Unit 1 - Foundations for English Literature Flashcards
Themes
The theme of the book is a broad, central idea. It is NOT a genre, and it does not completely match the moral of a story. The theme is an abstract concept that is demonstrated through representation of the characters and the action. In a test, the theme always contains a subject and predicate. The theme is generally broader in a book than in a short story or poem, with themes from books often containing a few subthemes that split the general concept.
Morals
The moral of the story is a lesson that can be learned by the end of a novel. Morals can sometimes be complex, but they are usually easier to define and less broader than the theme. A moral must go deeper than to “never steal”. The moral must also state the consequences of taking part in a right or wrong action on a deeper level.
Example for The GingerBread Man: Be careful when you store your belongings. Also, do not be naive about the intentions of others.
Characters I: Basics and Methods of Characterization
The creations of imaginary living things, realistic or non-realistic, that are lifelike. There are 3 fundamental methods of characterization within English Literature: A; the direct and explicit statements from the author about the character (such as in the introduction or conclusion) / B; Presentation of the character’s words and actions / C; Impact from actions and emotions on the character’s inner self, without comment from the narrator.
Characters II: Flat or Round? Static or Dynamic?
Characters vary from a spectrum between flat or round. Flat characters have fewer characteristics, personalities, principles and values that define them. Round characters are the opposite of this, and can often be described as “three - dimensional” or complex rather than simple characters. Characters can also be placed in a spectrum between “static” and “dynamic”. A dynamic character’s actions, thoughts and/or inner self is modified from experiences and consequences.
Protagonist and Antagonist
The protagonist is not necessarily a good or evil person, but is rather the main, chief character in a work. The antagonist is the person (such as a rival, opponent or enemy) who is directly opposed to the protagonist.
Conflict I
The struggle that grown out of the interplay between 2 opposing forces. Conflict is found in every story, short or long, and provides interest, suspense and tension. At least one of the opposing forces, typically the protagonist, is a character,, who is involved in 4 types of conflicts: Character v. Nature; Character v. Character (usually being the antagonist); Character v. Society; Character v. Self (or mastery by 2 or more elements within that character). A fifth conflict, the struggle against god, faith or destiny is often cited. However, this conflict is invalid in it’s own and can only fit with the 4 other conflicts above.
Conflict II
It is uncommon to find only one form of conflict in a story or work; conflict can be complex and can hold 2 or more of the basic types in a book or long story. Additionally, other than the actual conflicts that take place, the conflict often holds a form of existence for motivation of the conflicts themselves; a deeper or preceding reason that enhances conflict OR opposing goals to be achieved by the opposing forces.
Crisis
The point in a plot at which the opposing forces thay created the conflict interlock in the decisive action at which the plot will take a major turning point from the plot’s original course. The crisis point of the novel is the incident where the situation faced by the protagonist will certainly either improve or worsen. Generally, the crisis point occurs soon before the resolution. Additionally, although the crisis and climax point can often meet, they do not have to occur together in a story.
Climax and it’s structure
The highest point of interest for the reader, causing the greatest emotional response. In drama and performance, the climax designates the turning point in the action, whereas the crisis designates when the rising action turns towards the falling action. In Freytag’s five-part view of dramatic structure, the “climax” is the third part or third act. Both narrative fiction and drama have tended to move the climax, in the sense of turning action and of highest response as well, nearer the end of the work and thus have produced structures less orderly than those that follow Freytag’s pyramid Crisis is used exclusively in the sense of structure, whereas climax is used as a synonym for crisis in drama [but do not write this as climax in an exam] AND as a description of the intensity of interest in the reader.
Imagery
This is not necessarily a core component of literature, but nonetheless can often be found in both long and short stories. Imagery is the use of any of the 5 main senses in the story (whether they be sound, sight, taste, touch and/or smell). Even a few words that describe a sense felt can be considered a form of imagery. Imagery adds to a story or poem through reinforcing a concept of the theme in a deeper form through the use of sense. Imagery is rarely found in drama or performance.
Symbolism
An object or reference (not a character) that represents something beyond or other than it’s original intent or use. Used to add depth in stories. A real example of this is “The Marrow Thieves” - Issac’s tattoo of a buffalo reminded Frenchie of who Issac was, which allowed Frenchie to lead Issac to Miigwans, serving a conclusion to the story. The tattoo, in this case, represented knowledge, memory and resilience from both Issac and all indigenous communities across Canada. A simpler example of symbolism might be stormy weather, which might represent anger or sorrow during a part of the story.
