Study Guide Exam 3 - Heroes

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Study Guide Exam 3 - Heroes Know the following terms archetypes exemplar menin secondary epic aretê hamartia mimesis Seige Perilous até hubris nemesis thespian catharsis in medias res primary epic tragos epic kleos rhapsode Know in detail the theories of the following: Joseph Campbell, Carol Pearson, Vladimir Propp, Lord Raglan Know thoroughly Guerrin’s examples of archetypes and the hero archetypes, especially those of Pearson and Propp. Know word for word the definition of epic. Know also the definitions of primary and secondary epics as well as examples of each. Know in detail the characteristics of Greek heroes Know significant differences between the Iliad and the Odyssey (chart) Know specific epic heroes and their importance Achilles Beowulf Odysseus Aeneas Hector Rama Arthur Gilgamesh Seigfried Know the authors of the following epics: Aeneid, Iliad, Odyssey Know the plots of the following epics (While I hit most of the high points in class, be sure to study the summaries of each epic available on our course site): Arthurian cycle Nibelungenleid Beowulf Ramayana Epic of Gilgamesh Know the origins and characteristics of Greek drama and Aristotle’s ideas about drama Be able to identify specific stages of the ORIAS monomyth (11 stages) within specific myths From Hamilton’s Mythology, Parts III and IV, know in detail the exploits of Herakles, Theseus, and Perseus (Hamilton Part III). Know in great detail the Iliad, the Odyssey, and the Aeneid (Hamilton Part IV) Module IV: 32 multiple choice questions (94 points total) Hamilton, Part III and Part IV: 28 multiple choice questions (56 points total).

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University Interscholastic League Literary Criticism Contest • Invitational a • 2021
University Interscholastic League Literary Criticism Contest • Invitational A • 2021 Part 1: Knowledge of Literary Terms and of Literary History 30 items (1 point each) 1. A line of verse consisting of five feet that char- 6. The repetition of initial consonant sounds or any acterizes serious English language verse since vowel sounds in successive or closely associated Chaucer's time is known as syllables is recognized as A) hexameter. A) alliteration. B) pentameter. B) assonance. C) pentastich. C) consonance. D) tetralogy. D) resonance. E) tetrameter. E) sigmatism. 2. The trope, one of Kenneth Burke's four master 7. In Greek mythology, not among the nine daugh- tropes, in which a part signifies the whole or the ters of Mnemosyne and Zeus, known collectively whole signifies the part is called as the Muses, is A) chiasmus. A) Calliope. B) hyperbole. B) Erato. C) litotes. C) Polyhymnia. D) synecdoche. D) Urania. E) zeugma. E) Zoe. 3. Considered by some to be the most important Irish 8. A chronicle, usually autobiographical, presenting poet since William Butler Yeats, the poet and cele- the life story of a rascal of low degree engaged brated translator of the Old English folk epic Beo- in menial tasks and making his living more wulf who was awarded the 1995 Nobel Prize for through his wit than his industry, and tending to Literature is be episodic and structureless, is known as a (n) A) Samuel Beckett. A) epistolary novel. B) Seamus Heaney. B) novel of character. C) C. S. Lewis. C) novel of manners. D) Spike Milligan. D) novel of the soil.
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Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern).
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In Medias Res
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In Medias Res” Jeremiah 29:1, 4-7
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Questions to Ask When Analyzing a Piece of Fiction (Many of The
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Writing a Post-Colonial City: Theory in Medias Res Ipsum
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Lisa Bielawa
IN MEDIAS RES, CONCERTO FOR ORCHESTRA Lisa Bielawa WWW.LISABIELAWA.NET Note Premiere: May 22, 2009 at New England Conservatory’s Jordan Hall. Commissioned by the Boston Modern Orchestra Project under the auspices of Music Alive, a program jointly administered by Meet The Composer and the League of American Orchestras. Duration: 22’ Instrumentation: 3333 4331 timpani 3 percussion, piano, harp, strings In medias res, the title of Lisa Bielawa’s new concerto for orchestra, resonates with the composer’s practice as an artist and as a collaborator. The Latin phrase, taken from literary terminology, indicates a narrative that begins in the midst of the action, typically used to describe the practice in epic poetry of dropping us into a fully realized world: The Iliad and The Odyssey are classic cases; in the former we learn who Achilles is only after we’re introduced. Here is what Lisa tells us: Over the course of my three-year residency with BMOP I wrote a series of little solo pieces I called “Synopses” for individual members of the orchestra. These fifteen pieces were opportunities for me to forge musical friendships with many of these wonderful players, while developing material for the larger pieces I wrote as part of my residency. “In medias res” (literally, “in the middle of everything”) is a literary/narrative device, applicable to epic poetry and modern action cinema, in which the narrator begins the story at the height of excitement, then proceeds to fill the reader/viewer in through flashbacks. My flashbacks are to these little solo pieces - each one a little adventure of its own.
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The Maturation Journey of the Stream of Consciousness Technique from Henry James to James Joyce
Research on Humanities and Social Sciences www.iiste.org ISSN 2224-5766 (Paper) ISSN 2225-0484 (Online) Vol.8, No.13, 2018 The Maturation Journey of the Stream of Consciousness Technique from Henry James to James Joyce M Senguttuvan * Laxmidhar Dwivedi Assistant Professor, Department of English, School of Social Sciences and Languages, VIT University, Vellore 632 014, Tamil Nadu, India Abstract The distinctive feature of the modern fictional writing is its interior turning to communicate the flow of human psychological experience. This has been extensively called the stream of consciousness. The stream of consciousness narrative method has become an exhilarating arena of exploration to which criticism has stretched out in this era. It is appealing for it tenders the opportunities of investigating a work of literary art or the mind of the novelist from multitude points of view. This essay rightly talks of the surfacing and the journey of this ground-breaking method of narration from the writers Henry James to James Joyce. Keywords: stream of consciousness, interior monologue, flow of thoughts, modern narrative technique, psychological device, novel writing, henry james, james joyce I The twin fames, i.e. the introduction as well the use of the phrase ‘stream of consciousness’ go to America. In his 1890 work Principles of Psychology , William James beckons the idea as: Consciousness, then, does not appear to itself chopped up in bits. Such words as 'chain' or 'train' do not describe it fitly as it presents itself in the first instance. It is nothing jointed; it flows. A 'river' or a 'stream' are the metaphors by which it is most naturally described.
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