Glossary 英语文学词汇表.docx

Glossary 英语文学词汇表.docx

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Glossary英语文学词汇表

ShortStoryTerminology

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Producedfor:

Producedby:

Thissectiondefinescommonshortstoryterms.

A

antagonist– onethatopposesprotagonistandcouldbeanythingincludinganothercharacterortheenvironmenteventheprotagonisthimself/herself,dependingonwhattypeofconflictitis.Contrastwithprotagonist.

e.g.InthefilmcalledTheSilenceoftheLambswhichisahorrorfilm,onecharactercalledBuffaloBillcouldbeconsideredastheantagonistinthefilmbecausethischaracterisaserialkillerwhostripstheskinofthedeceasedafterhetorturedthevictim.ThischaracteropposedtotheprotagonistofthisfilmwhoisanFBIdetectiveandresponsibleforunravelingtheseserialkillings.

C

chronologicalorder–amethodoforganization inwhichactionsoreventsarepresentedastheyoccur（oroccurred）intime/theactualsequenceoftheeventsarrangedbytheiroccurrenceintime.Contrastwithflashback.

e.g.InthefilmcalledTheSilenceoftheLambs,thechronologicalorderis:

AnFBItraineecalledClariceStarlingwasassignedtointerviewaformerpsychiatristandincarceratedcannibalisticserialkiller-Hannibalinaprisoninordertolearnthecriminalmindoftheserialkiller-BuffaloBill.→thetraineegotsomecluesfromthepreviouscasesdonebyBuffaloBill,especiallythespecialcocoonplacedineveryvictim’sthroat.Atthesametime,theU.S.Senator’sdaughterwasabductedbyBuffaloBill,sothetraineehadtosavethedaughter→ClaricefoundonepersoncalledJameGumbperfectlymatchedwiththecluessinceheonceboughtahugeboxofsphinxmoth→ClaricefinallyfoundthebasementofBuffaloBillandshothimtodeath.TheSenator’sdaughterwassuccessfullysavedbyClarice.

climax– theturningpointintheactionand/orthehighestpointofinterestorexcitement.Here,thereadermayfindoutwhathappenstotheconflict,ortheresolutionoftheconflictsothatthereaderscouldunderstandthetendencyofthestory.

e.g.InWilliam Shakespeare’splay“RomeoandJuliet”,thestoryreachesitsclimaxinAct3whichisascenethatRomeokilledhiswife’scousin-TybaltandtheaudiencebecomestowonderabouthowRomeocouldgetoutofthisterriblesituation.

Itqualifiesasaclimaxbecauseafterthisactallthepriorconflictsstarttoberesolvedandmysteriesunfoldthemselvesandthusthestorymovestowarditslogicalconclusionduringthecomingscenes.

D

dialogue– averbalexchangebetweentwoormorepeoplewhichoccurswhentwoormorespeakershaveaconversation.

e.g.Annina:

 MonsieurRick,whatkindofamanisCaptainRenault?

Rick:

 Oh,he'sjustlikeanyotherman,onlymoreso.

ThisisadialoguedonebyJoyPageandHumphreyBogartin Casablanca,1942inorderto

revealthecharacter’sthoughtsaboutanothercharactercalledCaptainRenault.

directpresentation/characterization–theauthor’sdirectdescriptionsofwhatacharacterislike.Contrastwithindirectpresentation/characterization.

e.g.InthenovelcalledRipVanWinklebyWashingtonIrving,theauthordescribedtheoldmanas“Hewasasimple,good-naturedman;hewasmoreoverakindneighborandanobedient,henpeckedhusband.”

dramaticirony–thewordsandactionsofthecharactershaveadifferentmeaningforthereaderthantheydoforthecharacterswhichmeansonlythereaders“getthepoint”.

e.g.In theplayRomeoandJulietbyWilliamShakespeare,RomeothinksJulietisdeadandtheaudienceknowssheisnot.Thisqualifiesbecauseonlytheaudiencerealizedwhatexactlyhappenedinthestorywhilethecharacterdidnot.

dynamiccharacter–amajorcharacterwhoencountersconflictandischangedbyit/theplotevents.Dynamiccharacterstendtobemorefullydevelopedanddescribedthanstaticcharacters.Contrastwithstaticcharacter.

E.g.IntheHarryPotterandtheChamberofSecretsbyJ.K.Rowling,HarrycouldbeconsideredasadynamiccharacterbecauseheperceivesthathesharessomeabilitiessimilartoTomRiddle,whobecomesevilLordVoldemort,andthismakeshimworriedthathemightalsoturnouttobeanevilcharacter.

DumbledoretaughtHarrythelessonabouttheimportanceofthechoicesonemakes.Itresolvesaroundhisinnerconflict,makinghimagoodexampleofadynamiccharacter.

denouncement–theeventoreventsfollowingthe climax;theresolutionorclarificationofthe plotandprovidesthereaderswiththelastpiecesofinformation.Alsoseethedefinitionofresolution.

e.g.“They’rearottencrowd,”Ishoutedacrossthelawn.“You’reworththewholedamnbunchputtogether…..”

ThedenouementinTheGreatGatsbybyF.ScottFitzgeraldhappenswhenNickdecidestogobacktoMinnesotatogetawayfromtherichpeoplewhoareengagedinallthosethingswhichNickthinksarepartofthemoralworthlessnessinGatsby’slife.AllthepeopleinGatsby’scirclewereunfaithful.

E

exposition–astatementortypeof composition intendedtogiveinformationabout（oranexplanationof）anissue,subject,method,oridea.Alsoseethedefinitionofintroduction.

e.g.InthemovieseriesofStarWars,theexpositionistheopeningtitlesequencethatgivesinformationaboutthepasteventstotheviewers.Thecrawlingtextonthescreenatthebeginningofeachpartgivesthe audience everypieceofinformationtheyneedtounderstandtheupcomingeventsinthefilm.

Theopeninglinesusuallybeginlikethis:

“Alongtimeagoinagalaxyfaraway,faraway…”

externalconflict–theconflictthatisoutsideacharacterinashortstory/thehardshipfacedbythecharacterduringtheplot.Contrastwithinternalconflict.

e.g.InWilliamGolding’snovelTheLordoftheFliesforexample,Ralph（theleaderofthe“goodguys”）steadilycomesintoconflictwithJack（abullywholaterformsa“tribe”ofhunters）.Jackandhis“tribe”giveintotheirsavageinstinctandmakeattemptstohuntorkillthecivilizedbatchofboysheadedbyRalph.

F

fallingaction–theconflictunravelswiththemaincharactereitherwinningorlosingandthewholeplotbeginstofinishupinthissectionofthestory.

e.g.FallingactioninStarWarsoccurswhenrebelsandLukeSkywalkerdiscoveravulnerablesectionintheDeathStarofVader.ItisuptoLukeSkywalkertodestroythespaceshipfollowingseveralfailedattempts.VadervirtuallyhitsLuke’sship;however,HanSolosaveshisshipbyshootingatVader.Then,LukeusesforceanddestroysDeathStaragainstallodds,andsavestherebels.

Yetthestorydoesnotendhere.TheaudiencethenseesthereturnofHanandLuketotherebels,whoreceivecongratulationsformakingheroicefforts.ThenthefallingactiontakesplacewhenthesetwocharacterswinrewardsandmedalsfromPrincessLeiaforsavingtheday.

firstpersonpointofview–“I”isthecentralcharacterandtellshisorherownstoryfromhis/herperspective,sothereaderscouldonlylearnthenarrator’sinnerthoughts.

e.g.“Ihaveoflate,—butwhereforeIknownot,—lostallmymirth,forgoneallcustomofexercises;andindeed,itgoessoheavilywithmydispositionthatthisgoodlyframe,theearth,seemstomeasterilepromontory.”

ThisisoneofthefirstpersonpointofviewexamplesinWilliamShakespeare’sHamlet.Theuseoffirstpersonpointofviewgivesusaglimpseintotherealinnerfeelingsoffrustrationofthecharacter.ThewriterhasutilizedthefirstpersonpointofviewtoexposeHamlet’sfeelingsinadetailedway.Thisisonetypeofthepointofview.

flatcharacter–aminorcharacterwithoneormaybetwosidestothepersonality,sothereaderscouldconsiderthemasnotrealisticsincetheyknowsolittleaboutthischaracter.Contrastwithroundcharacter.

e.g.BenvolioisaflatcharacterfromRomeoandJulietbyWilliamShakespeare,whoremainsunchangedthroughouttheplay.Heistemperate,solidandloyal,whoalwaystriestomaintainpeaceandharmonybetweenthetwofamiliesand

whosepurposeistosupportRomeotogetmarriedtoJuliet.

flashback–ashiftinashortstorytoanearliereventthatinterruptsthenormalchronologicaldevelopmentofastory.

e.g.ArthurMiller’sDeathofaSalesmanusesflashbacktonarrateWillyLoman’smemoriesofthepast.Atonemoment,WillytalkswithhisdeadbrotherwhileplayingcardswithCharley.Herelivesapastconversationinthepresent.Thisdemonstratesacharacterthatisphysicallylivinginthepresentbutmentallylivinginthememoriesandeventsofthepast.

foilcharacter–acharacterwhoprovidescontrasttothemaincharacter（protagonist）.Thesetwocharactersbalanceeachotherbyportrayingindifferentwaysandthereaderscouldrecognizethecharacteristicsbetterthroughthesedifferences.Contrastwithantagonist.

e.g.IntheHarryPotter,Harry'sfoil-NevilleLongbottomisanythingbutbraveandasunskilledawizardastheycome.BothlosttheirparentstoVoldemort,butthedifferencecanbeseeninhowHarryrisestoeverydangerousoccasion,whileNevillemakesmistakesandgetspushedaroundbyabouteveryone.

foreshadowing–thepresentationofdetails,characters,orincidentsinashortstoryinsuchawaythatlatereventsarepreparedfor.

e.g.WilliamShakespeare’sRomeoandJulietisrichwithforeshadowingexamples.OneofwhichisthefollowinglinesfromAct2,Scene2:

“Lifewerebetterendedbytheirhate,

Thandeathprorogued,wantingofthylove”

Inthebalconyscene,JulietisconcernedaboutRomeo’ssafetyasshefearsherkinsmenmaycatchhim.Romeosays,intheabovelines,thathewouldratherhaveherloveanddiesoonerthannotobtainherloveanddielater.Eventually,hegetsherloveanddiesforherlove,too.

I

indirectpresent