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The document defines key literary terms used in analyzing short stories, including: 1. Exposition introduces characters and setting at the beginning. 2. The climax is the most dramatic point where the outcome is most in doubt. 3. The resolution solves the central conflict by the end. It provides descriptions of over 30 terms covering elements of plot structure, characterization, narration, themes and styles commonly seen in short fiction.
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This document provides an overview of key concepts for understanding graphic novels. It discusses how graphic novels tell stories through both words and images. The actors that tell the story are described as Mr. (images) and Mrs. (words). They sometimes work together and other times independently, but the complete story relies on both. Several experts are quoted discussing the synergistic relationship between words and images and how graphic novels require readers to look and read simultaneously. Essential terms like panels, gutters, balloons, and inferences are defined and their roles in progressing and understanding the narrative are explained.
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A one-act play takes place in a single location with continuous action and economically presented characters. Acts are major divisions in a play that accommodate changes in time, setting, characters, or mood, and are further divided into scenes. Dialects are spoken by definable groups and used by writers to express differences between characters. Dialogue consists of verbal exchanges between characters in a play.
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This document provides an overview of several narrative theories:
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2. Theorists discussed include Propp, Todorov, Barthes, Levi-Strauss, and postmodern thinkers. Propp identified character archetypes like heroes and villains. Todorov analyzed narrative structure as equilibrium disrupted and repaired. Barthes saw narratives as composed of codes like action, characters, and symbols.
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The document analyzes a magazine cover promoting the Sherlock Holmes film. It summarizes how various visual elements are used symbolically. The misty background establishes the time period and location. Sherlock Holmes' positioning and facial expression suggest his arrogance and challenge to the antagonist. His clothing speaks to wealth and mystery. The serif font and misty blue tone evoke the style of detective work in the 19th century. Overall, the cover uses symbolic visual elements to represent the mystery genre and advertise the Sherlock Holmes film.
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This document discusses different aspects and definitions of narrative structure in film. It begins by defining narrative as "a chain of events in a cause-effect relationship occurring in time." It then examines various components of narrative including plot, story, time manipulation techniques like montage, points of view, and narrative devices. The document also analyzes common narrative structures like the three-act structure described by Syd Field involving a set up, confrontation, and resolution. It further discusses Tzvetan Todrov's five stages of narrative and different types of modular narratives identified by Allan Cameron.
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The document analyzes a magazine cover promoting the Sherlock Holmes film. It summarizes how various visual elements are used symbolically. The misty background establishes the time period and location. Sherlock Holmes' positioning and facial expression suggest his arrogance and challenge to the antagonist. His clothing speaks to wealth and mystery. The serif font and misty blue tone evoke the style of detective work in the 19th century. Overall, the cover uses symbolic visual elements to represent the mystery genre and advertise the Sherlock Holmes film.
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Here are three potential symbols and images in "The Killers" and what they might suggest:
1. The nickel-plated .38: Violence, danger, the threat of death. As a weapon, it symbolizes the killers' mission.
2. The diner: A place of refuge and normalcy that is invaded by the killers, suggesting no one is safe. It also represents the mundane lives of the characters that are disrupted.
3. Nick Adams: His refusal to explain why he's a target builds mystery and suspense. He may symbolize an ordinary person swept into an extraordinary situation beyond his control.
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2. It also covers several narrative theories including Propp's theory of character archetypes, Todorov's theory of narrative equilibrium, and Barthes' theory about establishing and solving narrative enigmas.
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1. Plot and dramatic structure refer to the sequence of events in a story and how they relate through cause and effect.
2. Aristotle considered plot the most important element in drama, advocating for a 3-part structure with a beginning, middle, and end. Later, Horace advocated for a 5-act structure and Freytag developed a diagram called Freytag's Pyramid to analyze dramatic structure.
3. Freytag's Pyramid diagrams the rising action and tension of a story through exposition, inciting incident, rising action, climax, falling action, and resolution/denouement. However, critics argue it does not fully apply to modern drama and that exposition should be integrated
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This document discusses various concepts and theories related to narrative structure in film. It defines key terms like narrative, diegesis, story and plot. It also describes different types of narrative range, depth, and theories put forward by Vladimir Propp and Tzvetan Todorov regarding character types and conventional narrative structure. Finally, it outlines Allan Cameron's theory of modular narratives, identifying four types: anachronic, forking paths, episodic, and split screens narratives.
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The document discusses several key concepts in narrative theory:
1. Tzvetan Todorov and Vladimir Propp analyzed common structures in stories, finding they typically involve an initial equilibrium, a disruption, and a new resolution.
2. Propp identified common character roles and narrative functions that recur across folk tales.
3. Claude Levi-Strauss examined narrative in terms of underlying binary oppositions between themes.
It also discusses how narratives use techniques like flashbacks, parallel editing, and inference to manipulate audiences' understanding of events in time and space. The relationship between the visible "plot" and the full imagined "story" is also addressed.
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The document discusses various concepts related to analyzing the form and structure of films and how they create meaning, including:
1) It examines different types of conflicts that can be presented in films such as man vs man, man vs society, etc. and how they focus audience attention.
2) It outlines several themes commonly explored in films such as morality, human nature, social problems, human dignity, and complexity of relationships.
3) It describes different types of meaning that can be conveyed in films such as emotional, referential, explicit, and implicit meanings.
1bnarrative
This document discusses different theories and concepts related to narrative structure. It begins by distinguishing between a story and a narrative, with a story being the events and a narrative being how the story is told. It then covers various structural elements of narratives including genre, character, form, and time. Common narrative structures like linear, open and closed are defined. The document also summarizes theories from Roland Barthes, Vladimir Propp, Claude Levi-Strauss, Joseph Campbell, and Tzvetan Todorov on narrative codes, character types, binary oppositions, archetypes, and equilibrium models of narrative.
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This document provides an overview of key techniques used to establish elements in film language, including establishing the location and setting, introducing main characters, establishing the genre, and using hooks. It discusses how establishing shots are typically long shots that set the context and location of a scene. Character introductions generally use medium shots. The genre can be established through elements like the setting, theme, and mood. Hooks aim to grab the viewer's attention in the first 5-10 minutes, such as through a logical sequence of actions in the plot.
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The document defines 30 key terms used in fiction writing, including character types like protagonists, antagonists, and flat versus round characters. It also explains common plot elements such as exposition, conflict, climax, resolution, and setting; as well as literary devices like symbolism, foreshadowing, flashbacks, and point of view. The terms cover aspects of character development, narrative structure, and thematic elements that authors use to craft fictional stories.
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The document discusses different types of narratives including open vs closed narratives, single vs multi-strand narratives, and linear vs non-linear structures. It provides examples for each type from films, books, TV shows and video games. Key points covered include how open narratives leave stories unresolved, single strand narratives focus on one main character/plotline, and non-linear structures jump around in timeline versus chronological order.
Elements of fiction
There are two main types of fiction - commercial and literary. Commercial fiction aims to entertain readers and escape reality, while literary fiction aims to deepen understanding of life. There are eight key elements of fiction, including plot, characters, theme, and style. Plot involves the sequence of events, including conflict, protagonists, and structure. Characterization can be direct or indirect, and characters can be flat, round, or stock. Literary fiction features more complex, three-dimensional characters.
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Class Eight: Fiction Unit; this is the end of our unit, and discusses Fiction as both literature and drama.
Making text connections
This document provides guidance on making text connections when analyzing stories. It explains that a text to self connection draws parallels between the story and one's own life experiences. A text to text connection identifies similarities between characters, settings, or events in different stories. And a text to world connection relates elements of the story to real-world history or current events. Sample sentence starters are provided for each type of connection to help the reader elaborate on how the stories relate beyond themselves.
Narrative presentation
This document summarizes several narrative theories and concepts:
1) It defines the difference between a story (sequence of events) and a narrative (how the story is presented).
2) It describes common narrative structures like linear, open, and circular structures.
3) It outlines Vladimir Propp's character roles that often appear in stories.
4) It explains Tzvetan Todorov's model of equilibrium being disrupted and then restored.
5) It notes Roland Barthes' idea that narratives use codes to control information given to audiences.
Cinema Presentation
The document discusses key concepts of film form and narrative such as form, content, expectations, conventions, meaning, principles of film form including function, similarity and repetition, evaluation, narration, plot and story, cause and effect, time and space, openings and closings. It also covers patterns of narrative development and characteristics of narration in classical Hollywood cinema.
Elements of fiction
The document discusses key elements of short stories, including their typical structure based on Aristotle's Poetics. It notes that short stories are meant to be read in one sitting, focus on one main incident, and have fewer characters than novels. The typical short story structure includes an exposition, inciting incident, rising action, climax, and denouement. It also discusses important elements like character types, themes, and narrative point of view.
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Introduction to the short story Example: Hemingway’s The Killers
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Lecture notes on Kate Chopin's The story of an hour
Kate Chopin worked on a third collection of stories called A Vocation and a Voice which included her famous short story "The Story of an Hour". The story examines a woman's reaction to suddenly gaining her independence after learning of her husband's death. However, it ends surprisingly when she discovers that her husband is actually still alive. Chopin continued writing even when this collection was rejected by publishers. She also worked on her masterpiece The Awakening during this time, which was condemned for its portrayal of female sexuality when it was published in 1899.
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1) The story describes Mrs. Mallard learning of and reacting to the news of her husband's death. She is initially overcome with grief but then feels a sense of freedom and joy at the thought of being liberated from her oppressive marriage.
2) After an hour of contemplating her newfound independence alone in her room with the window open, Mrs. Mallard's husband suddenly appears, having not actually died.
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この授業では、全六回のカリキュラムを通して、中学～高校課程の数学を用いて、「頭の働かせ方」を学びます。「高校の数学どころか、中学の数学もすっかり忘れてしまった」という方でも、難しい数式は一切出てこないので、必ず最後までついてくることが出来る内容となっています。
高校卒業以来、大学受験で数学を使わず、これまで避けてきた方。「数学なんて役に立たない・自分には関係がない」と思っている方に特に受けていただきたい内容になっています。
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思考は、直観的なイメージと言語により支配されます。数学という「言語」を学ぶことで、皆さんの思考が進化し、それによってまた言語も変わります。この授業を通して、数学的「思考・行為・姿勢・表現」について学び、出来る限り多くの人と「考えることの楽しみ（＝知の享受）」を共有し、思考力と言語力が必要とされる様々な場面において、少しでも役に立ててもらいたいと思います。一緒に頑張りましょう！
【第3限】「問われれば答えられる」ことから、「問われなくても答えられる」ようになるために
~注目すべきことを見つけるための『発見的思考』を身につける~
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This short document promotes creating presentations using Haiku Deck, a tool for making slideshows. It encourages the reader to get started making their own Haiku Deck presentation and sharing it on SlideShare. In just one sentence, it pitches the idea of using Haiku Deck to easily create engaging slideshows.
18歳選挙権から、若者の政治参加を考える 先生：高橋 亮平
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schoo WEB-campusは「WEBに誕生した、学校の新しいカタチ」。
ＷＥＢ生放送の授業を無料で配信しています。
▼こちらから授業に参加すると、先生への質問や、ユーザーとのチャット、資料の拡大表示等が可能です。
https://schoo.jp/class/188/room
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ホームルーム第三回！―注目授業のご紹介・皆さんから意見などを募集
ーーーーーーーーーーーーーーーーーーーーーーー
schoo WEB-campusは「WEBに誕生した、学校の新しいカタチ」。
ＷＥＢ生放送の授業を無料で配信しています。
▼こちらから授業に参加すると、先生への質問や、ユーザーとのチャット、資料の拡大表示等が可能です。
https://schoo.jp/class/272/room
ーーーーーーーーーーーーーーーーーーーーーーー
恋愛専門家集団に生放送で恋愛相談しよう！テーマ”復縁”【女性限定質疑応答あり】
ーーーーーーーーーーーーーーーーーーーーーーー
schoo WEB-campusは「WEBに誕生した、学校の新しいカタチ」。
ＷＥＢ生放送の授業を無料で配信しています。
▼こちらから授業に参加すると、先生への質問や、ユーザーとのチャット、資料の拡大表示等が可能です。
http://schoo.jp/class/797
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- 3. Literary Terms for Short Stories 1. Genres - the types of literature • short stories • drama • nonfiction • poetry • novels 2. exposition - introduction of the characters and setting 3. setting - the specifics of most of the action of the plot • time • place • mood 4. conflict - the central problem propelling the characters into the plot • one versus another or others (including "society") • one versus nature (including animals, storms, diseases, etc.) • one versus self (AKA the Internal Conflict, ultimately asking the Big Question, as Hamlet said, "To be, or not to be, that is the question." [suicide]) 5. climax - • the point of no return in the plot • the point at which the outcome is most in doubt • the point at which the reader is most involved emotionally 6. plot - the events of the action 7. rising action - the events leading up to the climax 8. denouement - how it all turns out, the untying of the knot of the conflict 9. resolution - the solution to the central conflict of the story 10. realism - having the qualities of real life 11. verisimilitude - having a resemblance to real life 12. narrator - the voice telling the story 13. protagonist - the main character (antagonist = the opponent) 14. characterization - methods the author employs to make the reader know the characters • showing what the character does • reporting what the character says • telling what the other characters say about that character 15. pun - the play on the double meaning of a word 16. stereotype - presenting a character as the representative of a certain group of people; can be dangerously close to prejudice 17. flat versus round characters - ones who are simple and used for a single purpose vs. ones who are fully developed like real people, often showing human faults & human greatness together 18. static versus dynamic characters - ones who never change vs. ones who grow during the story to understand life or themselves better 19. foreshadowing - hints or clues the author gives about what will happen later on in the story 20. suspense - when it is obvious that something is about to happen, but it is unclear exactly what will happen ("a red herring" = a fake clue) 21. irony - when the outcome is the opposite of what is expected 22. allusion - a reference to something the author thinks everybody already knows 23. allegory - a system or set of symbols in a story so complete that even the names of the characters, the place names, and the events symbolize equivalent ones in real life or history 24. symbol - an object which carries more meaning than just its dictionary definition 25. point of view - the perspective of the narrator • first person (the "ego" or "hero" point of view) • third person limited (the "camera" or "video" point of view) • third person omniscient (the "God" or "historical" point of view) The Magic in Writing © 2002-2003 www.BeaconLearningCenter.com Rev. 10.06.03
- 4. 26. theme - the message or deep meaning about life shown by a story, when the reader steps back from the story and feels that they have been there or done that or felt like that, too, or that that has happened to them or someone they know, or they have seen things to work out just like that in the world at large (example - "Friends are forever.") 27. moral - a simplistic theme, often in the form of a warning (example - "Don't drink gasoline.") 28. dialogue - conversation between characters 29. dialect - the mannerisms, accents, and even vocabulary and grammar associated with a particular region or group of people 30. surrealism - including elements beyond the understanding of reality which most people generally believe or juxtaposing incongruous components in a way not seen in real life 31. fantasy - including actions, settings, or characters which could not occur in real life 32. hyperbole - (pronounced : high PER buh lee)(like uh POS tro fee and kuh TAS tro fee) exaggeration for an effect, often humorous, often reinforcing thematic considerations The Magic in Writing © 2002-2003 www.BeaconLearningCenter.com Rev. 10.06.03