

189
Q

irony

A

a state of affairs or an event that is contrary to what we expect, which is often wryly amusing or emotionally shocking as a result

190
Q

what are Labov’s five narrative elements of anecdotes

A
  • abstract
  • orientation
  • complicating action
  • resolution
  • coda
191
Q

Labov’s element of anecdotes (abstract)

A

indication that the speaker wants attention and is beginning the story e.g. you’ll never believe who I met or oh, I’ll tell you something funny

192
Q

Labov’s element of anecdotes (orientation)

A

the who/what/when/where/why of the story e.g. I was in town at the weekend

193
Q

Labov’s element of anecdotes (complicating action)

A

the actual meat of the story, what happened

194
Q

Labov’s element of anecdotes (resolution)

A

the ending of the narrative, explaining what happened

195
Q

Labov’s element of anecdotes (coda)

A

signals that the story has ended

196
Q

narratee

A

the person to whom a narrative is told

197
Q

narrative

A

writing or speech that presents a series of events, characters and places in a coherent form

198
Q

narrative discourse

A

the shaping of the story through choices in language and structure

199
Q

narrator

A

a person responsible for writing or speaking a narrative

200
Q

poetic justice

A

a literary device in which virtue is ultimately rewarded or vice punished, often in a way which provides emotional satisfaction for the audience.

201
Q

prolepsis

A

a literary device in narrative in which a future event is narrated at a point earlier than its chronological place in the story (flashforward)

202
Q

protagonist

A

character at the centre of the story, makes the key decisions, and experiences the consequences of those decisions

203
Q

retrospective

A

a viewpoint where the narrator looks back on past events often providing commentary on the significance of those events

204
Q

story

A

the building blocks of a narrative in terms of events, characters, time and place

205
Q

high tellability

A

the features of a story which make it worth telling to an audience

206
Q

low tellability

A

the characteristic of a narrative that presents uninteresting material in an uninspiring way

207
Q

third person/ heterodiegetic narrator

A

describes the experiences of the characters that appear in the story which they do not participate

208
Q

time frame

A

the positioning of a narrative in the past, present or future

209
Q

unreliable narrator

A

a narrating character or storyteller who provides inaccurate, misleading, conflicting, or otherwise questionable information to the reader or audience