the theme of a story refers to its __________. protagonist main events moral main message
Antagonist – not necessarily the villain. merely person who blocks protagonist from getting what he wants. (In Greek tragedy, tragic flaw is antagonistic characteristic–there is no separate antagonist).
The beginning usually establishes the place, the occasion, the characters, the mood, the theme and the scheme of probability. It will also contain any necessary EXPOSITION, or background information, that the audience will need to follow the story. How much exposition is needed depends on the POINT OF ATTACK, or place in the story where the curtain goes up. Shakespeare uses an early point of attack; Greek tragedies use a late point of attack–examples from King Lear , Romeo and Juliet , Oedipus Rex . Most plays from the past have an INCITING INCIDENT, or an event that starts the action of a play. This inciting incident will lead to a MAJOR DRAMATIC QUESTION/MAIN ACTION. Main action or “Spine” of a play – the single distillation of all the actions in a play. It must be an active verb. This is the first thing to look at in analyzing a play. Statement of main action should include both a temporal and physical metaphor. I will give examples in class. Remind me.
Intention is an character’s specific purpose in performing an action or series of actions, the end or goal that is aimed at. Outcomes that are unanticipated or unforeseen are known as unintended consequences.
See GRAND CURTAIN.
- The concept of “otherness”
- Does the author see m to be trying to leave the reader with an increased understanding of some aspect of life?
- Do the ideas of kindness, helping, and making the world a better place emerge in this book? In what ways?
- Some books provide examples of goodness conquering evil. Does this book provide any?
- What lesson does one or more characters learn that will help improve their lives?
- What obstacles does the setting provide that the main character must overcome?
- What is the climax of the book (the point at which all of the action comes together, the highest point of interest)? Not all stories have a climax.
- Do you think the author is trying to provide a “moral” or a major lesson?
- How does the protagonist (main character) overcome problems in this book?
- Is there an antagonist (someone who provides an obstacle) to the main character? What details lead to your decision? What happens to that character?
Carlisle Cullen was born in the mid-1660s, the same period when historic Mormonism was born in Europe. He became a vampire when he was bitten but not slain by a weakened vampire. His heroic choice to turn away from vampirism and to eat animal rather than human food turns his eyes golden rather than blood red. Over the next two centuries, he learns all he can about medicine and in the mid-1800s becomes a doctor, saving rather than taking human lives. By placing the birth of the Cullen “vision” in the same time and place as the birth of Mormon beliefs (see Refiner’s Fire: The Making of Mormon Cosmology, 1640-1844, by John L. Brooke) and by having Carlisle take up medical practice in the 1840s, the same time as Joseph Smith’s “restoration” of the gospel in America.
Since the series’ debut in 2005, multitudes of thinkers and scholars have claimed to know the real, profound meaning behind Stephenie Meyer’s famous vampire-romance novel series. This tends to happen sometimes when books ignite widespread consumption and discussion: Just run a quick Google search on “The Great Gatsby is a story about” if you need further proof. But the degree to which Twilight has been analyzed, re-analyzed, reframed, and close-read makes it something of a lit-crit Choose Your Own Adventure story.
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