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| The exposition introduces the main elements of a work of literature: setting, characterization, theme, etc. |
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| to come into collision or disagreement; be contradictory, at variance, or in opposition; clash |
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| During rising action, the basic internal conflict is complicated by the introduction of related secondary conflicts, including various obstacles that frustrate the protagonist's attempt to reach his goal. Secondary conflicts can include adversaries of lesser importance than the story’s antagonist, who may work with the antagonist or separately, by and for themselves or actions unknown. |
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| The third act is that of the climax, or turning point, which marks a change, for the better or the worse, in the protagonist’s affairs. If the story is a comedy, things will have gone badly for the protagonist up to this point; now, the tide, so to speak, will turn, and things will begin to go well for him or her. If the story is a tragedy, the opposite state of affairs will ensue, with things going from good to bad for the protagonist. |
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| During the falling action, or resolution, which is the moment of reversal after the climax, the conflict between the protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist. The falling action might contain a moment of final suspense, during which the final outcome of the conflict is in doubt. Which is also the outcome of what happened in the rising action and the climax. Summary: The falling action is that part of the story were the main part (the climax) has finished and you're heading to the conclusion. |
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| Resolution is the part of the story's plot line in which the problem of the story is resolved or worked out. This occurs after the falling action and is typically where the story ends. |
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| one that contends with or opposes another |
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| : is the leading character, hero, or heroine of a drama or other literary work |
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| When the author tells you |
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| When you use have to use clues given un teh book |
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| a character not fully developed who seems to represent a “type” more than a real personality (see also stock character) |
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| •A stock character is a stereotype. Stock characters rely heavily on cultural types or names for their personality, manner of speech, and other characteristics. In their most general form, stock characters are related to literary archetypes, but they are often more narrowly defined |
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| a character that undergoes personal development and change, whether through a gradual process or a crisis |
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| a character that remains unchanged throughout a work |
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| is within a person, like when they have to make a difficult decision and they're agonizing over it |
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| conflict is between a person and someone else, like a friend or some other outside force, like the government, for example |
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| the suggesting of a meaning by a word apart from the thing it explicitly names or describes |
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| The acr or process of denoting |
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| is "I" and "We" (distinguished as singular and plural) |
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| is "He", "She", or "It", and "They", likewise singular and plural |
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| talking/discussions among characters |
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| The general locale, historical time, and social circumstances in which the action of a fictional or dramatic work occurs; the setting of an episode or scene within a work is the particular physical location in which it takes place |
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| central idea or statement that unifies and controls an entire literary work |
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