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| more than the events in a story, but the author's artistic arrangements of those events |
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| beginning of the story that sets the scene, introduces the main characters, tells the reader what happened before the story opened and provides background info |
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| events start moving toward the climax-main character usually faces complications |
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| turning point in the action and moment of greatest intensity-decisive confrontation between protagonist and antagonist |
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| events that lead to conclusion |
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| "untying of knot" resolving the knots created by plot complications |
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| central character of the story-initiates the main actor and is in conflict with antagonist |
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| character or force that opposes the protagonist-could be another character, society, fate, force of nature or conflicting impulse within protagonist |
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| "in the midst of things"- beginning a story in the middle of the action before explaining preceding events |
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| scene revealed in a character's memory |
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| indication of events to come |
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| some moment of insight, discovery of revelation by which a character's life or point of view is greatly changed |
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| perspective from which a story is told |
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| first person point of view |
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| the narrator is a participant in the action('I, me, we, us) |
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| third person point of view |
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| "all knowing"- narrator who has the ability to move freely through the thoughts of any characters-complete knowledge of external events |
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| narrator sees into minds of one character, but not all characters |
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| narrator who intentionally or unintentionally relates events in a subjectivev or distorted manner |
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| does not enter the minds of any character but describes events from outside |
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time and place of story; may also include the climate and even social and psychological aspects of time/participants
-can cause characters to act,reveal innermost nature, and make realizations |
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| an imagined person who inhabits a story |
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| known for a particular outstanding trait or traits |
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| not well developed, may have one outstanding attribute or feature and tends stary the same throughout the story |
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| well developed, portrayed in greater detail and depth and changes during the story |
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| protagonist, lacking in one or more of the usual aspects of the traditional hero: bravery, skill, idealism, sense of purpose |
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a person, place, or thing that suggests meanings beyond its literal
sense. A symbol usually contains multiple meanings and associations
-with symbols look for titles, repetition |
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| an object has a single additional significance |
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| an action whose sig. goes well beyond its literal meaning, usually involves some conscious or unconscious ritual element like rebirth, purification, forgiveness, vengeance, or initiation |
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| a generally recurring idea evident in a story- not all subjects are themes, only the central subject or subjects. -central unifying idea of a story-main argument of story |
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| the attitude toward a subject conveyed in a literary work. No single device creates a tone; it is a result of the various elements creating the work's feeling or manner. Tone can be playful, sarcasctic, ironic, sad, or any possible attitude or combination of attitudes. |
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| when an author says one thing but means something quite the opposite. |
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| a STATEMENT in which the speaker or writer says the opposite of what is really meant |
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| the discrepancy exists when something is about to happen to a character who expects the opposite outcome |
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| times when the speaker unlike the reader does not realize the dimension of their words |
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| suggests a malicious fate is deliberately frustrating human efforts |
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| Charlotte Gilman. a colonial mansion with a room with yellow wallpaper. first person. husband thinks she just has anxiety depression, confines her to the yellow wallpaper room, bars on window, gate to the stairs, becomes obsessed with it-begins to imagine a woman creeping around it, locks herself in and begins crawling around the floor by the paper. thinks she is the woman, husband comes in-passes out, she crawls over him |
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| An Occurence at Owl Creek Bridge |
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| Ambrose Bierce. Civil War, Alabama. Third person. Example of in media res.Peter Farquar(Confererate supporter) is being hung- disguised Union soldier led him into a trap. He imagines the rope breaks, he goes through the woods and finds his way home to his wife then he is hung. |
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| Kate Chopin. 19th century, store and Calixta and Boboinet's house. Third person. The Bobinet and Bibi are caught at the store. Alcee(a former fling of Calixta's) shows up to her house to avoid the storm, they remenesce and fornicate. They don't feel bad but refreshed. Everyone is happy in the end. |
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| Tim O' Brien. Vietnam War. Jim Cross(J.C.??) Jimmy Cross is a dynamic character. Third person. They all carry baggage that relates to their life, as well as emotional, Jimmy carries pictures of Martha and a rock. Blames himself for Ted Lavender's death b/c he was thinking of Martha. Burns the stuff from Martha. |
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| John Updike. Grocery Store. First person. 3 girls walk in with swimsuits on. He calls one queenie. swimsuit straps off her shoulders. Lengel kicks them out at the end, Sammy quits-realizes his life will be hard from them on. Tried to be their hero. |
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| A Good Man is Hard to Find |
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| Flannery O' Conner. On a vacation to Florida in the car. Grandmother wants to go to Tenn. Bailey is her son. She recalls her youth on the trip. Brought her cat. Tells them to go see the house with the trap door..children want to go. Cat causes accident. Misfit appears and granny recongizes her. Kill the family, granny is telling the misfit to pray. Reaches out to say she is his son at the end, he kills her. |
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| Shirley Jackson. small town.Third person, detatched. Tradition. Children gather stones. head of family draws paper, each family member draws, one with black dot is stoned to death by the town. Tessie Hutchinson is the "winner" of the lottery. |
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| The Ones Who Walk Away from Omelas |
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| Ursula Le Guin. Utopian City. Third person. Everything in the City is pleasing exept for their secret: a child kept in filth and misery, if the child is helped, happiness for the rest of the town is ruined. When some see the child they walk away, some are angy and upset. Those who walk go to "a place less imaginable" |
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| Kurt Vonnegut. Third person limited. Social equality is achieved through handicaps from the HP general. Harrison Bergeron(the protagonist) whose handicaps can't keep him back escapes from jail to appear on tv where his parents are watching, declares himself an emperor and takes a ballerina as his emperess and they dance, HP general comes and shoots them dead. Parent's can't concentrate enough to even realize what just happened. |
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| John Steinback. Salina's Valley. 3rd person objective. strong woman, restricted in married life as woman. Crysanthemums are her life. Man comes who fixes pots and sharpens scissors. pretends to share her interest, she gives him little sprouts to give to somone up the street, later on her date she sees them in the middle of road, cries like an old woman-wants wine with dinner. |
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| Jamaica Kincaid. A mother or grandmother is saying what the daughter or grandaughter should do and act like. Thinks she is bent on becoming a slut, gives her instructions to keep from becoming one, says not to sing Benna is sunday school, She asks what do if the baker does not let him touch the bread, asks if she thinks she'll be the kind of person the baker doesn't want to touch the bread after all that. |
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| Kate Chopin. Third person limited. Mrs Mallard has a hear problem has a heart problem, is told her husband has died in a train accident,sobs hard, then a feeling of freedom comes over her, when her husband walks in the door she dies of heart disease-"the joy that kills". |
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| modern narration that uses various literary devices, esp. interior monologue, in an attempt to duplicate the subjective and associative nature of human consciousness. Stream of consciousness often focuses on imaginistic perception in order to capture the perverabl level of consciousness |
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| what a character wants, reasons an author provides for a character's actions. can be either elicit or implicit |
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| discrepancy b/w action and their results, bw what characters deserve and what they get, b/w appearance and reality. |
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