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| dialogue and stage directions |
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| sequence of evnts that are causally realted, here chopped into acts and scenes |
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| emotional purging that people experience when watching tradgedy |
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| a separate stroy that usually acts as a commentary on the main story |
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| Unified or Symmetrical Plot |
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| raising and lowering of suspense; conflict will be resolved, but complications raise tension |
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| a series of smaller plots strung together, as in soap operas |
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| difficult to achieve in drama. Characters have to give information without it seeming forced |
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| what the conflict raises, the climax answers |
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| when the audience knows more than the characters do, about what will happen, etc. |
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| tells what the characters do on stage |
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| gestures that contribute to character |
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| interprets the play by supplying stage business, costuming, etc. |
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| the words spoken back and forth by actors |
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| actor/actress speaks directly to the audience or him/herself |
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| something apoken to the audience that people onstage aren't supposed to hear |
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| the scenery the audience sees, backdrop, props, etc. |
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| obiviou, but important to drama. It can highlight an action or set a mood |
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| turning out all the lights, sometimes between acts |
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| control of character movements |
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| where the actor searches his or her emotions to try to become the character Ex: Robert Deniro, James Dean, Marlon Brando |
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| sequence of events that are causally related. The episodes in a narrative. Usually introduces characters then introduces a conflict and then resolves the conflict in a denouement |
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| the background on the characters, as well as the setting |
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| a struggle between opposing forces Ex. person vs. self, person vs. society, person vs. environment, person vs. another person |
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| (unknotting) resolution of the story |
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| a struggle between opposing forces Ex. person vs. self, person vs. society, person vs. environment, person vs. another person |
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| the culmination of the conflict-the point of greatest tension in the text |
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| points of tension leading to the climax |
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| time and place of the story |
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| the participants of the story |
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| the chief character in the work |
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| that which opposes the protagonist |
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| the reader only learns a few things about him or her and the character remains unchanged |
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| usually a main character who it complex, can change, has a sense of motivation, etc. |
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| stereotype. Examples: "tough detective", "prostitute with a heart of gold", "annoying mother-in-law" |
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| the writer has given enough information about the character that we are not surprised by what he/she does |
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| an underlying or unifying idea stated or implied in the work |
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| hints in the text of what is to come. Sometimes obvious, sometimes not, it helps build suspense |
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| the story is narrated by one of the characters using "I". |
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| Reliable Story (first person) |
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| story seems to be accurate |
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| Unreliable Story (first person) |
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| not to be trusted- such as insane, naive, stupid, etc. |
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| teller of the tale is not part of the story |
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| the all-knowing narrator can reveal thought, words, actions of any character. There are different kinds of omniscient narrators, such as neutral and editorial |
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| focus on one character's thoughts and actions, but still narrated from outside that character |
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| an attempt to record all mental activity of a character from conciousness to unconciousness. from clear perspectives to confused longings |
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| Objective/Fly on the Wall |
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| records only what can be seen and heard, does not enter anyone's head |
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| anything you can touch, taste, see, hear, smell in the story. The sensory data. Often stories build patterns of interlockin imagery. |
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| how something is written, the way it is written. The self-conscious use of language |
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| how something is written, the way it is written. The self-conscious use of language |
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| word choices, high, medium and low diction |
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| arrangement of words into a sentence |
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| spoken language in a story. Can contain dialect. Can be very expressive of character |
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| references to things outside the texts, often portions of other texts |
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| the writer's attitude toward material |
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| three diferent kinds; verbal, dramatic, and situattional |
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| when you say one thing but mean another |
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| when the author gives the reader information that the character lacks |
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| something that one doesn't expect |
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| something that suggests something else. For example: the cross |
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| passages that remain unclear to the reader |
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| a reading that challenges of replaces the more obvious meanings implied by a text |
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| a short story with a pointof meaning |
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| some interesting happening, frequently implausible and does not hold up under repetition |
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