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a struggle or clash between opposing characters, forces, or emotions.
Ignatious is in conflict with everyone and he thinks everyone is out to get him. in reality, he is just in conflict with himself. |
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The events that occur after the climax that bring the conflict to a conclusion
In 'Why I Live at the P.O.', it is when sister moves out to solve living in a home she is not happy in. |
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Clues early on in the story that suggest what will happen later in the story.
In 'Paul's Case', Paul has thoughts about his own death and eventually kills himself. |
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| Event(s) in the plot that occur and are not what the reader expects. |
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the authors way of revealing its character whether it be through thoughts and feelings or appearance, actions and manners.
Ignatious has a bit of both types of characterization |
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| DYNAMIC VS. STATIC CHARACTER |
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dynamic character is one who makes significant changes throughout the story and a static character is one who remains the same.
A&P - sammy: dynamic
Stoksie: static |
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a flat character is one that has little depth, someone who may be described in one or two phrases. A round character is complex and has a personality that can be analyzed.
In A&P Sammy: round
Queenie: flat |
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Character traits, environmental forces, desires, and goals that alone or in a combination explain a character's pattern of behavior.
Ignatious' motivation to start a worker's rebellion in the factory and excel at his job is because of Myrna's letter to him saying he should come to NY and cut the umbilical chord. |
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The character who is engaged in the central conflict of the story, sometimes called the hero or heroine.
Ignatious |
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The character or force that is in direct conflict with the protagonist. It may be another person, an environment, or another aspect of the protagonist's personality.
Ignatious |
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A character who enhances and clarifies the features of the protagonist by providing a direct and distinct contrast to the character.
Mr. Jones and their work ethic |
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a circumstance where characters reveal their inability to understand their own situation. mostly when characters make fateful choices on information that the reader knows is incorrect
Mr. Levy confronts Ignatious about the letter (that he really did write) but Ignatious gives him a story about how Mrs. Trixie did it so he retired her. |
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the person who tells the story. may be directly or indirectly involved in the action, or a detached observer who wants to explain what happened
In A&P Sammy is his own narrator |
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| THIRD-PERSON OMNISCIENT POINT OF VIEW |
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narrator is usually the speaker, can travel to other people's minds, knows all.
In Rocking Horse Winner, this allowed the audience to see that the mother resented her children and why paul really strived for love |
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| FIRST-PERSON POINT OF VIEW |
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one person's point of view.
Sammy in A&P |
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time, place, and social reality in which a story takes place. physical landscape or cultural landscape or both.
COD is set in NO no later than 1963 |
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a person, act, or thing that has both a literal meaning and abstract meanings. it is composed of several complex ideas that may radiate contradictory or ambiguous ideas.
pauls case: red carnation - cut off from society, death |
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the central or unifying ideas about human experience that grows out of all the other elements in the story. occasionally may be stated directly by the author, or indirectly by a character. more often it is derived from an attepmt to understand the complex interactions of forces within the narrative.
In A&P it is the idea of choices and consequences |
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a work of literature that ridicules or vice folly in ideas, institutions, or individuals. although a satiric work treats its subject with varying degrees of amusement and scorn, its ultimate purpose is to bring about improvement by calling attention to higher standards of human behavior.
the characters in COD are so over the top that readers can easily become disgusted |
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| "I hope you did not want me to do that. You know how I feel about touching other people" (22). |
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| "The tiny yard was completely bare. There was no shrubs. There was no grass. And no birds sang" (48-49). |
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| "The library authorities resented my integrity about the whole thing. They only wanted another animal who could slop glue on their best sellers" (63). |
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| "Poor Mr. Reilly. He had never gone to another movie as long as he lived" (103). |
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| "Ignatious had decided against going to the Prytania" (110). |
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| "Cut it out before I ring up the cops" (115). |
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| "Myrna would choke on her espresso when she saw this" (150). |
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| "For the first time in the Night of Joy [he] took off his sunglasses" (235). |
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| "To think that they're letting you run loose. In a way, I respect you" (266). |
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| "I was born on a wheat farm in Nebraska" (267). |
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| "It's a little Our Lady of the Television" (273). |
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| "A set designer, in particular, had appalled him too many times in the past (302). |
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| "Every asylum in this nation is filled with poor souls who simply cannot stand lanolin, cellophane, plastic, television and subdivisions" (317). |
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| "You learnt everything, Ignatious, except how to be a human being" (375). |
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| "Once a person was asked to step into this brutal century, anything could happen" (390). |
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| "Jail was preferable" (395). |
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| "He was not looking at Myrna; he was looking at the escape route" (394). |
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