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In relation to foreshadowing, the literary critic Gary Morson describes its opposite, sideshadowing. [11] Found notably in the epic novels of Leo Tolstoy and Fyodor Dostoevsky, sideshadowing is the practice of including scenes that turn out to have no relevance to the plot. That, according to Morson, increases the verisimilitude of the fiction ...
The term trope derives from the Greek τρόπος (tropos), 'a turn, a change', [8] related to the root of the verb τρέπειν (trepein), 'to turn, to direct, to alter, to change'; [6] this means that the term is used metaphorically to denote, among other things, metaphorical language.
For example, the phrase, "John, my best friend" uses the scheme known as apposition. Tropes (from Greek trepein, 'to turn') change the general meaning of words. An example of a trope is irony, which is the use of words to convey the opposite of their usual meaning ("For Brutus is an honorable man; / So are they all, all honorable men").
A peripety is the change of the kind described from one state of things within the play to its opposite, and that too in the way we are saying, in the probable or necessary sequence of events. There is often no element like Peripeteia; it can bring forth or result in terror, mercy, or in comedies it can bring a smile or it can bring forth tears ...
Literary fiction is a term that distinguishes certain fictional works that possess commonly held qualities to readers outside genre fiction. [ citation needed ] Literary fiction is any fiction that attempts to engage with one or more truths or questions, hence relevant to a broad scope of humanity as a form of expression.
Literary movements are a way to divide literature into categories of similar philosophical, topical, or aesthetic features, as opposed to divisions by genre or period. Like other categorizations, literary movements provide language for comparing and discussing literary works. These terms are helpful for curricula or anthologies. [1]
During the second act, also referred to as "rising action", the character arc develops as the protagonist attempts to resolve the problem initiated by the first turning point, only to discover ever-worsening situations, which often lead to the learning of new skills, the discovery of capabilities, and (sometimes late in the second act if at all) the raising of self-awareness.
In recent years, the term has also taken on the meaning of a plot element that is introduced early in a story, whose significance to the plot does not become clear until later. [ 5 ] [ 6 ] This meaning is separate from Chekhov's original intention with the principle, which relates to narrative conservation and necessity, rather than plot ...