1. Grade/Section LASTNAME, First Hobbies: Favorite Book: Music: One thing you hope to learn/do in this class: On the back of the card: PARENT/GUARDIAN E-mail, phone numbers

2. Literary Devices

3.  Refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices.

4. Refers to aspects or characteristics of a whole text. There are not “used” per se, by authors. We derive what they are from reading the text. Most literary elements can be derived from any and all texts. For example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of view, etc. Literary elements must be specifically identified for that text.

5. Refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Ex: Alliteration

6.  Refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors.  It is basically the “language” students and professors of English use to discuss works. Ex. genre, foil, epilogue, imagery

7. Where every aspect of a story is representative, usually symbolic, of something else, usually a larger abstract concept or important historical/geopolitical event. Lord of the Flies provides a compelling allegory of human nature, illustrating the three sides of the psyche through its sharply-defined main characters.

8. The repetition of consonant sounds within close proximity, usually in consecutive words within the same sentence or line.

9. The counterpart to the main character and source of a story’s main conflict. The person may not be “bad” or “evil” by any conventional moral standard, but he/she opposes the protagonist in a significant way. Ex. In Romeo and Juliet, the antagonists could include the Montagues and the Capulets.

10. Where animals or inanimate objects are portrayed in a story as people, such as by walking, talking, or being given arms, legs, and/or facial features. (Don’t confuse this with personification!!!) Ex. The King and Queen of Hearts and their playing-card courtiers is one example of Carroll’s extensive use of anthropomorphism in Alice’s Adventures in Wonderland.

11. Friday, September 10, 2010 Homework: None. Have a great weekend!

12. Non-Rhyming poetry, usually written in iambic pentameter Most of Shakespeare’s dialogue is written in blank verse, though it does occasionally rhyme.

13.  The author’s means of conveying to the reader a character’s personality, life history, values, physical attributes, etc.  Also refers directly to a description of a character. .

14.  The turning point in a story, at which the end result becomes inevitable, usually where something suddenly goes terribly wrong; the dramatic high point” of a story.  Romeo and Juliet reaches its climax in Act III, when Mercutio and Tybalt are killed and Romeo is banished from Verona.

15.  A struggle between opposing forces which is the driving force of a story. The outcome of any story provides a resolution of the conflict or conflicts; this is what keeps the reader reading! Types of conflict: Man vs. Man, Man vs. Society, Man vs. Self, Man vs. Nature. Conflicts can also be purely abstract or conflicting ideas.

16.  Facts and conditions surrounding a given situation.  For example, in All Quiet on the Western Front, the context is war. Therefore, the actions of the characters (killing geese, taking a dead man’s boots) seems reasonable given the context.

17. Exaggeration or alteration of objective facts or reality for the purpose of enhancing meaning in a fictional context.

18.  Where characters speak to one another. Dialogue may substitute for exposition.  Since there is so little stage direction in Shakespeare, many of the characters’ thoughts and actions are revealed through dialogue.

19.  Where the audience or reader is aware of something important, of which the characters in the story are not aware.  In Romeo and Juliet, the audience knows that Juliet took a sleeping potion and isn't really dead. Romeo's suicide affects the audience even more because of this knowledge.

20.  Where an author interrupts a story in order to explain something, usually to provide important background information.  The exposition could include giving a history of events or describing living conditions.

21.  Any use of language where the intended meaning differs from the actual literal meaning of the words themselves.  There are many techniques which can rightly be called figurative language: Examples include: -metaphor -simile -hyperbole

22.  Any character who is meant to represent characteristics, values, ideas, etc. which are directly and diametrically opposed to those of another character, usually the protagonist.  This character often further illustrates the traits the protagonist lacks or opposes.

23.  Where future events in a story, or perhaps the outcome, are suggested by the author before they happen. Foreshadowing can take many forms and be accomplished in many ways, with varying degrees of subtlety. However, is the outcome is deliberately and explicitly revealed by a narrator or flashback, it does NOT constitute foreshadowing.

24.  A description which exaggerates.

25. September 13th  You do have homework tonight…..I will let you know at the end of class!!

26. Homework Review the literary devices we have covered in class so far. Choose 10 devices and find an example in a literary work (poem, short story, novel) or television show/movie. DO NOT USE MY EXAMPLES!!! (Nor should you “make them up”!) All devices must be EXPLAINED. Do not simply write the device and the name of a book. It must be a SPECIFIC (and relevant) example.

27. Iambic Pentameter  Ten syllables in each line  Five pairs of alternating unstressed and stressed syllables  The rhythm in each line sounds like: ba-BUM / ba-BUM / ba-BUM / ba-BUM / ba-BUM  If mu- / -sic be / the food / of love, / play on  Is this / a dag- / -ger I / see be- / fore me?

28. Imagery Language that describes something in detail. The words usually create sensory stimulation, including visual imagery and sound imagery.  Imagery allows a writer to show a writer what she means instead of just telling someone. From the family tree of old school hip hop Kick off your shoes and relax your socks The rhymes will spread just like a pox Cause the music is live like an electric shockfamily treeshoessockspoxelectric shock --Beastie Boys "Intergalactic" From Hello Nasty

29. Irony (Situational) Where an event occurs which is unexpected and in absurd opposition to what is expected or appropriate.

30. Metaphor  A direct relationship where one thing or idea substitutes for another.  Romeo refers to Juliet as the “sun”

31. Motif  A recurring object, concept, or structure in a work of literature. The use of light and dark images in Romeo and Juliet

32. Onomatopoeia When words describing sounds actually sound like the sounds they describe.

33. Oxymoron  A contradiction in terms.  Romeo describes love as “cold fire” “feather of lead” and “sick” health” This helps to suggest its contradictory nature.

34. Paradox  Where a situation is created which cannot possibly exist, because different elements of it cancel each other out. “It was the best of times, it was the worst of times.” –A Tale of Two Cities by Charles Dickens

35. Parallelism  Use of similar or identical language, structures, events or ideas in different parts of a text.  I went swimming, biking and fishing.

36. Personification 1. Where inanimate objects or abstract concepts are seemingly endowed with human self-awareness. Example: "Oreo: Milk’s favorite cookie.“ 2. Where an abstract concept, such as a force of nature, is represented as a person. Ex. Greek God Poseidon is the personification of the sea and its power over man.

37. Plot  Sequence of events in a story.

38.  The person or entity through whom the reader experiences the story.

39. FIRST PERSON the narrator is a character in the story who can reveal only personal thoughts and feelings etc. Cannot tell us thoughts of other characters. THIRD-PERSON OBJECTIVE  The narrator is an outsider who can report only what he or she sees and hears. This narrator can tell us what is happening, but cannot tell us the thoughts of the characters.

40. THIRD PERSON LIMITED OMNISCIENT  The narrator is an outsider who sees into the mind of one of the characters.  The narrator is an all-knowing outsider who can enter the minds of more than one of the characters.

41.  The main character in the story. The one with whom the reader is meant to identify. The person is not necessarily “good” but he/she is the person in whose plight the reader is most invested.

42. The time and place where a story occurs. The setting can be specific (NYC in 1930) or ambiguous (a large urban city during difficult economic times).

43.  Compares two things using “like” or “as”  Her smile was as bright as the sun.

44.  The use of specific images or objects to represent abstract ideas. A symbol must be something tangible or visible, while the idea it symbolizes must be abstract or universal.  Colors can be used symbolically. White is purity or good while black is evil.

45.  The main idea or message conveyed by the piece. A theme is generally stated as a complete sentence.  One theme found in Romeo and Juliet is the strength or power of love.

46.  The emotional state or attitude of the speaker/narrator/ narrative voice as conveyed through the language of the piece.

47.  A protagonist who comes to a bad end or a result of his own behavior, usually caused by a specific personality disorder or character flaw.  Ex. Willy Loman is one of the best examples of a tragic figure in American literature.

48.  The single characteristic (usually negative) or personality disorder which causes the downfall of the protagonist.

49.  Where the meaning is intended to be the exact opposite of what the words actually mean.  George Orwell calls a torture and brainwashing facility the “Ministry of Love”