Creative nonfiction first quarter, Summaries of English

Download Creative nonfiction first quarter and more Summaries English in PDF only on Docsity! INTRODUCTION TO LITERARY GENRES CONVENTION OF FICTION Narrative Conventions of Fiction Narrative Conventions refer to the elements used and techniques employed by the writer to make meaning and give life to a piece of writing. 1. SETTING – time and place of the story a. TIME SETTING: the time in which a story is set; can be a time of day or season, or a time in history, like second world war. b. PLACE SETTING: where the story is set; may be a general or geographical location. 2. PLOT DEVELOPMENT – what happens to a story, to whom when. It typically includes the following stage: a. EXPOSITION (ORIENTATION) – opening of a narrative, where the reader or viewer introduced to important characters, setting and some hints about the plot. b. COMPLICATION (RISING TENSION/ACTION) – where a point of conflict or a complication occurs. c. CLIMAX – the turning point that marks a change d. FALLING ACTION/TENSION – part of the story from moment after the climax to the conclusion. e. CONCLUSION (DENOUEMENT) – all the ‘loose ends’ are tied up; it is where the conflict resolves. 3. PLOT STRUCTURE a. a DRAMATIC or PROGRESSIVE PLOT – a chronological structure stablishes the conflict and setting, the follows the rising action through to a climax and concludes with a denouement. b. MODULAR/EPISODIC PLOT – it consists of a series of loosely related incidents, usually of chapter. c. a PARALLEL PLOT – writer weaves two or more dramatic plots d. a FLASHBACK – conveys information about events occurred earlier 4. PLOT DEVICES – the techniques or mechanism used by the writer to move the plot forward. a. FLASHBACK – occurs when a linear story is intercut with memories of a past events; provides a “back story”. b. FORESHADOWING – technique whereby the author gives hint or clues about events that will occur later. c. REFLECTIVE CODAS – the ‘tacked on’ bit at the end of the story. 5. CONFLICT – struggle between characters or forces a. MAN AGAINST MAN – two characters struggling with each other; external conflict b. MAN AGAINST SOCIETY – characters stand against a man-made institution, like bullying, slavery etc. c. MAN AGAINST NATURE – characters struggle against their specific force of nature. d. MAN AGAINST HIMSELF – internal conflict; character must overcome their own nature or choose between two or more paths 6. POINT OF VIEW – author’s choice of narrator and the relation of the narrator to both the reader and fictional world they describe a. FIRST PERSON – the story is presented from the perspective of a character within the story; usually the protagonist b. SECOND PERSON – the story is told as if the narrator is addressing the reader; identified by the use of “you” c. THIRD PERSON OMNISCIENT – narrator knows everything about every character; can be identified by the use of “they”, “them”, “he”, and “she”. d. THIRD PERSON LIMITED – in contrast with third person omniscient point of view; the reader only has access to one character only. 7. CHARACTERS a. THE PROTAGONIST – central or main character of the story b. THE ANTAGONIST – character who opposes the main character c. FOIL CHARACTER – emphasize the traits of the main character by contrast d. STATIC CHARACTER – character that stays the same throughout the story e. DYNAMIC CHARACTER – character that changes due to events in the story 8. ALLITERATION – repetition of consonant sounds at the beginning of words 9. ONOMATOPOEIA – words that sounds like their meaning 10. REPITITION – sounds, words that are repeated to add emphasis or create rhythm PARRALLELISM is a form of repetition. 11. REFRAIN – line or stanza repeated over and over in a poem 12. WORD PLAY – play with the sounds and meanings of real words C. IMAGERY – used by poets to create image in the mind of the reader 1. PRECISE LANGUAGE – use of specific words to describe a person TYPES OF IMAGERY a. VISUAL IMAGERY – describe what we see b. AUDITORY IMAGERY – describes what we hear c. OLFACTORY IMAGERY – describes what we smell d. GUSTATORY IMAGERY – describes what we taste e. TACTILE IMAGERY – describes what we touch D. FIGURATIVE LANGUAGE 1. SIMILE – comparison of two unlike, using the word “like” or “as” 2. METAPHOR – comparison of two unlike, not using the word “like” or “as” 3. PERSONIFICATION – to ascribe human traits to nonhuman things 4. SYMBOLISM – person, place, thing or action that stands for something else 5. HYPERBOLE – use of exaggeration to express strong emotion or create a comical effect 6. VERBAL IRONY or SARCASM – when you mean the opposite of what you say 7. SITUATIONAL IRONY – when the outcome of a situation is the opposite of what is expected 8. PUN – humorous phrase that plays with the double meaning 9. ALLUSION – reference to a familiar person, place or event 10. IDIOM – cultural expression that cannot be taken literally TWENTY POETIC FORMS 1. ACROSTIC – a poem in which the first letter of each word forms a word (usually a name) if read downward 2. COUPLET - two lines of poetry that rhyme and usually form one complete idea 3. HAIKU – a Japanese three lines poetic form (usually about nature) with lines of three, seven, and five syllables 4. QUATRAIN – the stanza made up of four lines, often containing a rhyme scheme 5. CINQUAIN – five line untitled where the syllables pattern increases by two each line 6. LIMERICK – humorous rhyming poem written in five lines and having a particular meter 7. SONNET – poem that is 14 line long generally written in iambic pentameter 8. FREE VERSE – poem that does not follow a particular form or rhyme scheme or metric pattern 9. VILLANELLE – a challenging poetic form that includes five tercets 10. LIST or CATALOG POEM – a poem in the form of a list that uses sensory details and precise language 11. ODE – a poem that celebrates or praises something 12. LYRIC POETRY - poetry that expresses a poet’s personal experience, feelings and emotion 13. BLANK VERSE – a poem written in iambic pentameter but with no rhyme 14. BLUES POM – poems that like blues song deal with personal or world issue 15. NONSENSE POEM – a fun, usually rhyming poem that makes no sense 16. CONCRETE POEM – a poem that uses words to form the share of the subject 17. NARRATIVE POEM – a poem that tells a story 18. BALLAD – a poem that tells a story, usually written in four lines stanzas 19. EPIC POEM – a log and heroic narrative poem 20. IMAGIST POETRY – poem that contain precise visual images CONVENTION OF DRAMA WHAT IS DRAMA? Drama is a literary composition to be acted by players on a stage before an audience.  The drama is difficult to read because it is meant to be seen, not read.  The drama is also difficult to write because the playwright must be aware of the interests and opinions of the actors and producer as well as his audience. NARRATIVE CONVENTIONS OF DRAMA A. Setting B. Plot and Plot structures C. Characters and Characterization D. Conflict E. Theme F. Suspense and Atmosphere The narrative conventions of drama include setting, plot, characters and theme. Essential to the effective presentation of these elements are conflict, structure, suspense and atmosphere. Each of these elements are inherent in any narrative composition, but drama adds extra elements of stage direction, lighting effects, and the visual presence of the actors, the set and costumes. A. Setting The setting of a drama presented on stage must be adapted to the limitations of the stage area. B. Plot The plot of the drama, although limited in its physical actions and changes of location or scene, is similar to that of the novel or short story. 1. Technical Divisions – Acts and scenes are the divisions of a play. 2. Structure of the play: The technical development or structuring of the action in a drama is similar to that of a novel: 3. A preliminary exposition opens up the play, presenting background information and any necessary explanation of the situation. It introduces the characters. 4. The moment of inciting force follows the preliminary exposition in which the conflict is presented and the main action begins. 5. The rising action then develops through a series of incidents and minor crises which lead up to the climax or the turning point of the struggle when the action turns against the protagonist. 6. The falling action follows the climax as the conflict works itself out either for or against the protagonist. 7. The denouement presents the final outcomes of the struggle, sometimes referred to as the catastrophe which is the end of the struggle, but it is necessarily a tragic ending. A. HISTORICAL DRAMA: 1. The Medieval Mystery play dealt with stories of the bible and its characters. God’s enactments were dramatized for the congregations who were unable to read or understand the Latin Services. 2. The medieval Miracle Play dramatized the lives of the saints. 3. Chronicle Plays, like the Miracle plays, dealt with the lives of the saints. 4. Masques originally were adaptations of pagan ceremonies in which the actors, wearing masks paraded through the streets and moved in and out of houses, dancing silently and then moving on. Masques became rather elaborate productions during the Elizabethan period. Costume, dancing and singing were more important than the action. Usually allegorical, the actors personified religious, political, satirical or moral qualities. 2. TRAGEDY Is drama which involves the ruin of the leading character(s). Examples are Shakespeare’s tragedies, Macbeth, Hamlet, and Othello. Modern tragedy includes Death of a Salesman. 1. Classical Tragedy- as defined by Aristotle is designed to “arouse the emotions of pity and fear and thus to produce in the audience a catharsis of these emotions” (relieving of emotional tension). 2. Elizabethan Tragedy- also has a protagonist who is a tragic hero who falls victim to a tragic flaw in his character. 3. Romantic Tragedy- requires a greater development of character and theme of plot. Allows for humor and the grotesque. 4. Modern Tragedy- combines all forms of tragedy and uses plays from each of the previous centuries. 3. Comedy is drama which involves real but temporary difficulties of the leading characters. The ending is happy in that the conflict is resolved to the advantage of the protagonist(s). There are several types of comedy: 1. Farce is comedy which depends wholly on laughable situations. It involves ridiculous or hilarious complications. The antics of the Three Stooges are farce. 2. Fantastic Comedy deals with impossible situation in terms of ordinary human nature. An example is Peter Pan. Comedy of Manners treats of polite society satirically and superficially. Oscar Wilde’s Lady Windermere’s Fan or James Barrie’s Admirable Creighton are good examples. 3. Tragi-comedy is drama which does not involve death or disaster but which verges on tragedy or bitter satire. Serious in theme and plot, tragic-comedy seems to be leading to catastrophe, but an unexpected turn of events leads to a happy conclusion. 4. Melodrama depends on exciting scenes, overly dramatic characters and situation, and highly charged emotional reactions, while paying little attention to human values or reality. It aims at emotional thrills, but not laughter. 5. Burlesque depends on laughable or exaggerated imitations of well-known characters or events. 4. Drama of Social Criticism This category includes plays in which social, economic or political problems and themes are portrayed. Many modern plays on stage, screen, and television fall into this category. THE INTERPRETATION OF DRAMA Interpretation is a series of intellectual and analytical mental acts that lead to a conclusion about the play’s meaning and significance. We can isolate four aspects of interpretation that we perform almost automatically. 1. Observe details of speech, setting, and action. 2. Connect these details into patterns; we relate them so they begin to make sense to us. 3. Draw inferences ----educated guess or hypotheses----- based on these connections. 4. Formulate from our inferences a consistent and coherent interpretation of the play.