Hi this presentation is made originally by Gherm6 however I found out that it isn't that comprehensive so I added examples to elaborate the types of conflict.
Hi this presentation is made originally by Gherm6 however I found out that it isn't that comprehensive so I added examples to elaborate the types of conflict.
Before students can accurately summarize and analyze a text, they must be able to identify a story’s central conflict. An understanding of that central struggle is integral to understanding a work’s overriding themes. (Common Core Reading Anchor Standards 2 and 5) This powerful, interactive PowerPoint presentation is designed to instruct middle and high school students how to quickly identify the core conflicts of literary pieces to ensure accurate summarization and structural analysis. In particular this presentation meets CCSS ELA Literacy Standards RL 7.3 and 8.3.
A complete lesson plan is available at http://www.teacherspayteachers.com/Browse/Search:barbara+yardley
ReadySetPresent (Conflict PowerPoint Presentation Content): 100+ PowerPoint presentation content slides. We often frown upon conflict situations in the work place because we assume that their outcome is always negative. However, this is often not always true. Conflict can also be turned into a positive force that can increase personal and organizational effectiveness. 100+ PowerPoint presentation content slides. Conflict PowerPoint Presentation Content slides include topics such as: the definition of conflict, 10+ slides on symptoms and causes of conflict, 5 methods to handle conflict, 10 slides on group conflict and causes, 10 slides with ways to address conflict: ignoring - stifling, defusing, organizational conflict: positive and negative aspects, 4 stages of conflict management, 20+ slides on organizational conflict and conflict management strategies, 17 points on how to overcome deadlocks, 5 types of conflict deadlocks each with causes and techniques to handle: relationship - data - value - interests - structural, conflict models, strategies, 20+ tips, how to’s and more!
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ENG125 Introduction to Literature List of Literary T.docxSALU18
ENG125: Introduction to Literature
List of Literary Techniques
Technique Description
Allusion
A reference to a recognized literary work, person, historic
event, artistic achievement, etc. that enhances the
meaning of a detail in a literary work.
Climax
The crisis or high point of tension that becomes the story’s
turning point—the point at which the outcome of the
conflict is determined.
Conflict The struggle that shapes the plot in a story.
Dramatic irony
When the reader or audience knows more about the
action than the character involved.
Epiphany
A profound and sudden personal discovery.
Exposition
Setting and essential background information presented at
the beginning of a story or play.
Falling action
A reduction in intensity following the climax in a story or
play, allowing the various complications to be worked out.
Fate
An outside source that determines human events.
Figurative language
Language used in a non-literal way to convey images and
ideas.
Figures of speech
The main tools of figurative language; include similes and
metaphors..
First-person point of view
Occurs when the narrator is a character in the story and
tells the story from his or her perspective.
Flashback
The description of an event that occurred prior to the
action in the story.
Foreshadowing
A technique a writer uses to hint or suggest what the
outcome of an important conflict or situation in a narrative
ENG125: Introduction to Literature
will be.
Imagery
A distinct representation of something that can be
experienced and understood through the senses (sight,
hearing, touch, smell, and taste), or the representation of
an idea.
Irony
A contradiction in words or actions. There are three types
of irony: verbal, situational, and dramatic.
Limited omniscient point of
view
Occurs when a narrator has access to the thoughts and
feelings of only one character in a story.
Metaphor
A figure of speech in which an implied comparison is made
between one object and another that is different from it.
Objective point of view
A detached point of view, evident when an external
narrator does not enter into the mind of any character in a
story but takes an objective stance, often to create a
dramatic effect.
Omniscient point of view
An all-knowing point of view, evident when an external
narrator has access to the thoughts and feelings of all the
characters in a story.
Persona
Literally, in Latin, “a mask.”
Plot
A connecting element in fiction; a sequence of interrelated,
conflicting actions and events that typically build to a
climax and bring about a resolution
Point of view
The perspective of the narrator who will present the action
to the reader.
Resolution The outcome of the action in a story or play.
Rising action
Conflicts and circumstances that build to a high point of
tension in a story or pl ...
In this section you will probably see how considerations about cha.docxjaggernaoma
In this section you will probably see how considerations about character overlap with last weeks explanation of plot. At the center of a story's plot is the story's conflict. And that conflict is always between people, or at least it's always between characters (sometimes they are actually not people, in the literal sense).
As you begin to think about character, be careful to distinguish between two possible definitions of character:
· the personality of the individual.
· the particular individual in a literary work.
When talking about the individuals who populate stories, round (or well rounded) characters are usually considered essential to quality fiction. We might also describe these characters as complex and three dimensional (in this sense, they seem realistic).
Flat characters are those who are not shown in true complexity.
· In lesser story telling, these might be stock characters who are sometimes too clearly used as plot devices.
· Or in finer stories they are used as types for allegorical purposes, as features of the story's landscape, as necessary but brief participants in action, or to enhance readers' understanding of a central character (See Chekhov’s Misery for an example of the latter).
Another way of looking at character in a story is to ask how the writer develops his or her characters:
· Through dialogue?
· Exposition and description?
· Actions?
· Other characters or the setting?
Key Distinctions
Protagonist: this is a label for the main character whose actions move the story forward… often associated with the hero or anti-hero.
Antagonist: the primary character or force in the story that acts in opposition to the protagonist.
Another note: protagonists and antagonists are not always human or even individuals. The setting in Jack London’s story, To Build a Fire, is actually the antagonist. Because of the need for an empathetic main character (see distinctions between empathetic and sympathetic here) , the protagonist is almost always human or, if nothing else, a symbolic representation of human desires.
An interesting variance in formula to consider: Satan, as portrayed in Paradise Lost. The fallen angel initially takes on the role of an apparent anti-hero. However, Milton reveals him to be a fool by the end of his epic poem and ultimately a false-protagonist. The real character making all of the key choices that advance the story forward? God. Why did Milton have a story where the main character seems to shift? It does fit his story's purpose: to show the appeal of evil (the initial empathy that the poem creates for Satan). As the poem progresses, however, Satan's argument becomes more pathetic, obviously manipulative, and less empathetic.
Another good question to answer: is the character dynamic or static? Usually, main characters change in some way, making them dynamic characters. If the main character doesn't change, he or she usually keeps us interested by his or her desire to change or keep from changing. Th.
Choose one of these topics1. We often talk about literary c.docxvernettacrofts
Choose one of these topics:
1. We often talk about literary characters being in conflict with other people (antagonists or villains), with society, with Nature, or with God. Compare two characters we have studied whose own worst enemy is themselves. In other words, study and compare the two in terms of how their biggest conflict is with the Self. Naturally, Antigone could fit this topic, as could Creon, but also you might consider Othello, Iago, Gatsby, Santiago, Richard Rich, King Henry VIII, Willy Loman, or maybe even Biff Loman. Develop your own thesis.
2. Compare Iago with either Cromwell or Tom Buchanan as villains (or antagonists of the tragic hero) in each story, in an analytical way. What are their motivations? Why do they do what they do? Are they essentially the same in some respects, in spite of great differences—or not? Are their victims the same? There is a bit of room here for comparison and for contrast. Formulate your own thesis and approach to this topic.
3. The relativity of good and evil and the difficulty of how to define them appears in
Antigone
,
Othello
, and
Death of a Salesman
,
The Old Man and the Sea
,
A Man for All Seasons
: how characters sometimes seem to vacillate (prevaricate, rationalize, hesitate, misjudge) between one and the other. Sometimes the choices facing the characters are not clear. Perhaps they face the problem of how choosing the right thing may conflict with choosing the expedient (or necessary) thing. Discuss the issue of choosing (or deciding) between good and evil, and compare two characters in terms of how they deal with this dilemma. Choices for this would be Creon, Antigone, Othello, King Henry VIII, Thomas More, Willy Loman, Linda Loman, or Santiago.
...
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3. Types of Conflict - Internal Internal Conflict is described as a psychological conflict within a character (conscience). Internal conflict is not always “good vs. evil.” An internal conflict could also be between two positive forces.