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| Sequence of events in a story and their relation to one another as they develop and usually resolve conflict |
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| first part of the plot that introduces characters, scene, time, and situation |
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| the dramatization of events that complicate the situation and gradually intensify the conflict |
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| Point in the story where the reader knows who wins |
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| Where the problem or conflict presented in the earlier sections proceeds toward a resolution |
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| Generalized, oversimplified judment |
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| the time and place of the story |
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| when all the characters, places, things, and events represent symbolic qualities and their interaction are meant to reveal a moral truth |
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| the appearance of reality |
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| generally "medieval", magic, mystery, ghosts. Atmosphere of horror and unknown terror |
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| attempt to free writer from rules. stresses individualism, love of nature. Enthusiasm for the wild or irregular, and for unrestrained imagination. |
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| focuses on the here-and-now; common life, manners, and average experience. A protest against falseness of romanticism and the transcendent experience. Central task is to present those issues accurately as they affect us in real situations |
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| Clayman to protect, ends up running a muck throughout the town |
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| man who tried to steal fire from the Gods. Got caught and was chained to a rock to have his liver pecked out by a bird everyday |
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| myth of how a man feel in love with the statue he created. |
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| mirroring/twinning/doubling |
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| when characters are paired up to play off eachother |
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| different levels in a novel |
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| letter writing in a novel |
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| the shaping of texts' meanings by other texts. It can refer to an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another |
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| Indonesian Volcano caused poor weather in the summer when 2 of the most persistent monster myths were written (Frankenstein and Vampire) |
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| the treatment of inanimate objects as if they had human feelings, thought, or sensations |
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| the device of giving the spectator an item of information that at least one of the characters in the narrative is unaware of (at least consciously) |
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| is distinguished from situational irony and dramatic irony in that it is produced intentionally by speakers. For instance, if a speaker exclaims, “I’m not upset!” but reveals an upset emotional state through her voice while truly trying to claim she's not upset |
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| King of Belgium when Heart of Darkness is set |
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| the term used in academic criticism to characterize particular methods of inquiry into the nature and value of literature |
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| the interpretation and analysis of the works of literature themselves |
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| starts with the premise that stories are written by humans, and that important facts about the life of an author can shed light on literary texts. |
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| approaches a literary work through its historical context, the events that were occurring in the world during the time the author wrote a particlular story. |
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| postulates that reading is as much a creative act as the writing of a text, both involve the play of the imagination. |
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| Poststructuralist and Deconstructionist Criticsm |
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| two modern approaches to critical theory that focus' on the multiple, sometimes self-contradictory meanings |
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| concerned with the gender and sexual orientation of both writers and readers of literature |
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| do not advocate any one particular approach to literary study. |
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| An Allegory about the discovery of evil, the true nature of humanity |
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| story about the evil eye. The eye makes the narrator go crazy and kill the old man |
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| Montresor and the revenge on his friend, Fortunato, who insulted him. He kills him deep in a cellar |
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| Handsomest Drowned Man in the World |
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| An Allegory, it represents the desire for the town to change and modernize. |
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| story during WWII about a group of people fleeing to safety |
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| Monsieur and Madame Loiseau |
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| wine merchants in the Rue Grand-Pont. Made a fortune through his business. Known as a cunning scoundrel |
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| owner of three spinning-mills, Legion of Honour, member of the general council. |
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| much younger than her husband, she had been a constant comfort to those officers of good family who were quartered in Rouen. |
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| Comte and Comtesse Hubert de Breville |
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| oldest and noblest name in Normandy. On the general council. Land Property produced income of a half a million dollars a year |
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| the main character of the story. refuses to sleep with german officer in order for her group to advance through the city |
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| A novella, that can be read in a few different ways; Symbolic, Mythical, Psychological, Political, and Realist |
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| Symbolic (Heart of Darkness) |
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| A symbolic reading of the text may pinpoint the constant contrasts between light and darkness as having been part of life since the origins of humanity, as the established train of thought of light equaling good, dark equaling evil playing an important part in the novel, as well as vice versa |
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| Mythical (Heart of Darkness) |
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| A mythical reading brings in the ideas of the primitive, the nature of primitive existence, and the role of a vague but powerful idea has upon humanity, as well as embodying a return to the origins of existence and a confrontation with darkness. |
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| Psychological (Heart of Darkness) |
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| This way of reading Conrad's tale has been the most common form of interpretation, and the most obvious and introspective reading of the novella is as a journey into Marlow's inner self |
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| Political (Heart of Darkness) |
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| Since the late 1960s, political readings of Heart of Darkness have increased, exploring and commenting on the ideology of imperialism. Marlow's reference at the start of the novella to the actions of the Romans is a comparison to the actions of those exploring the Africa in the novella's context, particularly the Congo river itself. |
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| Achebe asserts that while Conrad was not himself responsible for the xenophobic “image of Africa” that appears in Heart of Darkness, his novel continues to perpetuate the damaging stereotypes of black peoples by its inclusion in the literary canon of the modern Western world. His searing critique is sometimes taught side-by-side with Conrad’s work, and is regularly included in critical editions of the text. |
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| story about the monarchs who lost everything and make every attempt to make some money as models |
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| story about the monarchs who lost everything and make every attempt to make some money as models |
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