S- Scope and Purpose
leaning to one side or belief
What are signs that a website isn't credible?
Why is evaluating research important?
So there is no false data.
T- Title and Prediction
P- Paraphrase - At least two sentences
C- Connotation - Figurative language. 4 examples 3 different kinds
A- Attitude - The mood/atmosphere ...when writing you could talk about the characters mood or authors mood and so on.
S- Shift - Changing point of the story/character
T- Title Revised
An indirect reference by casually mentioning something that is generally familiar (In literature we find many allusions to mythology, the Bible, history, etc)
The character, force or collection of forces in fiction or drama that opposes the protagonist and gives rise to the conflict of the story; an opponent of the protagonist, such as Claudius in Shakespeare's play Hamlet.
A term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader. In literature, characters, images and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven.
Lines whispered to the audience or to another character on stage (not meant to be heard by all the other characters on stage)
The final event in a drama (a death in a tragedy or a marriage in a comedy.
Meaning "purgation" catharsis describes the release of the emotions of pity and fear by the audience at the end of a tragedy. In his Poetics, Aristotle discusses the importance of catharsis. The audience faces the misfortunes of the protagonist, which elicit pity and compassion. Simultaneously, the audience also confronts the failure of the protagonist, thus receiving a frightening reminder of human limitations and frailties. Ultimately, however, both these negative emotions are purged, because the tragic protagonist's suffering is an affirmation of human values rather than a despairing denial of them.
In Greek tragedies (especially those of Aeschylus and Sophocles), a group of people who serve mainly as commentators on the characters and events. They add to the audience's understanding of the play by expressing traditional moral, religious and social attitudes.
A bit of humor injected into a serious play to relieve the heavy tension of tragic events
The struggle within the plot between opposing forces. The protagonist engages in the conflict with the antagonist, which may take the form of a character, society, nature or an aspect of the protagonist's personality.
crisis or climax
The turning point in the plot. (This occurs when events develop either for or against the main character and a crucial decision must be made.
Occurs when the audience knows something that the character on stage is not aware
A narrative device often used at the beginning of a work, that provides necessary background information about the characters and their circumstances. Exposition explains what has gone on before, the relationships between characters, the development of a theme, and the introduction of a conflict.
Excessive pride or self-confidence that leads a protagonist (main actor) to disregard a divine warning or to violate an important moral law. In tragedies, hubris is a very common form of hamartia. (inherent defect or shortcoming of the hero...like greed)
-A method of expression in which the ordinary meaning of the word is opposite to the thought in the speakers mind.
-Events contrary to what would be naturally expected.
A figure of speech whereby the name of a thing is substituted for the attribute which it suggests. Example: The pen (power of literature or the written word) is mightier than the sword (force).
Agent of retribution (the person who punishes)
A condensed form of paradox in which two contradictory words are used together, as in "sweet sorrow" or "original copy." Paradox is a figure of speech in which it seems to contradict itself. Think opposites.
The operation of justice in a play with fair distribution of rewards for good deeds and punishment for wrong doing. For example, where the hero is rewarded and the villain is punished in ironic ways. In the road runner, the coyote always sets the traps but ends up punished by his own traps. In The Simpsons, Bart goes to boy scout camp and when he comes home his dad gives him a hard time about singing silly songs and making crappy furniture, then the chair he is sitting in breaks.
A play on words that relies on a word's having more than one meaning or or sounding like another word. Shakespeare and other writers use puns extensively, for serious and comic purposes; in Romeo and Juliet, the dying Mercutio puns, "Ask for me tomorrow and you shall find me a grave man." Puns have serious literary uses, but since the eighteenth century, puns have been used almost purely for humorous effect.
A single character on stage thinking out loud (a way of letting the audiences know what is in the characters mind) Think Dwight Schrute, he is always giving a soliloquy of why everyone else is inferior.
A fixed form of lyric poetry that consists of fourteen lines, usually written in iambic pentameter. There are two basic types of sonnets, the Italian and the English. The Italian sonnet, also known as Petrarchan sonnet, is divided into an octave, which typically rhymes abbaabba, and a sestet, which may have varying rhyme schemes. Common rhyme patters in the sestet are cdecde, cdcdcd, and cdccde. Very often the octave presents a situation, attitude or problem that the sestet comments upon or resolves as in John Keat's "on First Looking into Chapman's Homer." The English sonnet, also known as the Shakespearean sonnet, is organized into three quatrains and a couplet, which typically rhyme abab cdcd efef gg. This rhyme scheme is more suited to English poetry because English has fewer rhyming words than Italian.
tragic flaw (hamartia)
A term coined by Aristotle to describe "some error or frailty" that brings about misfortune for a tragic hero. The concept of hamartia is closely related to that of the tragic flaw: both lead to the downfall of the protagonist in a tragedy. Hamartia may be interpreted as an internal weakness in a character (like greed or passion or hubris): however, it may also refer to a mistake that a character makes that is based not on a personal failure, but on circumstances outside the protagonists's personality and control.