hum 1 short fiction reviewer

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HUM 1 SHORT FICTION REVIEWER PROSE FICTION - works of prose fiction are usually written in standard paragraph form without any noticeable patterns of rhyme, meter, or lineation. They typically present characters through both dialogue and description. NOVEL - generally exceed 50,000 words and are often divided into chapters SHORT STORY - Seldom exceeds 30,000 words , has far less scope of development, requires greater pithiness TYPES OF READING Textual: what can be observed within the text; Contextual: real situations that can be associated with the text; Intertextual: other literature or art that can be read with the text AGON - A Greek word meaning debate or contest, the root word of protagonist and antagonist PROTAGONIST - Main character of the narrative; ANTAGONIST - Obstacle to what the protagonist wants or needs FOIL - Contrast provided to highlight the protagonist’s particular qualities CHARACTER - the role played in the course of the narrative; a position in relation to another character; dependent on the sympathies / notions of the reader POINT OF VIEW A story’s POV answers two questions: Who tells the story? How much is this person allowed to know? BASIC POVs —Omniscient —Limited omniscient (major character or minor character) —First person (major character or minor character) —Objective PLOT —A map of the narrative that reflects the sequence of incidents in a story —There must be an initial situation, a change involving some sort of reversal, and a resolution that marks the change as significant.

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Short Fiction Reviewer

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Page 1: Hum 1 Short Fiction Reviewer

HUM 1 SHORT FICTION REVIEWER

PROSE FICTION - works of prose fiction are usually written in standard paragraph form without any noticeable patterns of rhyme, meter, or lineation. They typically present characters through both dialogue and description.

NOVEL - generally exceed 50,000 words and are often divided into chapters

SHORT STORY - Seldom exceeds 30,000 words , has far less scope of development, requires greater pithiness

TYPES OF READING

Textual: what can be observed within the text; Contextual: real situations that can be associated with the text; Intertextual: other literature or art that can be read with the text

AGON - A Greek word meaning debate or contest, the root word of protagonist and antagonist

PROTAGONIST - Main character of the narrative; ANTAGONIST - Obstacle to what the protagonist wants or needs

FOIL - Contrast provided to highlight the protagonist’s particular qualities

CHARACTER - the role played in the course of the narrative; a position in relation to another character; dependent on the sympathies / notions of the reader

POINT OF VIEW

A story’s POV answers two questions:

Who tells the story? How much is this person allowed to know?

BASIC POVs

—Omniscient

—Limited omniscient (major character or minor character)

—First person (major character or minor character)

—Objective

PLOT

—A map of the narrative that reflects the sequence of incidents in a story

—There must be an initial situation, a change involving some sort of reversal, and a resolution that marks the change as significant.

CONFLICT

—A clash of actions, ideas, desires, or wills

—Presents a contest between protagonist and antagonist

—Drives the plot forward from beginning to end

—Three types of conflict pit man against a) the self, b) other people, c) environment

FREYTAG'S TRIANGLE

—The Classic Drama Structure has two legs, namely: rising action and falling action

—It has six subparts: exposition, initial conflict, reversal, climax, peripeteia, end resolution

REALITY - Actual being or existence, as opposed to an imaginary, idealized, or false nature

Page 2: Hum 1 Short Fiction Reviewer

REPRESENTATION - A depiction of somebody or something

DISCOURSE - Omnibus word for all thought and talk within a certain field

HYPER-PROTECTED COOPERATIVE PRINCIPLE - Communication relies on tacit agreements between participants regarding the provision and acceptance of information

VERISIMILITUDE - Rooted in both the Platonic and Aristotelian dramatic theory of mimesis (the imitation or representation of nature). For a piece of art to hold significance or persuasion for an audience, it must have grounding in reality.

SUSPENSION OF DISBELIEF - “Willing suspension of disbelief” was so named by the poet Coleridge to justify the use of fantastic or non-realistic elements in literature. If a writer could infuse a “human interest and a semblance of truth” into a fantastic tale, the reader would suspend judgment concerning the implausibility of the narrative.

METAFICTION - Fiction that deals, often playfully and self-referentially, with the writing of fiction or its conventions

INTERTEXTUALITY - The subdued or obvious presence of older literature in more recent compositions

HYBRIDITY

A technique that sutures together incommensurable discourses in order to:

—Explore similarities

—Surface differences

—Analyze each discourse in the light of the other

—Develop new forms