BASiC_liTERARY_SHORT_FiCTiON_TERMS

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ashley_20232
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60539
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BASiC_liTERARY_SHORT_FiCTiON_TERMS
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2011-01-27 14:43:47
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LIT TERMS
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LIT TERMS/ COMP II
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  1. WHAT iS ANTAGONIST?
    A PERSON OR FORCE WHICH OPPOSES THE PROTAGONIST IN A LITERARY WORK.
  2. WHAT FORM CAN AN ANTAGONIST BE?
    • ANOTHER PERSON
    • FORCE OF NATURE
    • SITUATION
    • FATE
    • SOCIETY
    • PROTAGONIST
  3. WHAT IS PROTAGONIST
    THE MAIN CHARACTER IN THE STORY.
  4. WHO DOES THE READER EMPATHIZES WITH?
    PROTAGONIST BUT THEY MAY NOT LIKE HIM/HER
  5. WHAT IS ALLEGORY
    A COMPLETE NARRATIVE WHICH MAY BE APPLIED TO ANOTHER PARALLEL SETS OF SITUATIONS
  6. WHAT IS ARCHETYPE
    A THEME EMBLEM OR CHARACTER THAT SOME CRITICS THINK HAS A COMMON MEANIN IN AN ENTIRE CULTURE OR EVEN THE ENTIRE HUMAN RACE
  7. WHAT IS CANON
    THE GROUP OF LITERARY WORKS A GIVEN CULTURE JUDGES TO PROSSESS SPECIAL MERIT
  8. WHAT WAS THE ORIGINAL MEANING OF THE WORD CANON MEAN
    IT WAS APPLIED TO THE LIS TOF BOOKS TO BE INCLUDED AS AUTHENTIC BIBLICAL DOCTRINE IN THE HEBREW AND CHRISTIAN BIBLE.
  9. WHAT IS TODAYS MEANING OF CANON
    TYPICALLY REFERS TO THOSE WOEKS IN ANTHOLOGIES THAT HAVE COME TO BE CONSIDERED STANDARD OR TRADITIONALLY INCLUDED IN THE CLASSROOM AND PUBLISHED TEXTBOOKS
  10. CANON DENOTES WHAT?
    THE ENTIRE BODY OF LITEARURE TRADITIONALLY THOUGHT TO BE SUITABLE FOR ADMIRTAION AND STUDY
  11. WHAT IS CHARACTER?
    ANY PERSON WHO PLAYS A PART IN A NARRATIVE
  12. WHAT METHODS DO AUTHORS USE TO DEVELOP CHARACTERS?
    • ACTIONS- HOW CHARACTER REACTS IN CERTAIN SITUATIONS AND TO OTHER CHARACTERS
    • SPEECH- WHAT HE SAYS AND HOW HE SAYS IT
    • CHARACTERS THOUGHTS
    • NARRATORS DESCRIPTION
    • WHAT OTHER CHARACTERS SAY ABOUT HIM OR HER
    • GESTURES, EXPRESSIONS, CHARACTER'S NAME
  13. WHAT DOES THE METHOD OF CHARACTERIZATION DEPEND ON?
    THE KIND OF CHARACTER HE/SHE IS
  14. WHAT ARE THE DIFFERENT TYPE OF CHARACTERS
    • DYNAMIC
    • ROUND
    • FLAT
    • STATIC
    • STOCK
  15. WHAT IS A DYNAMIC CHARACTER
    • CHARACTER WHO DURING THE COURSE OF THE STORY UNDERGOES A PERMANET CHANGE IN SOME ASPECT OF HIS/HER PERSONALITY/OUTLOOK
    • THE GROW AND CHANGE IN THE COURSE OF THE STORY SO THAT THEY ARE SOMEWHAT DIFFERENT PEOPLE BY THE END OF THE STORY, JUST AS PEOPLE ARE CHANGED BY EVENTS IN THEIR LIVES.
  16. WHAT IS A ROUND CHARACTER
    CHARACTER WHO IS COMPLEX, MULTI-DIMENSIONAL, AND CONVINCING, BUT DOES NOT CHANGE IN SOME SIGNIFICANT MANNER BY THE END OF THE STORY. AUTHORS PRESENT ENOUGH DETAILS ABOUT THE TO RENDER THEM, LIFELIKE, AND MEMORABLE.
  17. WHAT TRAITS DO ROUND CHARACTERS HAVE
    MANY-SIDED, WITH CONFLICTIONG IMPULSES. LIKE REAL PEOPLE HEY HAVE GOOD AND BAD TRAITS.
  18. WHAT IS A FLAT CHARACTER?
    A CHARACTER WHO HAS ONLY ONJE OUTSTANDING TRAIT OR FEATURE, OR AT THE MOST A FEW DISTINGUISHING MARKS(THE GOOD GUY WHO IS ALWAYS GOOD OR THE BAD GUYS WHO IS ALWAYS BAD) A FLAT CHARACTER IS WRITTEN WITH FEW DETAILS
  19. WHAT IS A STATIC CHARACTER?
    CHARACTER WHO IS THE SMAW SORT OF PERSON AT THE END OF A STORY AS HE OR SHE WAS AT THE BEGINNING. THEY REMAIN THE SAMW THROUGHOUT THE STORY AND MAKE NO SHIFTS IN THEIR THOUGHTS OR PERSONALITIES.
  20. WHAT IS A STOCK CHARACTER
    A STEROTYPES CHARACTER:ONE WHOSE NATURE IS FAMILIAR FROM PROTOTYPES IN PREVIOUS FICTION, SUCH AS THE MEAN STEPMOTHER,THE CROOKED POLITICIAN OR THE DUMB BLONDE. SUCH CHARACTERS MAY BE SUMMED UP IN ONE SENTENCE.
  21. WHAT ARE THE BEST EXAMPLES OF FLAT AND STATIC CHARACTERS
    • FAIRY TALES: PRINCE CHARMING AND ABLE TO RESCUE THE MAIDEN
    • THE MADIAN IS ALWASY YOUND AND BEAUTIFUL
    • THE WITCH OR STEPMOTHER IS ALWAYS UGLY AND WICKED
  22. WHAT IS A "COMING OF AGE STORY" OR STORIES OF INITIATION
    THE PROTAGONIST IS INITIATED INTO ADULTHOOD THROUGH KNOWLEDGER EXPERIENCE OR BOTH OFTEN BY A PROSCESS OF DISILLUSIONMENT
  23. WHAT ARE SOME SHIFTS THAT TAKE PLACE IN A "COMING OF AGE STORY?
    • IGNORANCE OF KNOWLEDGE
    • INNOCENCE TO EXPERIENCE
    • FALSE VIEW OF WORLD TO CORRECT VIEW
    • IDEALISM TO REALISM
    • IMMATURE RESPONSES TO MATURE RESPONSES
  24. WHAT IS A CONFLICT
    A STRUGGLE BETWEEN OPPOSING CHARACTERS OR OPPOSING FORCES
  25. WHAT IS AN INTERNAL CONFLICT
    INTERNAL CONFLICT IS THE STRUGGLE THAT TAKES PLACE WITHIN A CHARACTERS OWN MIND SUCH AS THE STRUGGLE BETWEEN OPPOSING NEEDS OR DESIRES
  26. WHAT IS AN EXTERNAL CONFLICT
    STRUGGLES A CHARACTER ENCOUNTERS WITH WITH AN OUTSIDE FORCE SUCH AS ANOTHER CHARACTER, SOCIETY AS A WHOLE OR NATURAL FORCES
  27. WHAT IS CONNOTATION
    THE IMPLIED MEANING OF A WORD
  28. WHAT IS DENOTATION
    THE DICTIONARY MEANING OF A WORD
  29. WHAT IS DIDACTIC
    TERM USED TO DESCRIBE A NARRATIVE OR OTHER WORK OF ART THAT TEACHES A SPECIFIC LESSON, CONVEYS MORAL, OR INSPIRES AND PROVIDES A MODEL FOR PROPER BEHAVIOR
  30. WHAT IS DIALOGUE
    WORDS SPOKEN BY TWO OR MORE CHARACTER IN A STORY PLAY OR POEM
  31. WHAT IS EPIC
    A LONG NARRATIVE TALE, OFTEN O FLEGENDARY ADVENTURES AND SUPERHUMAN HEROES
  32. WHAT IS THE EPIC OF GILGAMESH CREDITED AS BEING?
    THE FIRST EPIC TO SURVIVE IN WRITTEN FORM ON 12 CUNEIFORM TABLETS
  33. WHAT IS AN EPOPHANY
    TERM "INVENTED" BY JAMES JOYCE; A START AWAKENING OF THE TRUE NATURE OF A CHARACTER OR SITUATION THROUGH A SPECIFIC EVENT
  34. WHAT IS EXPLICIT
    MESSAGE THAT IS CLEARLY AND PRECISELY EXPRESSED AS OPPOSED THO THAT WHICH IS IMPLIED
  35. WHAT US IMPLICIT
    OPPOSED TOI EXPLICIT, THE MESSAGE REMAINS HIDDEN
  36. WHAT IS A FABLE
    A DIDACTIC TALE IN WHICH ANIMALS ASSUME THE ROLES OF HUMAN CHARACTERS
  37. WHAT IS A FANTASY
    HIGHLY IMAGINATIVE, SOMETIMES DREAMLIKE LITERATURE DEPARTING FORM THE UNDERSTANDING OF REALITY
  38. WHAT IS FICTION
    NARRATIVES BASED ON THE IMAGINATION OF THE AUTHOR NOT IN LITERAL FACTS
  39. WHAT IS NON-FICTION
    LITERARY GENRE WHICH IS AN ACCOUNT OR REPRESENTATION OF A SUBJECT WHICH IS PRESENTED AS FACT. THIS PRESENTATION MAY BE ACCUREATE OR NOT; THAT IS, IT CAN GIVE EITHER A TRUE OR A FALSE ACCOUNT OF THE SUBJECT IN QUESTION. HOWEVER IT IS GENERALLY ASSUMED THAT THE AUTHORS SUCH OF ACCOUNTS BELIEVE THEM TO BE TRUTHFUL AT THE TIME OF THEIR COMPOSTION
  40. WHAT IS FIGURATIVE LANGUAGE
    • SIMILES
    • METAPHORS
    • PARALLELISM USED TO BROADEN UNDERSTANDING
  41. WHAT IS FLASH BACK
    A METHOD OF NARRATION IN WHICH THE PAST EVENTS ARE INTRODUCES INTO A PRESENT ACTION
  42. WHAT IS FREYTAG'S PYRAMID
    A DIAGRAM CREDITED TO THE NINETEENTH CENTURY GERMAN NOVELIST AND CRITIC GUSTAV FREYTAG, THAT GRAPHICALLY SHOWS THE STAGES OF DRAMATIC STRUCTURE
  43. HOW MANY STAGES ARE IN FREYTAGS PYRAMID
    5
  44. WHAT IS THE FIRST STAGE OF FREYTAGS PYRAMID
    EXPOSITION OR INTRODUCTION, WHICH BRINGS OUT EVERYTHING WE NEED TO KNOW AND UNDERSTAND AND FOLLOW WHAT IS TO HAPPEN
  45. WHAT IS STAGE TWO OF FREYTAGS PYRAMID
    COMPLICATION AND DEVELOPMENT WHICH MARKS THE ONSET OF THE MAJOR CONFLICTS
  46. WHAT IS STAGE THREE OF FREYTAGS PYRAMID
    CRISIS OR CLIMAX WHICH IS THE CULMINATION OF THE CONFLICTS AND COMPLICATIONS THE INTENSE MOMENTS OF DECISION IN WHICH THE HERO OR HEROINE TO RECOGNIZE WHAT NEEDS TO BE DONE TO RESOLVE THE MAJOR CONFLICT
  47. WHAT IS STAGE FOUR OF FREYTAGS PYRAMID
    FALLING ACTION WHICH CONTAINS COMPLICATING ELEMENTS DEFERRING THE CONCLUSION
  48. WHAT IS STAGE FIVE OF FREYTAGS PYRAMID
    DENOUEMENT RESOLUTION OR CATASTRPHE WHICH IS THE END THE LOGICAL OUTCOME OF WHAT HAS GONE BEFORE- ALL MYSTERIES ARE EXPLAINED, ALL CONFLICTS ARE RESOLVED ALL MISTAKES ARE CORRECTED ALL DASTARDLY SCHEMES ARE DEFEATED ALL LONG LOST CHILDREN ARE IDENTIFIED ALL OBSTACLES TO LOVE ARE OVERCOME ALL DESERVING CHARACTERS ARE REWARDED
  49. WHAT IS GENRE
    TYPE OR CATEGORY OF LITERATURE OR FILM MARKED BY CERTAIN SHARED FEATURES OR CONVENTION
  50. HOW MANY CATERGORIES OF GENRE ARE THERE?
    THREE
  51. WHAT ARE THE THREE CATERGORIES OF GENRE
    • POETRY
    • DRAMA
    • FICTION
  52. WHAT IS IMAGERY
    CONCRETE LANGUAGE THAT APPEALS TO THE SENSES TO CREATE MENTAL PICTURES
  53. WHAT IS IRONY
    STATEMENTS OR ACTIONS CONTRARY TO WHAT IS EXPECTED
  54. WHAT IS THE DIFFERENT TYPES OF IRONY
    • VERBAL
    • SITUATIONAL
    • COSMIC
    • DRAMATIC
  55. WHAT IS VERBAL IRONY
    ONE THING IS SAID BUT THE OPPOSITE IS MEANT
  56. WHAT IS SITUATIONAL IRONY
    THE DIFFERENCE BETWEEN WHAT WE HOPE FOR OR EXPECT AND WHAT ACTUALLY HAPPENS
  57. WHAT IS COSMIC IRONY
    EMPHASIZES THE PESSIMISTIC AND FATALISTIC SIDE OF LIFE
  58. WHAT IS DRAMATIC IRONY
    A SPECIAL KIND OF SITUATIONAL IRONY WHEN A CHARACTER EITHER HAS NO INFORMATION ABOUT A SITUATION OR ELSE MISJUDGES IT, BUT READER SEES EVERYTHING
  59. WHAT IS MLA
    ACRONYM FOR MODERN LANGUAGE ASSOCIATION THE DOCUMENTATION USES TO DOCUMENT LITERATURE
  60. WHAT IS MOOD
    THE ATMOSPHERE OF LITERARY WORK, CREATED NOT ONLY THE CHARACTER AND EVENTS BUT ALSO THE THE AUTHORS STYLE AND CHOICE OF LANGUAGE
  61. WHAT IS A MYTH
    STORIES INVOLVING SUPERNATURAL BEINGS THAT USUALLY EXPLAINS THE COSMOS AND THE MYSTERIES OF LIFE AND DEATH OFTEN RELATING TO EXPLOITS OF THE GODS AND GODESSES
  62. WHAT IS A NARRATOR
    THE VOICE OF THE PERSON TELLING THE STORY
  63. WHAT IS THE NARRATOR NOT TO BE CONFUSED WITH
    THE AUTHORS VOICE
  64. WHAT IS A NARRATOR ALSO REFFERED TO
    • SPEAKER
    • PERSONA
    • VOICE
  65. WHAT IS A NOVELLA
    SHORT NOVEL
  66. WHAT IS OPEN ENDINGS
    FICTIONS WITH OPEN ENDINGS HAVE INCONCLUSIVE OR NO SPECIFIC ENDINGS
  67. WHAT IS A SUPRISE ENDING
    UNEXPECTED ENDING
  68. WHAT IS O'HENRY CREDITED FOR
    INVENTION OF SUPRISE ENDING
  69. WHAT ARE PARABLES
    STORIES WIHT A MORAL OFTEN RELIGIOUS, THE PURPOSE OF WHICH IS INSTRUCTION; USUALLY ASSOCIATED THE TEACHINGS OF JESUS
  70. WHAT IS PERSONIFICATION
    THE ATTRIBUTION OF HUMAN QUALITIES AND CHARACTERISTICS TO NONHUMAN THINGS OR ABSTACTIONS
  71. WHAT IS PLOT
    THE ARRANGEMENT OF EVENTS IN A NARRATIVE OR DRAMATIC WORK; A SEQUENCE OF EVENTS AND ACTIONS CONNECTED THROUGH CONFLUCT TO MOVE THE STORY ALONG THUS INDUCING CURIOSITY AND SUSPENCE IN READER
  72. WHAT DOES A PLOT HAVE ?
    • EMPHASIS (WHAT AUTHOR WANTS TO FOCUS ON OR IGNORE)
    • PACING (HOW QUICKLY TO COVER EVENTS
    • ORDER(TYPE OF PRESENTATIONS SUCH AS FLASHBACK OR CHONOLOGICAL ORDER
  73. WHAT IS POETRY
    LITERARY GENRE, GENERALLY SHORT IN NATURE WHICH RELIES HEAVILY OF IMAGERY, FIGURATIVE LANGUAGE, AND SOUND
  74. WHAT IS POINT OF VIEW
    THE POSITION FROM WHICH DETAILS ARE PERCEIVES, OBSERVED AND RELATED
  75. WHAT ARE THE THREE POINTS OF VIEW
    • FIRST PERSON
    • SECOND PERSON
    • THIRD PERSON
  76. WHAT IS FIRST PERSON
    THE VOICE OF WORK IS IN "I"
  77. WHAT IS SECOND PERSON
    • THIS IS THE LEAST COMMON
    • YOU
  78. WHAT IS THIRD PERSON
    THE SPEAKER EMPHASIZES THE ACTIONS AND SPEECHES OF OTHERS
  79. HOW MANY VARIANTS OF THIRD PERSON ARE THERE?
    3
  80. WHAT ARE THE THREE VARIANTS OF THIRD PERSON
    • DRAMATIC/OBJECTIVE
    • OMNISCIENT
    • LIMITED OMNISCIENT
  81. WHAT IS DRAMATIC/OBJECTIVE?
    THE "FLY ON THE WALL"
  82. WHAT IS OMNISCIENT
    SEEING INTO THE MINDS OF ALL CHARACTERS
  83. WHAT IS LIMITED OMNISCIENT
    SEEING INTO ONE OR INFREQUENTLY, TWO CHARACTERS' MINDS
  84. WHAT IS PRECIS
    LITERARY PARAPHRASE OR SYNOPSIS
  85. WHAT IS PROSE
    ANY MATIERAL THAT IS NOT WRITTEN IN A REGULAR METER LIKE POETRY.
  86. WHAT IS USUALLY WRITTEN IN PROSE
    MANY MODERN GENRES SUCH AS SHORT STORIES NOVELS LETTERS AND ESSAYS
  87. WHAT IS PSEUDONYM/PEN NAME
    A FICTITIOUS MANE THAT A WRITER EMPLOYS TO CONCEAL HIS/HER IDENTITY FOR EXAMPLE SAMUEL CLEMENS USED THE PEN NAME "MARK TWAIN" WILLIAMSYDNEY PERTER WROTE HIS SHORT STORIES UNDER THE PEN NAME "O'HENRY"MARY ANN CROSS USED THE PEN NAME "GEORGE ELIOT" TO HIDE SHE WAS A FEMALE WRITER
  88. WHO WAS MARK TWAIN
    SAMUEL CLEMENS
  89. WHO IS O'HENRY
    WILLIAM SYDNEY PORTER
  90. WHO IS GEORGE ELIOT
    MARY ANN CROSS
  91. WHAT IS REALISM
    SCHOOL OF LITERTURE WHICH PORTRAYS A "SLICE OF LIFE" WITH AVERAGE CHARACTERS IN NORMAL ACTIVITES TO CREATE DETAILED, PROBING ANALYSIS OF THE WAY THINGS REALLY ARE; A LITERARY MOVEMENT IN AMERICA,EUROPE AND ENGLAND THAT DEVELOPED OUT OF NATURALISM IN THE NIETEENTH AND TWENTIETH CENTURIES
  92. WHAT IS ROMANCE
    A LITERARY MOVEMENT THAT FLOURISHED IN THE NINETEENTH CENTURY THAT VALUED INDIVIDUALITY, IMAGINATION, AND THE TRUTH REVEALED IN NATURE
  93. WHAT IS SATIRE
    A WORK THAT RIDICULES SOME ASPECT OF HUAMJN BEHAVIOR BY PORTRAYING IT AS ITS MOST EXTREME
  94. WHAT IS SCIENCE FICTION
    A LITERARY OR CINEMATIC GENRE IN WHICH FANTASY, TYPICALLY BASED ON SPECULATIVE SCIENTIFIC DISCOVERIES OR DEVELOPMENTS, ENVIRONMENTAL CHANGES, SPACE TRAVEL, OR LIFE ON OTHER PLANETS, FORMS PART IF THE PLOT OR BACKGROUND
  95. WHAT IS SETTING
    THE NATURAL, MANUFACTURED AND CULTURAL ENVIRONMENT IN WHICH CHARACTERS LIVE ADN MOVE, INCLUDING ALL THE ARTIFACTS THEY USE IN THEIR LIVES.
  96. WHAT DOES SETTING INCLUDE
    PHYSICAL ENVIRONMENT TIME WEATHER AND SOCIAL CONDITIONS
  97. WHAT IS A SHORT STORY
    RELATIVELY BRIEF FICTIONAL NARRATIVE IN PROSW THAT RANGES FROM 500 WORDS UP TO THE LONG SHORT STORY OF 12,000 TO 15,000. IT HAS DEFINITE FORMAL DEVELOPMENT
  98. A SHORT STORY FINDS UNITY IN WHAT
    • PLOT
    • EFFECT
    • THEME
    • CHARACTER
    • TONE
    • MOOD
    • STYLE
  99. HOW IS A SHORT STORY DISTINGUISHED FROM A NOVEL
    SHORT STORY TENDS TO REVEAL CHARACTERS THROUGH ACTIONS(THE PURPOSE OF THE STORY BEING ACCOMPLISHES WHEN THE READER COMES TO KNOW WHAT THE NATURE OF A CHARACTER) WHILE NOVELS TEND TO SHOW CHARACTERS DEVELOPING AS A RESULT OF ACTIONS
  100. WHAT DOES A SHORT STORY HAVE?
    • A BEGINNING
    • MIDDLE
    • END
    • POSSESSESS AT LEAST THE RUDIMENTS OF PLOT
  101. SHORT STORY EVOLVED INTO A GENRE IN WHAT CENTURY THANKS TO WHO?
    • NINETEENTH CENTURY
    • SIR WALTER SCOTT
    • WASHINGTON IRVING
    • NATHANIEL HAWTHORNE
    • EDGAR ALLAN POE
  102. HAWTHORNE AND POE, IN AMERICA, ALONG WITH FRENCH AND GERMAN WRITERS CONSCIOUSLY FORMULATED THE SHORT STORY AS A WHAT FORM?
    ART
  103. WHO WROTE "RIP VAN WINKLE"
    WASHING IRVING
  104. WHAT IS RIP VAN WINKLE CREDITED WITH?
    WRITING THE FIRST AMERICAN SHORT STORY
  105. WHAT IS EDGAR ALLAN POE KNOWN AS
    THE FATHER OF MEDERN SHORT STORY
  106. WHAT IS STYLE
    INDIVIDUAL TRAITS OR CHARACTERISTS OF A PIECE OF WRITING; THE WAY WRITERS ASSEMBLE WORDS IN A WORK, SUCH AS THE LENGHT AND COMLEXITY OF SENTENCES
  107. WHAT DOES STYLE INCLUDES
    THE DICTATION OR THE QUALITIES OF WRITERS WORDS CHOICES
  108. HOW MANY LEVELS OF DICTION ARE THERE
    3
  109. WHAT ARE THE THREE LEVELS OF DICTION
    • FORMAL OR HIGH DICTION
    • NEUTRAL OR MIDDLE
    • INFORMAL OR LOW
  110. WHAT DOES FORMAL OR HIGH DICTION MEAN
    STANDARD AND ALSO"ELEGANT" WORDS, THE RETENTION OF CORRECT WORD ORDER AND THE ABSENCE OF CONTRACTIONS
  111. WHAT DOES NEUTRAL OR MIDDLE DICTION
    ORDINARY, EVERYDAY STANDART VOCABULARY THAT SHUNS LONGER WORDS BUT USES CONTRACTIONS WHEN NECESSARY
  112. WHAT DOES INFORMAL OR LOW DICTION MEAN
    RANGING FORM COLLQUIAL TO THE LEVEL OF SUBSTANDARD OR SLANG EXPRESSION
  113. WHAT IS SYMBOL
    A PERSON OBJECT WORD INAGE OR EVENT THAT EVOKES A RANGE OF ADDITIONAL MEANING BEYOND AND USUALLY MORE ABSTRACTTHAN ITS LITERAL SIGNIFICANCE
  114. WHAT ARE MOST SYMBOLS ?
    CULTURAL OR UNIVERSAL
  115. WHAT ARE CULTURAL AND UNIVERSAL SYMBOLS
    RECOGNIZED NY A SOCIETY JOR CULTURE
  116. WHAT ARE SOME CONVENTIONAL SYMBOLS
    • CHRISTIAN CROSS
    • STAR OF DAVID
    • SWASTIKA
    • NATIONS FLAG
  117. WHAT IS A LITERATY OR CONTEXTUAL SYMBOLS
    • SETTING
    • CHARACTER
    • ACTION
    • OBJECT
    • NAME
    • ANYTHING ELSE IN A WORKTHAT MAINTAINS ITS LITERAL SIGNIFICANCE WHILE SUGGESTING OTHER MEANING
    • THESE SYMBOLS GO BEYOND CONVENTIONAL SYMBOLS; THEY GAIN THEIR SYMBOLIC MEANING WITHIN THE CONTEXT OF A SPECIFIC STORY
  118. WHAT IS THEME
    RATHER THAN A SUMMARY OF CHARACTER OR EVENTS, THEME IS THE CENTRAL MEANING OR DOMINANT IDEA IN A LITERARY WORK.
  119. WHAT DOES A THEME PROVIDE
    A UNIFYING POINT AROUND WHICH THE PLOT CHARACTERS SETTING POINT OF VIEW SYMBOLS AND OTHER ELEMENTS OF A WORK ARE ORGANIZED
  120. WHAT DO THEMES EXPRESS
    OPINIONS AND VALUES AND CRITICIZES OR SUPPORTS SPECIFIC TYPES OF HUMAN BEHAVIOR RELATIONSHIPS AND INSTITUTIONS
  121. WHAT IS TONE
    CREATED BY BOTH WORD CHOICE AND SYNTAX TONE REFLECTS THE AUTHOR'S ATTITUDE TOWARD THE SUBJECT MATTER, WHICH CAN VE HUMOROUS, SARCASTIC, AND SO FORTH
  122. HAT IS VERISIMILITUDE
    A CHARACTERISTIC WHEREBY THE SETTING, CIRCUMSTANCES, CHARACTERS, DIALOGUE, ACTIONS, AND OUTCOMES IN A WORK ARE DESIGNED TO SEEM TRUE, LIFELIKE, REAL, PLAUSIBLE, AND PROBABLE
  123. WHAT ARE THE DIFFERENT TYPES OF SITUATION ARCHETYPES
    • QUEST
    • TASK
    • INITIATION
    • RITUAL
    • JOURNEY
    • FALL
    • DEATH/REBIRTH
    • BATTLE BETWEEN GOOD AND EVIL
    • FATHER/SON CONFLICT
  124. WHAT IS QUEST
    THE SEARCH FOR SOMEONE OR SOMETHIGN THAT WHEN FOUND AND BROUGHT BACK WILL RESTORE FERTILITY TO A WASTED LAND, THE DESOLATION OF WHICH IS MIRRORED BY A LEADERS ILLNESS AND DISABILITY
  125. WHAT IS TASK
    TO SAVE THE KINGDOM, TO WIN THE FAIR LAD, TO IDENTIFY HIMSELF SO THAT HE MAY REASSUME HIS RIGHTFUL POSTION, THE HERO MUST FORM PERFORM SOME NEARLY SUPERHUMAN DEED
  126. WHAT IS INITIATION
    TAKES THE FORM OF INITIATION INTO LIFE- THE DEPICTION OF AN ADOLESCENT COMING INTO MATURITY AND ADULTHOOD WITH ALL THE PROBLEMS AND RESPONSIBILITIES THIS PROCESS INVOLES
  127. WHAT IS RITUAL
    NOT TO BE CONFUSED WITH THE INTIATION THE RITUAL REFERS TO AN ORGANIZED CEREMONY THAT INVOLES HONORED MEMBERS OF A GIVEN COMMUNITY AND A INITIATE THIS SITUATION OFFCIALLY BRINGS THE YOUNG MAN OR WOMAN INTO THE REALM OF THE COMMUNITYS ADULT WORLD
  128. WHAT IS JOURNEY
    USUALLY COMBINED WITH ANY OR ALL THE FOREGOING SITUATIONAL ARCHETYPES, THE JOURNEY IS USED TO SEND THE HERO IN SEARCH OF INFORMATION OR SOME INTELLECTUAL TRUTH
  129. WHAT ARE SOME EXAMPLES OF A JOURNEY
    DESCENT TO HELL, DEPICTION OF A LIMITED NUMBER OF TRAVELERS ON AN AIRPLANE FLIGHT, SEA VOYAGE, BUS RIDE. WALKING TRIP FOR THE PURPOSE OF ISOLATING THEM AND USING THEM AS A MICROCOSM OF SOCIETY
  130. WHAT IS A FALL
    A DESCENT FROM A HIGHER TO A LOWER STATE OF BEING- INVOLOVES SPIRITUAL DEFILEMENT AND/OR LOSS OF INNOCENCE AND BLISS- FALL ACCOMPANIED BY EXPULSION FROM A KIND OF PARADISE AS PENATLY FOR DISOBEDIENCE AND MORAL TRANSGRESSION
  131. DEATH/REBIRTH(RESSURRECTION)
    PARALLEL BETWEEN CYCLE OF NATURE AND CYCLE OF LIFE
  132. WHAT DO MORNING AND SPRINGTIME REPRESENT
    YOUTG BIRTH AND REBIRTH
  133. WHAT DOES EVENING AND WEATHER REPRESENT
    OLD AGE AND DEATH
  134. WHEN DID FERTILITY AND VEGETAIVE RITUALS TAKE PLACE> WHY?
    IN THE SPRING B/C THIS IS THE TIE OF PHYSICAL REGENERATION OF NATURE MAKING IT THE PERFECT TIME TO ENACT RITULAISTIC STATEMENT OF SPIRITUAL REBIRTH AND RESURRECTION
  135. WHAT IS BATTLE BETWEEN GOOD AND EVIL
    SITUATIONS PIT OBVIOUS FORCES WHICH REPRESENT GOOD AND EVIL AGAINST ONE ANOTHER-TYPICALLY GOOD ULTIMATELY TRIUMPHS OVER EVIL DESPITE GREAT ODDS
  136. WHAT IS FATHER/SON CONFLICT
    TENSION OFTEN RESULTS FRIM SEPERATION DURNIG CHILDHOOD OR FROM AN EXTERNAL SOURCE WHEN THE INDIVIDUALS MEET AS MEN AND WHERE THE MOTHER OFTEN HAS A HIGHER PLACE IN THE AFFECTIONS OF THE HERO THAN THE NATURAL PARENT
  137. HOW IS THE FATHER/SON CONFILCT OFTEN RESOLVED
    ATONEMENT
  138. WHAT IS THE SYMBOLIC MEANING OF LIGHT
    • HOPE
    • RENEWAL
    • INTELLECTUAL ILLUMINATION
  139. WHAT DOES DARKNESS REPRESENT
    • UNKNOWN
    • IGNORANCE
    • DESPAIR
  140. WHAT IS THE SYMBOLIC MEANING OF WATER?
    • SINCE ITS NECESSARY TO LIFE AND GROWTH, COMMONLY APPEARS AS A BIRTH OR REBIRTH SYMBOLS
    • SPIRTUAL BIRTHS
    • RAIN- REBIRTH OR REGENERATION
  141. WHAT IS THE SYMBOLIC MEANING OF HEAVEN
    SKIES AND MOUNTAIN TOPS HOUSE HIS GODS
  142. WHAT IS THE SYMBOLIC MEANING OF HELL
    BOWELS OF THE EARTH CONTAIN THE DIABOLIC FORCES THAT INHABIT HIS UNIVERSE
  143. WHAT ARE THE THE TYPES OF CHARACTERS ARCHETYPES IN LIT
    • HERO
    • INITIATE
    • MENTORS
    • SCAPEGOAT
    • OUTCAST
    • STAR CROSSED LOVERS
    • WOMAN FIGURES
  144. WHAT ARE THE WOMAN FIGURES
    • EARTH MOTHER
    • TEMPTRESS
    • PLATONIC IDOL
    • UNFAITHFUL WIFE
    • DAMSEL IN DISTRESS
  145. WHAT IS A HERO
    • MOTHER IS A VIRGIN
    • CIRCUMSTANCES OF HIS CONCEPTION IS UNUSAL
    • AT BIRTH SOME ATTEMPT TO KILL HIM IS MADE SO SPIRITED AWAY TO LIVE WITH FOSTER PARENTS
    • WE KNOW ALMOST NOTHING OF HIS CHILDHOOD BUT UPON REACHING MANHOOD HE RETURNS TO HIS FUTURE KINGDOM
    • AFTER VICTORY OVER A KING OR WILD BEAST, HE MARRIES A PRINCESS, BECOMES KING, REIGNS UNEVENTFULLY, BUT LATER LOSES FAVOR WITH GODS
    • HE IS DRIVEN FROM THE CITY WHERE HE MEETS A MYSTERIOUS DEATH, OFTEN AT THE TOP OF A HILL
    • HIS BODY IS NOT BURIEDBUT HE HAS ONE OR MORE HOLY SEPULCHERS
    • THIS CHARACTER IS THE ONE WHO MAY FULFILL A NECESSARY TASK AND WHO WILL RESTORE FERTILITY HARMONY AND OR JUSTICE TO A COMMUNITY
  146. WHO ARE INITIATES
    THESE ARE YOUNG HEROES WHO, PRIOR TO THE QUEST, MUST ENDURE SOME TRAINING AND RITUAL. THEY ARE USUALLY INNOCENT AT THIS STAGE
  147. WHO ARE MENTORS
    SERVE AS TEACHERS OR COUNCELORS TO THE INITIATES. SOMETIMES THE WORK AS ROLE MODELS AND OFTEN SERVE AS FATHER OR MOTHER FIGURE. THEY TEACH BY EXAMPLE THE SKILLS NECESSARY TO SURVIVE THE JOURNEY AND QUEST
  148. WHAT IS A SCAPEGOAT
    ANIMAL OR MORE USUALLY A HUMAN WHOSE DEATH IN A PUBLIC CEREMONY EXPIATES(MAKES ATONES FOR) SOME TAINT OR SIN THAT HAS BEEN VISITED UPON A COMMUNITY
  149. WHAT IS AN OUTCAST
    FIGURE WHO IS BANISHED FROMA SOCIAL GROUP FOR SOME CRIME AGAINST FELLOW MAN- OUTCAST USUALLY DESTINED TO BECOME A WANDERER FROM PLACE TO PLACE
  150. WHAT IS STAR CROSSED LOVERS
    A YOUNG MAN AND WOMAN ENTER AN ILL FATED LOVE AFFAIR THAT ENDS TRAGICALLY IN THE DEATH OF EITHER OR BOTH LOVER DUE TO THE DISAPPROVAL OF SOCIETY FRIENDS FAMILY OR GODS
  151. WHAT IS AN EARTH MOTHER
    • SYMBOLIC OF FRUITION, ABUNDANCE OF FERTILITY
    • CHARACTER TRADITIONALLY OFFERS SPIRITUAL AND EMOTINAL NURSHIMENT TO THOSE WITH WHOM SHE COMES IN CONTACT
    • DEPICTED IN EARTH COLORS WIHT LARGE BREAST AND HIPS
  152. WHO IS TEMPTRESS
    • HAS SENSUOUS BEAUTY
    • ONE WHO THE PROTAGONIST IS PHYSICALLY ATTRACTED AND WHO ULTIMATELY BRINGS ABOUT HIS DOWNFALL
  153. WHO IIS PLATONIC IDEAL
    WOMAN IS SOURCE OF INSPIRATION AND A SPIRITUAL IDEAL FOR WHICH THE PROTAGONIST OR AUTHOR HAS INTELLECTUAL RATHER THEN PHYSICAL ATTRACTION
  154. WHO IS UNFAITHFUL WIFE
    WOMAN MARRIED TO A MAN SHE SEES AS DULL AND UNIMAGINATIVE- PHYSICALLY ATTRACTED TO A MORE VIRILE AND DESIRABLE MAN
  155. WHO IS DAMSEL IN DISTRESS
    • VUNERABLE WOMAN MUST BE RESCUED BY THE HERO
    • SHE ALSO MAY BE USED AS A TRAP BY AN EVIL FIGURE TO ENSNARE THE HERO

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