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| Informs us about events that happened before the opening scene of a work. |
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| An event that gets the plot moving. |
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| A complication that intensifies the situation. |
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| The protagonist's desperate attempt to prevent the inevitable. |
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| The moment of greatest emotional tension. |
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| The resolution of the conflict (untying of the knot). |
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| A struggle within the plot between two opposing forces. |
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| A suggestion of what's to come. |
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| The hero or central character who engages our interest and empathy. |
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| A force that opposes the protagonist. |
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| The reader is made anxious about what is to come. |
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| The methods by which a writer creates people. |
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| When the author describes. |
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| The reasons for how characters behave. |
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| Having incessantly the same behavior. |
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| The characters often alienated from themselves and the environment in an irrational world. |
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| Has little control over events. |
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| Character who undergoes change. |
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| Character who does not change. |
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| Helps reveal characteristics by contrast. |
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| Character who embodies one or two qualities, traits, or ideas. |
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| A character that has more depth and requires more attention. |
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| Character who is a type, not an individual. |
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| The context in which the action of a story occurs (time, place, historical context). |
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| Refers to who tells us the story and how it is told. |
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| An all knowing narrator (non-participant). |
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| The narrator evaluates the character for the reader. |
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| A narrator that allows a characters' actions and thoughts to speak for themselves. |
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| Limited Omniscient Narrator |
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| The narrator restricts the narrator to the single perspective of either a major or minor character. |
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| The narrator takes a reader inside a character's mind to reveal perceptions, thoughts, and feelings on a conscious or unconscious level. |
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| The narrator does not see into the mind of any character. |
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| (I) One character's consciousness. |
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| The interpretation of events is different from the author's. |
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| The narrator lacks sophistication to interpret accurately what they see. |
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| A person, object, or event that suggests more that it's literal meaning. |
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| Symbols that are widely recognized by a society or culture. |
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| Symbols that include traditional, conventional, or public meanings, but it may also be established internally by the total context of the work in which it appears. |
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| A character, object, or incident that indicates a single, fixed meaning. |
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The central idea or meaning of a story. Provides a unifying point around which the plot, characters, setting, point-of-view, symbols, and other elements of a story are organized.
To be valid, the statement of the theme should be responsive to the details of the story.
It must be based on evidence within the story rather than solely on experiences, attitudes, or values the reader brings to the book.
Ultimately, the theme is expressed by the story itself and is inseparable from the experience of reading the story. |
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| Refers to the distinctive manner in which a writer arranges words to achieve particular effects. |
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| Refers to a writer's choice of words. |
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| The length and word order of a sentence. |
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| The author's implicit attitude towards characters, places, and events. |
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| Reveals a reality different from what appears to be true (opposite). |
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| Saying one thing but meaning the opposite. |
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| Speech calculated to hurt someone with false praise. |
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| When there is incongruity between what is expected to happen and what actually happens. |
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| The reader knows more than the character(s). |
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| When a writer uses god, destiny, or fate to dash the hopes and expectations of a character or of humankind in general. |
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| There is no expectation of an event. |
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