Created by Lucy Cerys
over 7 years ago
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Question | Answer |
Allegory | Narrative where characters/events symbolise underlying moral/ethical ideas or concepts. |
Alliteration | Noticeable repetition of consonant sound at beginning of words. |
Allusion | Reference to aspects outside a text (such as legends, other books, biblical stories) to illustrate key points. |
Anachronism | Inclusion of object/allusion to something more modern than period text is set. |
Androgynous | Not pertaining to either make or female gender. |
Antagonist | Negative character in text (against protagonist). |
Archetype | Character/symbol/theme which recurs in literature texts. |
Atmosohere | Mood created by language of text. |
Audience | Person (reader/listener/spectator) responding to text. |
Ascribed Roles | Traditional gender influenced roles of characters. |
Assonance | Repeating same vowel sounds followed by different consonant sounds. |
Avant-Garde | New/experimental ideas/methods in art/music/literature |
Bathos | Excessively sentimental writing sometimes for comic relief. |
Binary Opposition | Pair of polar opposite words/ideas. |
Burlesque | Comedy type which uses exaggeration and parody to ridicule it's subject. |
Black Comedy | Drama where humanity presented in state of disillusion, negatively or without hope. |
Blank Verse | Flexible form of poetry without rhyming but with regular metre (usually iambic pentameter). |
Caesura | Definite pause in line of verse (shown with punctuation). |
Canon | A list of works of art of great value to society (E.g. Bible, Koran, Shakespeare's works). |
Carnivalesque | Writer/producer engages imagination and ideological positions to shape texts |
Catharsis | Release of emotion experienced by audience towards end of a tragedy. |
Chorus | Group of people in ancient Greek plays sho provide background info/plot through song/dance. |
Cinquain | Poem/stanza of five lines with particular form: first word names object of poem whilst second line consists of two adjectives which describe the subject etc. |
Class Structue | Way of identifying social stratification (hierarchical structure). |
Classical Drama | Plays originating in ancient Greek/Roman societies which saw a revival in 16th century. |
Cliches | Overused expressions which often provide tone of dullness (can add humour). |
Climax | Main point of interest in narratives where conflict peaks. |
Colloquial | Informal language/jargon used for effect. |
Couplet | Two successive lines in poetry with similar length and rhyme. |
Conflict | Point of contention in texts (internal/external/environmental). |
Connotation | Additional meaning implied; secondary meaning. |
Construction | How texts created; aspects which collectively contribute to shaping author's thesis. |
Consonance | Poetic device of recurring/simular sounds in words to create pleasing/harsh effect. |
Context of Production | Time in history, social, political and economic situation in which a text is created. |
Cultural Identity | Distinguishes cultures from one another, defining their practices/beliefs/values. |
Deconstruction | Meaning made from texts; readers identify construction techniques applying different theoretical positions and personal context to determine meaning. |
Denoument | Resolution following climax of plot. |
Deus Ex Machina | Unexpected solution saving a seemingly hopeless situation, especially as a contrived plot device. |
Discourse | Ways of speaking adopted by particular group, implying attitudes/values/beliefs. |
Dramatic Irony | Audience has greater awareness of situation portrayed on stage than characters. |
Dramatic Monologue | Recited by one person, it reveals character's innermost thought (can be poetry/prose). |
Dystopia | Setting presenting characters suffering due to lack of human rights/ totalitarian government. |
Eledgy | Poem/dramatic monologue/prose expressing grief over someone's death. |
Empathy | Ability to understand/ share feelings of another. |
Enjambement | Run-on lines in a poem. |
Enlightenment | Seen in 17th/18th century Europe characterised by conviction of reading/knowledge leading humankind to glorious future. |
Epic | Long story (poem/novel/film) produced on elaborate scale. |
Epiphany | Moment of revelation/insight; often marks turning point in plot. |
Epitaph | Words to be inscribed on tomb/headstone. |
Epithet | Name/title describing characteristics of person. |
Exposition | Beginning of text where characters/setting/conflict introduced. |
Farce | Comedy using exaggeration, slapstick and absurd situations. |
Figurative Language | Language that exceeds literal meaning of word to achieve certain effect (includes metaphors, similes, analogies amd cliches). |
Free Verse | Poetry does not adhere to strict conventions of rhythm or rhyme. |
Gaps | Places where readers expected to make connections using own knowledge. |
Silences | Not said by text; reader NOT invited to examine. |
Gender | Cultural construct defining ideas of masculinity/femininity. |
Gothic | Texts presenting gloomy/mysterious/horrific atmospheres (characters shaped by supernatural beings, women controlled/imprisoned, settings threatened). |
Hegemony | Group/s coming together to wield power over others. |
Hubris | Pride causing downfall of tragic hero. |
Humanism | Philosophy that emphasises basic goodness of humankind. |
Iambic Pentametre | Poem's lines consist of five feet (two syllables per foot) with an emphasis on each second syllable. |
Identity | Sense of self. |
Ideology | Set of values/thoughts/beliefs which underpin behaviour of social groups. |
Illusion | False impression created through range of stylistic devices. |
Imagery | Use of figurative language to develop understanding and position audience to respond emotionally. |
Irony | Form of criticism by saying opposite of what is meant. |
Juxtoposition | Two different things presented for audience to compare. |
Marginalise | Disempowering/exclusion of certain groups based on factors denoting difference from mainstream society. |
Marxist | Political position suggesting working class are marginalised by capitalist class. |
Metaphor | One thing described as another. |
Metonymy | Name of one thing substituted for name of something else it is commonly associated with (eg: crown for monarchy). |
Modernism | Early 20th century writing challenging conventions/experimenting with literary forms. |
Motif | Element/idea/theme recurring frequently. |
Misogynist | Character demonstrating hatred of female characters. |
Narrator's position | Point of view of text. |
Naturalise | Make idea/principle seem natural/obvious. |
Onomatopeia | Words representing sound. |
Ode | Lyric poem using varied/irregular metre, typically addressing certain subject. |
Oxymoron | Two opposites combined for striking effect (eg: cruel kindness). |
Pastiche | Combination/imitation of different styles/texts/subjects. |
Patriarchy | Social structure tracing power through male lineage. |
Peripeteia | Reversal of fortunes as in a tragedy where the hero is plunged into misfortune/misery. |
Persona | Personality/mask adopted by writers. |
Personification | Gives inanimate objects human qualities. |
Phallocentric | Cebtred on the Phallus; social order with power in domain of men. |
Picareque | Novel telling tale of a rogue; usually satirises society in which they live. |
Pplyphonic | Multi-voiced narration. |
Post Modern | Late 20th century - current writing characterised by self-consciousness of writing process/experience of it/products of process. |
Privilege | Advantage over others. |
Protagonist | Main character in a text (morally good). |
Reader Positioning | Way text manipulates reader to look at something with particular attitude. |
Realism | Attempt to represent real world in text. |
Representation | Construction in text that tries to reflect part of real world. |
Resolution | Conflict resolved. |
Rhetoric | Art of persuasive speaking. |
Romance | Fiction in which imagination is unrestricted; originally narrative dealing with love. |
Romanticism | Late 18th century literature movement encouraging revolt against tradition. |
Satire | Critical tone which ridicules events/public figures (often used in political cartoons). |
Science Fiction | Set in future speculating on scientific development. |
Setting | Place/historical time/context in which text is set. |
Simile | One thing described as being like another (comparison). |
Soliloquy | Monologue spoken when character is alone, revealing thoughts to audience but not to other characters. |
Sonnet | (Love) poem of fourteen lines using iambic pentameter. |
Stream of Conciousness | Interior monologue; narration capturing character's flow of thoughts/mental process. |
Structure | Way of organising text: - chapters/parts - Acts/Scenes - forms/couplets/stanzas |
Structualism | Method of readimg texts focussimg on structural elements. |
Style | Way language used (tone/imagery/diction). |
Surrealism | Movement popular between two world wars; creative potential of unconscious mind. |
Suspension of Disbelief | Process by which audience willingly enters into aesthetic experience of text. |
Aesthetic | Concerned with beauty (or set of principles underlying work of particular artist/ artistic movement). |
Symbol | Object standing for something else. |
Synergy | Cooperative actions of characters in workplace environment. |
Theatre of The Absurd | Plays presenting characters that talk at cross purposes; often inert/powerless. |
Theme | Main message/point in text. |
Theoretical Position | Position from which different meaning can be derived from particular reading of same text. |
Thesis | Encompassing statement summarising main argument in essay. |
Tragic Hero | Characterised by doomed future. |
Tragedy | Play dealing with tragic events, having unhappy ending, especially one concerning the downfall of the main character. |
Universality | Qualities of text transcending setting/style/cultural context. |
Voice | Presentation of character through speech/first person narration. |
Volta | Transition between octave and sestet in sonnet; pause between new thought of second stanza. |
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