AP Literature Literary Elements

AP Literature Literary Elements

SCROLL THROUGH THE FLASHCARDS TO REVIEW LITERARY ELEMENTS,

DEFINITIONS AND WHY AUTHORS MAY USE THEM.

SCROLL THROUGH THE FLASHCARDS TO REVIEW LITERARY ELEMENTS,

DEFINITIONS AND WHY AUTHORS MAY USE THEM.

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

METAPHORMETAPHOR

COMPARING TWO UNLIKE THINGS IN ORDER TO

EMPHASIZE THE SIMILARITY

COMPARING TWO UNLIKE THINGS IN ORDER TO

EMPHASIZE THE SIMILARITY

EX: MISS EMILY GRIERSON WAS A FALLEN MONUMENT TO THE TOWN

THIS CHARACTERIZES HOW THE TOWN ISOLATED EMILY AS WELL AS

CONNOTES THEIR JUDGMENT OF HER

EX: MISS EMILY GRIERSON WAS A FALLEN MONUMENT TO THE TOWN

THIS CHARACTERIZES HOW THE TOWN ISOLATED EMILY AS WELL AS

CONNOTES THEIR JUDGMENT OF HER

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

CONCEITCONCEIT

AN EXTENDED METAPHOR WOVEN THROUGHOUT A PARAGRAPH OR

PIECE OF LITERATURE AS A MEANS OF STRUCTURING THE PIECE OR CONSTRUCTING MOOD, TONE OR

THEME

AN EXTENDED METAPHOR WOVEN THROUGHOUT A PARAGRAPH OR

PIECE OF LITERATURE AS A MEANS OF STRUCTURING THE PIECE OR CONSTRUCTING MOOD, TONE OR

THEME

EX: THE PEAR TREE - THEIR EYES WERE WATCHING GOD

THIS CONSTRUCTED HURSTON’S TONE TOWARD THE NATURE OF LOVE

EX: THE PEAR TREE - THEIR EYES WERE WATCHING GOD

THIS CONSTRUCTED HURSTON’S TONE TOWARD THE NATURE OF LOVE

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

SYNESTHESIASYNESTHESIA

THE MIXING OF SENSES USED AS A MEANS TO CONSTRUCT

MOOD OR CHARACTERIZATION

THE MIXING OF SENSES USED AS A MEANS TO CONSTRUCT

MOOD OR CHARACTERIZATION

EX: A SNEER OF COLD COMMAND - “OZYMANDIAS”

THIS CONSTRUCTS THE MOOD OF THE LEADER’S REIGN AND CONSEQUENTLY

CHARACTERIZES HIM

EX: A SNEER OF COLD COMMAND - “OZYMANDIAS”

THIS CONSTRUCTS THE MOOD OF THE LEADER’S REIGN AND CONSEQUENTLY

CHARACTERIZES HIM

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

METONYMYMETONYMY

THE SUBSTITUTION OF THE NAME OF AN ATTRIBUTE FOR

THE OBJECT OR CONCEPT WITH WHICH IT IS ASSOCIATED IN ORDER TO EMPHASIZE THE

SIMILARITY

THE SUBSTITUTION OF THE NAME OF AN ATTRIBUTE FOR

THE OBJECT OR CONCEPT WITH WHICH IT IS ASSOCIATED IN ORDER TO EMPHASIZE THE

SIMILARITY

EX: THE HAND THAT MOCKED THEM - OZYMANDIAS

THE HAND REPRESENTS THE RULE OF OZYMANDIAS

EX: THE HAND THAT MOCKED THEM - OZYMANDIAS

THE HAND REPRESENTS THE RULE OF OZYMANDIAS

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

SYNECDOCHESYNECDOCHE

USING PART TO STAND FOR THE WHOLE IN ORDER TO

EMPHASIZE THE CHARACTERISTIC OF THE PART

USING PART TO STAND FOR THE WHOLE IN ORDER TO

EMPHASIZE THE CHARACTERISTIC OF THE PART

EX: WHITE HAIR STANDING FOR ELDERLY

THIS FOCUSES ATTENTION ON THE PHYSICAL MANIFESTATION OF AGING PERHAPS BECAUSE IT IS THE MOST

UNDERSTOOD OR THE MOST FEARED

EX: WHITE HAIR STANDING FOR ELDERLY

THIS FOCUSES ATTENTION ON THE PHYSICAL MANIFESTATION OF AGING PERHAPS BECAUSE IT IS THE MOST

UNDERSTOOD OR THE MOST FEARED

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

IMAGERYIMAGERY

THE USE OF DESCRIPTIVE LANGUAGE TO CREATE IMAGES WITHIN THE MIND USUALLY TO

CONSTRUCT MOOD

THE USE OF DESCRIPTIVE LANGUAGE TO CREATE IMAGES WITHIN THE MIND USUALLY TO

CONSTRUCT MOOD

EX: THE OPENING PARAGRAPHS IN THE CHAPTER WHEN FRANKENSTEIN’S

MONSTER COMES TO LIFE

SHELLEY RELIES ON IMAGERY TO CREATE A FOREBODING MOOD

EX: THE OPENING PARAGRAPHS IN THE CHAPTER WHEN FRANKENSTEIN’S

MONSTER COMES TO LIFE

SHELLEY RELIES ON IMAGERY TO CREATE A FOREBODING MOOD

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

PERSONIFICATIONPERSONIFICATION

ATTRIBUTING HUMAN CHARACTERISTICS TO NON-LIVING OBJECTS USUALLY TO

CONSTRUCT MOOD

ATTRIBUTING HUMAN CHARACTERISTICS TO NON-LIVING OBJECTS USUALLY TO

CONSTRUCT MOODEX: THE LAME UNCERTAIN

CURVES...SUDDENLY COMMIT SUICIDE - THE YELLOW WALLPAPER

BY PERSONIFYING THE WALLPAPER, GILMAN CONSTRUCTS AN EERIE MOOD

AND FURTHER CHARACTERIZES THE SPEAKER’S STATE OF MIND

EX: THE LAME UNCERTAIN CURVES...SUDDENLY COMMIT SUICIDE -

THE YELLOW WALLPAPER

BY PERSONIFYING THE WALLPAPER, GILMAN CONSTRUCTS AN EERIE MOOD

AND FURTHER CHARACTERIZES THE SPEAKER’S STATE OF MIND

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

SYMBOLSYMBOL

USING AN OBJECT TO REPRESENT A COMPLEX

CONCEPT OR EMOTION IN ORDER TO CLARIFY

USING AN OBJECT TO REPRESENT A COMPLEX

CONCEPT OR EMOTION IN ORDER TO CLARIFY

EX: THE PAPERWEIGHT - 1984

THIS REPRESENTED WINSTON’S CONCEPT OF UTOPIA, A WORLD

PROTECTED FROM INTRUSION FROM OPPRESSIVE FORCES

EX: THE PAPERWEIGHT - 1984

THIS REPRESENTED WINSTON’S CONCEPT OF UTOPIA, A WORLD

PROTECTED FROM INTRUSION FROM OPPRESSIVE FORCES

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

ALLUSIONALLUSION

REFERRING TO SOMETHING WITHOUT DIRECTLY NAMING IT

OFTEN TO CONSTRUCT SETTING OR TONE

REFERRING TO SOMETHING WITHOUT DIRECTLY NAMING IT

OFTEN TO CONSTRUCT SETTING OR TONE

EX: MAYCOMB HAD RECENTLY BEEN TOLD IT HAD NOTHING TO FEAR BUT FEAR

ITSELF - TO KILL A MOCKINGBIRD

THIS REVEALS THE HISTORICAL CONTEXT OF THE NOVEL BY INDIRECTLY

REFERENCING A PRESIDENTIAL SPEECH

EX: MAYCOMB HAD RECENTLY BEEN TOLD IT HAD NOTHING TO FEAR BUT FEAR

ITSELF - TO KILL A MOCKINGBIRD

THIS REVEALS THE HISTORICAL CONTEXT OF THE NOVEL BY INDIRECTLY

REFERENCING A PRESIDENTIAL SPEECH

FIGURATIVE LANGUAGEFIGURATIVE LANGUAGE

APOSTROPHEAPOSTROPHE

ADDRESSING AN OBJECT OR A ABSENT PERSON AS THOUGH PRESENT; THIS CAN BE USED

FOR MYRIAD REASONS

ADDRESSING AN OBJECT OR A ABSENT PERSON AS THOUGH PRESENT; THIS CAN BE USED

FOR MYRIAD REASONSEX: VICTOR FRANKENSTEIN’S

FREQUENT ADDRESSES TO CLERVAL WHEN TELLING HIS TALE TO WALTON

THIS SOMETIMES SERVES TO FORESHADOW EVENTS IN THE PLOT AS

WELL AS TO DEVELOP VICTOR’S RELATIONSHIP WITH CLERVAL

EX: VICTOR FRANKENSTEIN’S FREQUENT ADDRESSES TO CLERVAL WHEN TELLING HIS TALE TO WALTON

THIS SOMETIMES SERVES TO FORESHADOW EVENTS IN THE PLOT AS

WELL AS TO DEVELOP VICTOR’S RELATIONSHIP WITH CLERVAL

ELEMENTS OF STYLE

ELEMENTS OF STYLE

IRONYIRONY

THE CONTRAST BETWEEN APPEARANCE AND REALITY OFTEN TO CREATE TONE.

FORMS: VERBAL, DRAMATIC, SITUATIONAL

THE CONTRAST BETWEEN APPEARANCE AND REALITY OFTEN TO CREATE TONE.

FORMS: VERBAL, DRAMATIC, SITUATIONAL

EX: ALAS THERE LIES MORE PERIL IN THINE EYE THAN TWENTY THOUSAND OF

THEIR SWORDS - ROMEO AND JULIET

THIS REVEALS SHAKESPEARE’S TONE TOWARD OBSTACLES IN LOVE

EX: ALAS THERE LIES MORE PERIL IN THINE EYE THAN TWENTY THOUSAND OF

THEIR SWORDS - ROMEO AND JULIET

THIS REVEALS SHAKESPEARE’S TONE TOWARD OBSTACLES IN LOVE

ELEMENTS OF STYLE

ELEMENTS OF STYLE

CONNOTATION

CONNOTATION

THE IMPLIED FEELING OF A WORD, OFTEN BASED ON

SOUND, USED IN ORDER TO CREATE TONE OR MOOD

THE IMPLIED FEELING OF A WORD, OFTEN BASED ON

SOUND, USED IN ORDER TO CREATE TONE OR MOOD

EX: GALUMPHING - “JABBERWOCKY”

CARROLL’S USE OF PORTMANTEAU WORDS MIXED THE SOUNDS AND

CREATED MOOD FOR A FANTASTICAL WORLD

EX: GALUMPHING - “JABBERWOCKY”

CARROLL’S USE OF PORTMANTEAU WORDS MIXED THE SOUNDS AND

CREATED MOOD FOR A FANTASTICAL WORLD

ELEMENTS OF STYLE

ELEMENTS OF STYLE

PARADOXPARADOX

A SEEMINGLY SELF-CONTRADICTORY STATEMENT THAT HOLDS AN ELEMENT OF

TRUTH

A SEEMINGLY SELF-CONTRADICTORY STATEMENT THAT HOLDS AN ELEMENT OF

TRUTH

EX: IGNORANCE IS TRUTH - 1984EX: IGNORANCE IS TRUTH - 1984

ELEMENTS OF STYLE

ELEMENTS OF STYLE

DIALECTDIALECT

FORM OF LANGUAGE SPECIFIC TO A REGION, OFTEN USED IN

LITERATURE TO DEVELOP CONTEXT

FORM OF LANGUAGE SPECIFIC TO A REGION, OFTEN USED IN

LITERATURE TO DEVELOP CONTEXT

EX: THE DIALOGUE - THEIR EYES WERE WATCHING GOD

THIS DEVELOPS THE CULTURAL CONTEXT OF THE NOVEL

EX: THE DIALOGUE - THEIR EYES WERE WATCHING GOD

THIS DEVELOPS THE CULTURAL CONTEXT OF THE NOVEL

ELEMENTS OF FICTION

ELEMENTS OF FICTION

FLASHBACKFLASHBACK

THE TELLING OF A STORY AS THOUGH LOOKING BACK, OFTEN USED TO IMPLY A

MORAL OR LESSON LEARNED

THE TELLING OF A STORY AS THOUGH LOOKING BACK, OFTEN USED TO IMPLY A

MORAL OR LESSON LEARNED

EX: FRANKENSTEIN, THEIR EYES WERE WATCHING GOD, TO KILL A

MOCKINGBIRD

EX: FRANKENSTEIN, THEIR EYES WERE WATCHING GOD, TO KILL A

MOCKINGBIRD

ELEMENTS OF FICTION

ELEMENTS OF FICTION

ANECDOTEANECDOTE

THE USE OF A SHORT (BRIEF) STORY TO ELABORATE OR EXPLAIN FURTHER OR TO

SHIFT MOODS

THE USE OF A SHORT (BRIEF) STORY TO ELABORATE OR EXPLAIN FURTHER OR TO

SHIFT MOODS

EX: MISSES TUTTI AND FRUTTI - TO KILL A MOCKINGBIRD

THIS PROVIDES COMIC RELIEF JUST BEFORE THE SCENE WHEN THE

CHILDREN ARE ATTACKED

EX: MISSES TUTTI AND FRUTTI - TO KILL A MOCKINGBIRD

THIS PROVIDES COMIC RELIEF JUST BEFORE THE SCENE WHEN THE

CHILDREN ARE ATTACKED

ELEMENTS OF FICTION

ELEMENTS OF FICTION

POINT OF VIEWPOINT OF VIEW

THE LENS THROUGH WHICH A STORY IS TOLD

STYLES: 1ST AND 3RD PERSON, LIMITED AND

OMNISCIENT

THE LENS THROUGH WHICH A STORY IS TOLD

STYLES: 1ST AND 3RD PERSON, LIMITED AND

OMNISCIENT

THE POINT OF VIEW IS CHOSEN AS A MEANS OF DEVELOPING THEME AND

TONE

THE POINT OF VIEW IS CHOSEN AS A MEANS OF DEVELOPING THEME AND

TONE

ELEMENTS OF POETRY

ELEMENTS OF POETRY

STRUCTURE/ FORM

STRUCTURE/ FORM

THE FORM OF VERSE THAT DICTATES THE PROSODY,

OFTEN USED TO CONSTRUCT MOOD AND TONE

THE FORM OF VERSE THAT DICTATES THE PROSODY,

OFTEN USED TO CONSTRUCT MOOD AND TONE

EX: FREE VERSE (“SUICIDE NOTE”), SONNET (“OZYMANDIAS”), QUATRAIN,

SESTET, COUPLET, REFRAIN

EX: FREE VERSE (“SUICIDE NOTE”), SONNET (“OZYMANDIAS”), QUATRAIN,

SESTET, COUPLET, REFRAIN

ELEMENTS OF POETRY

ELEMENTS OF POETRY

CONTROLLING IMAGE

CONTROLLING IMAGE

AN EXTENDED IMAGE USED TO CREATE STRUCTURE AND

MOOD

AN EXTENDED IMAGE USED TO CREATE STRUCTURE AND

MOOD

EX: A BIRD IN WINTER - “SUICIDE NOTE”

THIS DEVELOPS THE BARREN AND DESOLATE MOOD OF THE POEM

EX: A BIRD IN WINTER - “SUICIDE NOTE”

THIS DEVELOPS THE BARREN AND DESOLATE MOOD OF THE POEM

ELEMENTS OF POETRY

ELEMENTS OF POETRY

REPETITION REPETITION

THE REPEATING OF WORDS OR SOUNDS IN ORDER TO CREATE

STRUCTURE, MOOD, TONE, AND THEME

THE REPEATING OF WORDS OR SOUNDS IN ORDER TO CREATE

STRUCTURE, MOOD, TONE, AND THEME

EX: ASSONANCE, CONSONANCE, ALLITERATION (SOUNDS)

EX: ASSONANCE, CONSONANCE, ALLITERATION (SOUNDS)

ELEMENTS OF POETRY

ELEMENTS OF POETRY

SOUNDSOUND

THE USE OF THE SOUNDS OF WORDS TO CREATE MOOD

THE USE OF THE SOUNDS OF WORDS TO CREATE MOOD

EX: CACOPHONY, EUPHONY, DISSONANCE

EX: CACOPHONY, EUPHONY, DISSONANCE

ELEMENTS OF POETRY

ELEMENTS OF POETRY

METERMETER

THE RHYTHM OF VERSE, DETERMINED BY THE NUMBER

OF SYLLABLES PER LINE, OFTEN USED TO CREATE

MOOD AND TONE

THE RHYTHM OF VERSE, DETERMINED BY THE NUMBER

OF SYLLABLES PER LINE, OFTEN USED TO CREATE

MOOD AND TONE

EX: IAMBIC PENTAMETER, FOOT, CADENCE, CAESURA

EX: IAMBIC PENTAMETER, FOOT, CADENCE, CAESURA