| A | B |
|---|
| catharsis | the arousing of the specific emotions of pity and fear so as to dispel or purge them in the spectator |
| ideal plot in tragedy | (1) single setting (2) strengthens emotions of pity and fear |
| principles which strengthen pity and fear | (1) reversal (2) discovery (3) ideal turning point |
| reversal | change of fortune, can be simple or complex |
| discovery | of someone identity (or own), nature of gods and universe |
| tragic hero | (1) noble (2) morally like you (3) tragic flaw |
| catharsis or purgation happens when | (1) pity is aroused for the hero (2) fear is aroused since it could happen to us (3) both emotions disappear |
| creation narratives | (1) symbolic of the origin of the world (2) try to answer questions of human existence (3) try to explain nature |
| features of creation narrative | (1) supreme creator (2) describes various stages of creation (3) recounts purpose and creation of mankind (4) purpose & structure of society |
| rig veda | the account of the first creation and offers the history of knowledge and education; ancient Indo-Aria |
| Freudian interpretation of creation | concern over succession of father by son; fear of female's uncontrolled reproductive power |
| Allegory interpretation of creation | organizatioUnconsciousn of the cosmos on an oikos model; fashioning of a stable societal order by negotiation, not violence |
| Structuralist interpretation of creation | union of female powers of reproduction, male powers of strength in a single individual |
| Major themes of Genesis creation | (1) anxiety of rule (2) crime and punishment |
| anxiety of rule | God fears humans will eat from the tree of life and become immortal; God divides humans int o language linguistic tribes so that they will not challenge his authority |
| crime and punishment | (1) Adam and Eve exiled (2) Cain exiled (3) the flood (4) Ham enslaved |
| coming of age narrative | the protagonist is initiated into adulthood through knowledge, experience, or both, often by process of disillusionment. |
| shifts in coming of age narrative | (1) ignorance to knowledge (2) innocence to experience (3) false view of world to correct view (4) idealism to realism (5) immature responses to mature responses |
| Formalism | An interpretive approach that emphasizes literary form and the study of literary devices within the text |
| Psychoanalytical Approaches | Freud and Lacan; character analysis |
| Unconscious | the irrational part of the psyche unavailable to a person's consciousness except through dissociated acts or dreams |
| Freud's model of the psyche | (1) id (2) ego (3) superego |
| id | completely unconscious part of the psyche that serves as a storehouse of our desires, wishes, and fears. |
| ego | mostly to partially (a point of debate) conscious part of the psyche that processes experiences and operates as a referee or mediator between the id and superego. |
| superego | often thought of as one's "conscience"; the superego operates "like an internal censor [encouraging] moral judgments in light of social pressures" |
| Gender Studies | Theories focusing on sexual difference and sexual politics |
| Androgyny | behaviors don't have to be gendered |
| Essentialism | women don't have a choice about how they act because all women have the same essence |
| Gynocentrics | special way to interpret that is uniquely feminine |
| Patriarchy | male centered - men rule the world |
| Phallologocentrism | absolute word that is male and superior to female |
| Marxism | who has the power? What is power? Clash between dominant and oppressed classes |
| Commodificaion | value things for their power to impress people |
| conspicuous consumption | why do we value something? Buying things to show off |
| dialectical materialism | history is defined by a struggle between contradictions that find resolution in the middle |
| material circumstances | have to understand material cirumstances and historical situation to understand economic conditions |
| reflectionism | society mirrors its economic base and a text reflects the society that produced it |
| superstructure | large systems and institutions in society produce values |
| post-colonialism | (1) distorts view of colonialism OR (2) written by colonized peoples |
| Imperialism | acquiring and running empires |
| Diaspora | any people or ethnic population forced or induced to leave their traditional ethnic homelands, being dispersed throughout other parts of the world |
| Eurocentrism | European values are best |
| Hybridity | The assimilation and adaptation of cultural practices, the cross-fertilization of cultures, can be seen as positive, enriching, and dynamic, as well as oppressive |
| dramatic irony | when the audience knows things the characters do not know |
| exposition | the introductory material that creates the tone, gives the setting, introduces the characters, and supplies other facts necessary to understanding |
| complication or conflict | struggle between opposing forces |
| rising action | highest point of dramatic action, turning point, crucial decision |
| denouement or resolution | unraveling of the plot |
| chorus | offers background information and reaction |
| hamartia | tragic error |
| hubris | arrogant pride or over-confidence |
| irony | intended meaning is contrary to literal interpretation of expected meaning |
| Aristotle's Politics | Correct regimes are those that look to the common good. |
| bildungsroman | focused on the best way for a young man to move from adolescence to adulthood |
| steps in bildungsroman | (1) leave home (2) rebel against culture (3) fall in love (4) return |
