English 1201 Examinable Terms PDF

‭English‬‭1201‬ ‭Examinable‬‭Terms‬ ‭LITERARY‬‭TERMS‬ ‭ llegory‬‭--‬‭a‬‭form‬‭of‬‭extended‬‭metaphor‬‭,‬‭in‬‭which‬‭objects,‬‭persons,‬‭and‬‭actions‬‭in‬‭a‬‭narrative,‬‭are‬‭equated‬‭with‬ a ‭the‬‭meanings‬‭that‬...

‭English‬‭1201‬ ‭Examinable‬‭Terms‬ ‭LITERARY‬‭TERMS‬ ‭ llegory‬‭--‬‭a‬‭form‬‭of‬‭extended‬‭metaphor‬‭,‬‭in‬‭which‬‭objects,‬‭persons,‬‭and‬‭actions‬‭in‬‭a‬‭narrative,‬‭are‬‭equated‬‭with‬ a ‭the‬‭meanings‬‭that‬‭lie‬‭outside‬‭the‬‭narrative‬‭itself.‬‭The‬‭underlying‬‭meaning‬‭has‬‭moral,‬‭social,‬‭religious,‬‭or‬‭political‬ ‭significance,‬‭and‬‭characters‬‭are‬‭often‬‭personifications‬‭of‬‭abstract‬‭ideas‬‭as‬‭charity,‬‭greed,‬‭or‬‭envy.‬ ‭ n‬‭allegory‬‭is‬‭a‬‭story‬‭with‬‭two‬‭meanings,‬‭a‬‭literal‬‭meaning‬‭and‬‭a‬‭symbolic‬‭meaning.‬‭For‬‭example,‬‭in‬‭Lord‬‭of‬‭the‬ A ‭Flies‬‭,‬‭the‬‭boys‬‭represent‬‭all‬‭of‬‭mankind;‬‭the‬‭evil‬‭they‬‭display‬‭being‬‭the‬‭darkness‬‭within‬‭humanity.‬ ‭ llusion‬‭--‬‭a‬‭reference,‬‭within‬‭a‬‭literary‬‭work,‬‭to‬‭another‬‭work‬‭of‬‭fiction,‬‭a‬‭film,‬‭a‬‭piece‬‭of‬‭art,‬‭or‬‭even‬‭a‬‭real‬‭event‬ a ‭or‬‭person.‬‭An‬‭allusion‬‭draws‬‭on‬‭outside‬‭sources‬‭to‬‭provide‬‭greater‬‭context‬‭or‬‭meaning‬‭to‬‭the‬‭selection.‬‭For‬ ‭example,‬‭Elie‬‭Wiesel‬‭references‬‭WWII,‬‭Gandhi‬‭and‬‭Martin‬‭Luther‬‭King‬‭Jr.‬‭in‬‭his‬‭speech‬‭“The‬‭Perils‬‭of‬ ‭Indifference”.‬‭Other‬‭examples‬‭include‬‭references‬‭to‬‭“Cinderella”,‬‭Adolf‬‭Hitler,‬‭McDonalds,‬‭or‬‭even‬‭Justin‬‭Bieber‬ ‭made‬‭within‬‭another‬‭text.‬ ‭ necdote‬‭--‬‭a‬‭brief‬‭story‬‭or‬‭account‬‭of‬‭a‬‭single‬‭incident‬‭without‬‭the‬‭elaboration‬‭(character‬‭development,‬‭figurative‬ a ‭language,‬‭symbolism,‬‭etc.)‬‭of‬‭a‬‭short‬‭story.‬‭For‬‭instance,‬‭Elie‬‭Wiesel‬‭tells‬‭the‬‭story‬‭of‬‭a‬‭young‬‭Jewish‬‭boy‬ ‭(himself)‬‭from‬‭the‬‭Carparthian‬‭Mountains‬‭at‬‭the‬‭beginning‬‭and‬‭end‬‭of‬‭“The‬‭Perils‬‭of‬‭Indifference”.‬ ‭ ntagonist‬‭--‬‭the‬‭character‬‭,‬‭force,‬‭or‬‭collection‬‭of‬‭forces‬‭in‬‭fiction‬‭or‬‭drama‬‭that‬‭opposes‬‭the‬‭protagonist‬‭and‬‭gives‬ a ‭rise‬‭to‬‭the‬‭conflict‬‭of‬‭the‬‭story;‬‭an‬‭opponent‬‭of‬‭the‬‭protagonist.‬‭Examples‬‭include‬‭Jack‬‭in‬‭Lord‬‭of‬‭the‬‭Flies‬‭;‬‭Beatty‬ ‭in‬‭Fahrenheit‬‭451‬‭.‬ ‭ nticlimax‬‭--‬‭something‬‭that‬‭is‬‭much‬‭less‬‭exciting‬‭or‬‭dramatic‬‭than‬‭it‬‭was‬‭expected‬‭to‬‭be;‬‭often‬‭used‬‭to‬‭describe‬‭a‬ a ‭dull‬‭or‬‭disappointing‬‭ending‬‭or‬‭result.‬ ‭atmosphere‬‭--‬‭the‬‭feeling‬‭surrounding‬‭a‬‭literary‬‭work.‬‭For‬‭instance,‬‭the‬‭atmosphere‬‭in‬‭the‬‭fight‬‭scene‬‭(Act‬‭3)‬ ‭in‬‭the‬‭play‬‭A‬‭Midsummer‬‭Night’s‬‭Dream‬‭is‬‭quite‬‭tense‬‭and‬‭chaotic.‬ c‭ haracter‬‭--‬‭an‬‭imaginary‬‭person‬‭that‬‭inhabits‬‭a‬‭literary‬‭work.‬‭Literary‬‭characters‬‭may‬‭be‬‭major‬‭or‬‭minor,‬‭static‬ ‭(unchanging)‬‭or‬‭dynamic‬‭(capable‬‭of‬‭change).‬ ‭characterization‬‭--‬‭the‬‭means‬‭by‬‭which‬‭writers‬‭present‬‭and‬‭reveal‬‭character.‬ ‭Direct‬‭characterization‬‭occurs‬‭when‬‭an‬‭author‬‭states‬‭explicit‬‭information‬‭that‬‭reveals‬‭a‬‭character.‬‭For‬ ‭example,‬‭Jack‬‭was‬‭a‬‭shy‬‭boy‬‭with‬‭an‬‭easy‬‭smile‬‭and‬‭a‬‭charming‬‭way.‬ I‭ ndirect‬‭characterization‬‭occurs‬‭when‬‭the‬‭author‬‭reveals‬‭a‬‭character‬‭by‬‭what‬‭he/she‬‭says,‬‭what‬‭he/she‬ ‭does,‬‭what‬‭other‬‭characters‬‭say‬‭about‬‭him/her,‬‭and‬‭sometimes‬‭,‬‭by‬‭a‬‭name‬‭or‬‭a‬‭nickname.‬‭For‬‭example,‬ t‭he‬‭nickname‬‭Scout‬‭for‬‭Jean‬‭Louise‬‭Finch‬‭in‬‭To‬‭Kill‬‭a‬‭Mockingbird‬‭helps‬‭reveal‬‭her‬‭tomboy‬ ‭personality‬‭to‬‭the‬‭reader.‬ c‭ limax‬‭--‬‭the‬‭highest‬‭point‬‭of‬‭tension,‬‭suspense,‬‭and/or‬‭action‬‭in‬‭a‬‭work;‬‭the‬‭turning‬‭point‬‭before‬‭the‬‭plot‬‭is‬ ‭resolved.‬ ‭complication‬‭--‬‭a‬‭series‬‭of‬‭difficulties‬‭that‬‭form‬‭the‬‭central‬‭action‬‭in‬‭a‬‭narrative.‬ ‭conflict‬‭--‬‭the‬‭struggle‬‭between‬‭two‬‭opposing‬‭forces‬‭within‬‭a‬‭work.‬ ‭1‬‭|‬‭Page‬  ‭English‬‭1201‬ ‭Examinable‬‭Terms‬ I‭ nternal‬‭conflict‬‭involves‬‭a‬‭struggle‬‭within‬‭(man‬‭versus‬‭himself).‬‭Examples‬‭of‬‭this‬‭include‬‭guilt,‬‭fear,‬ ‭indecision,‬‭etc.‬ ‭ xternal‬‭conflict‬‭involves‬‭the‬‭struggle‬‭of‬‭a‬‭character‬‭with‬‭an‬‭outside‬‭force‬‭(man‬‭versus‬‭nature,‬‭man‬ E ‭versus‬‭man,‬‭man‬‭versus‬‭society,‬‭etc.).‬ c‭ onnotation‬‭--‬‭the‬‭connotation‬‭of‬‭a‬‭word‬‭involves‬‭the‬‭attitudes‬‭and‬‭feelings‬‭associated‬‭with‬‭a‬‭word.‬‭These‬ ‭associations‬‭can‬‭be‬‭negative‬‭or‬‭positive,‬‭and‬‭have‬‭an‬‭important‬‭influence‬‭on‬‭style‬‭and‬‭meaning.‬‭For‬‭many‬‭people,‬ ‭the‬‭word‬‭mother‬‭calls‬‭up‬‭strong‬‭positive‬‭feelings‬‭and‬‭associations‬‭-‬‭loving,‬‭self-sacrificing,‬‭always‬‭there‬‭for‬‭you,‬ ‭understanding;‬‭the‬‭denotative‬‭meaning,‬‭on‬‭the‬‭other‬‭hand,‬‭is‬‭simply‬‭"a‬‭female‬‭animal‬‭who‬‭has‬‭borne‬‭one‬‭or‬‭more‬ ‭children."‬‭Connotative‬‭meanings‬‭do‬‭not‬‭necessarily‬‭reflect‬‭reality.‬ ‭denotation‬‭--‬‭the‬‭dictionary‬‭meaning‬‭of‬‭a‬‭word.‬ ‭denouement‬‭--‬‭the‬‭final‬‭outcome‬‭of‬‭a‬‭series‬‭of‬‭events‬‭within‬‭a‬‭text;‬‭the‬‭resolution.‬ ‭ ominant‬‭impression‬‭or‬‭image‬‭--‬‭in‬‭descriptive‬‭writing,‬‭the‬‭one‬‭dominant‬‭aspect‬‭or‬‭overall‬‭feeling‬‭that‬‭stands‬ d ‭out‬‭more‬‭than‬‭others.‬‭For‬‭example,‬‭terror,‬‭beauty,‬‭etc.‬ ‭extended‬‭metaphor‬‭--‬‭a‬‭metaphor‬‭that‬‭is‬‭used‬‭throughout‬‭a‬‭work‬‭or‬‭is‬‭continued‬‭for‬‭a‬‭few‬‭lines‬‭of‬‭a‬‭selection.‬ ‭falling‬‭action‬‭--‬‭the‬‭sequence‬‭of‬‭events‬‭that‬‭follow‬‭the‬‭climax‬‭and‬‭end‬‭in‬‭the‬‭resolution‬‭within‬‭a‬‭story.‬ f‭ igurative‬‭language‬‭--‬‭a‬‭form‬‭of‬‭language‬‭use‬‭in‬‭which‬‭writers‬‭and‬‭speakers‬‭convey‬‭something‬‭other‬‭than‬‭the‬ ‭literal‬‭meaning‬‭of‬‭their‬‭words.‬‭Examples‬‭include‬‭hyperbole‬‭or‬‭exaggeration,‬‭understatement,‬‭simile‬‭and‬‭metaphor.‬ f‭ lashback‬‭--‬‭an‬‭interruption‬‭of‬‭a‬‭work's‬‭chronology‬‭to‬‭describe‬‭or‬‭present‬‭an‬‭incident‬‭that‬‭occurred‬‭prior‬‭to‬‭the‬ ‭main‬‭timeframe‬‭of‬‭a‬‭work's‬‭action.‬ f‭ oil‬‭--‬‭a‬‭character‬‭whose‬‭qualities‬‭or‬‭actions‬‭serve‬‭to‬‭emphasize‬‭those‬‭of‬‭another‬‭character‬‭(usually‬‭the‬ ‭protagonist)‬‭by‬‭providing‬‭a‬‭strong‬‭contrast‬‭with‬‭that‬‭character.‬‭For‬‭instance,‬‭Banquo‬‭is‬‭the‬‭foil‬‭for‬‭Macbeth‬‭in‬ ‭Macbeth‬‭.‬ f‭ oreshadowing‬‭--‬‭when‬‭hints‬‭of‬‭what‬‭is‬‭to‬‭come‬‭in‬‭the‬‭action‬‭of‬‭a‬‭play‬‭or‬‭a‬‭story‬‭are‬‭given.‬‭For‬‭example,‬‭the‬‭pig‬ ‭dance‬‭in‬‭which‬‭Robert‬‭is‬‭the‬‭“pig”‬‭foreshadows‬‭Simon’s‬‭death‬‭later,‬‭in‬‭Lord‬‭of‬‭the‬‭Flies.‬ ‭ enre‬‭--‬‭a‬‭French‬‭word‬‭meaning‬‭kind‬‭or‬‭type‬‭.‬‭The‬‭major‬‭genres‬‭in‬‭literature‬‭include‬‭poetry,‬‭narration,‬‭essay‬ g ‭writing,‬‭fiction‬‭,‬‭non-fiction,‬‭drama‬‭.‬ ‭hyperbole‬‭--‬‭intended‬‭exaggeration‬‭used‬‭to‬‭create‬‭a‬‭desired‬‭effect‬‭such‬‭as‬‭humour‬‭or‬‭sarcasm.‬ ‭2‬‭|‬‭Page‬  ‭English‬‭1201‬ ‭Examinable‬‭Terms‬ i‭magery‬‭--‬‭language‬‭which‬‭describes‬‭something‬‭in‬‭detail,‬‭using‬‭words‬‭to‬‭substitute‬‭for‬‭and‬‭create‬‭sensory‬ ‭stimulation.‬‭One‬‭or‬‭more‬‭of‬‭the‬‭senses‬‭is‬‭used‬‭to‬‭create‬‭imagery.‬ ‭irony‬‭(dramatic,‬‭situational,‬‭and‬‭verbal)‬‭--‬‭There‬‭are‬‭three‬‭distinct‬‭types:‬ ‭ ramatic‬‭irony‬‭occurs‬‭when‬‭the‬‭audience‬‭and/or‬‭one‬‭or‬‭more‬‭characters‬‭in‬‭a‬‭work‬‭are‬‭aware‬‭of‬ d ‭information‬‭that‬‭another‬‭character‬‭or‬‭characters‬‭are‬‭not.‬‭For‬‭instance,‬‭in‬‭A‬‭Midsummer‬‭Night’s‬ ‭ ream‬‭,‬‭the‬‭fairies‬‭and‬‭the‬‭audience‬‭are‬‭aware‬‭that‬‭Lysander,‬‭Demetrius‬‭and‬‭Titania‬‭are‬‭under‬‭a‬ D ‭love‬‭potion,‬‭but‬‭Helena,‬‭Hermia‬‭and‬‭Bottom‬‭are‬‭not.‬ s‭ ituational‬‭irony‬‭is‬‭evident‬‭where‬‭an‬‭unexpected‬‭event‬‭occurs,‬‭in‬‭the‬‭sense‬‭that‬‭it‬‭is‬‭somehow‬‭in‬‭absurd‬ ‭or‬‭mocking‬‭opposition‬‭to‬‭what‬‭would‬‭be‬‭expected‬‭or‬‭appropriate.‬‭Mere‬‭coincidence‬‭is‬‭generally‬‭not‬ ‭ironic;‬‭neither‬‭is‬‭mere‬‭surprise,‬‭nor‬‭are‬‭any‬‭random‬‭or‬‭arbitrary‬‭occurrences.‬‭For‬‭example,‬‭in‬‭To‬‭Kill‬‭a‬ ‭ ockingbird‬‭when‬‭the‬‭Cunningham’s‬‭leave‬‭Atticus‬‭alone‬‭after‬‭Scout‬‭shows‬‭up‬‭at‬‭the‬‭jail‬‭and‬ M ‭speaks‬‭about‬‭Walter.‬‭The‬‭audience‬‭would‬‭expect‬‭them‬‭to‬‭harm‬‭Atticus.‬ ‭ erbal‬‭irony‬‭is‬‭speech‬‭in‬‭which‬‭what‬‭is‬‭said‬‭is‬‭the‬‭opposite‬‭to‬‭what‬‭is‬‭meant.‬‭It‬‭is‬‭a‬‭form‬‭of‬‭sarcasm.‬‭For‬ v ‭example,‬‭saying‬‭I‬‭love‬‭broccoli‬‭,‬‭when‬‭really‬‭you‬‭detest‬‭it.‬ j‭ uxtaposition‬ ‭--‬ ‭the‬ ‭arrangement‬ ‭of‬ ‭two‬ ‭or‬ ‭more‬ ‭ideas,‬ ‭characters,‬ ‭actions,‬ ‭settings,‬ ‭phrases,‬ ‭or‬ ‭words‬ ‭side-by-side‬ ‭or‬ ‭in‬ ‭similar‬‭narrative‬‭moments‬‭for‬‭the‬‭purpose‬‭of‬‭comparison,‬‭contrast,‬‭or‬‭character‬‭development.‬ ‭ or‬ ‭instance,‬ ‭in‬‭To‬‭Kill‬‭a‬‭Mockingbird‬‭Attitus‬‭Finch‬‭and‬‭Bob‬‭Ewell‬‭are‬‭set‬‭up‬‭as‬‭completely‬‭different‬ F ‭(juxtaposed)‬‭in‬‭personality‬‭and‬‭social‬‭class.‬ l‭iteral‬‭meaning‬‭--‬‭discussing‬‭the‬‭literal‬‭meaning‬‭of‬‭a‬‭selection‬‭requires‬‭no‬‭interpretation‬‭on‬‭a‬‭figurative‬‭level.‬‭For‬ ‭example,‬‭giving‬‭the‬‭literal‬‭meaning‬‭of‬‭a‬‭poem‬‭merely‬‭involves‬‭the‬‭retelling‬‭or‬‭summarizing‬‭of‬‭what‬‭is‬‭happening‬ ‭on‬‭a‬‭literal‬‭level.‬ ‭ emoir‬‭--‬‭autobiographical‬‭writing;‬‭the‬‭story‬‭of‬‭a‬‭person’s‬‭life‬‭written‬‭by‬‭the‬‭individuals‬‭themselves‬‭(often‬‭a‬ m ‭snapshot‬‭memory).‬ ‭ etaphor‬‭--‬‭a‬‭comparison‬‭between‬‭essentially‬‭unlike‬‭things‬‭without‬‭an‬‭explicitly‬‭comparative‬‭word‬‭such‬‭as‬‭like‬ m ‭or‬‭as‬‭.‬‭An‬‭example‬‭is‬‭My‬‭love‬‭is‬‭a‬‭red,‬‭red‬‭rose‬‭.‬ ‭monologue‬‭--‬‭a‬‭composition,‬‭oral‬‭or‬‭written,‬‭by‬‭a‬‭single‬‭individual.‬‭More‬‭specifically,‬‭it‬‭is‬‭a‬‭speech‬‭given‬‭by‬‭a‬ ‭single‬‭individual‬‭in‬‭a‬‭drama‬‭or‬‭other‬‭public‬‭entertainment.‬‭It‬‭has‬‭no‬‭set‬‭length,‬‭although‬‭it‬‭is‬‭usually‬‭several‬‭or‬ ‭more‬‭lines‬‭long.‬ ‭mood‬‭--‬‭the‬‭overall‬‭feeling‬‭a‬‭reader‬‭gets‬‭from‬‭a‬‭text.‬‭Most‬‭pieces‬‭of‬‭literature‬‭have‬‭a‬‭prevailing‬‭mood,‬‭but‬‭shifts‬ ‭in‬‭this‬‭mood‬‭may‬‭function‬‭as‬‭counterpoint,‬‭provide‬‭comic‬‭relief,‬‭or‬‭echo‬‭the‬‭changing‬‭events‬‭in‬‭the‬‭plot.‬‭For‬ e‭ xample,‬‭the‬‭prevailing‬‭mood‬‭during‬‭and‬‭following‬‭the‬‭trial‬‭in‬‭To‬‭Kill‬‭a‬‭Mockingbird‬‭is‬‭tense‬‭and‬ ‭suspenseful.‬ ‭narrator‬‭--‬‭the‬‭voice‬‭and‬‭implied‬‭speaker‬‭of‬‭a‬‭fictional‬‭work,‬‭to‬‭be‬‭distinguished‬‭from‬‭the‬‭actual‬‭living‬‭author.‬ ‭For‬‭instance,‬‭Scout‬‭is‬‭the‬‭narrator‬‭of‬‭To‬‭Kill‬‭a‬‭Mockingbird‬‭,‬‭but‬‭the‬‭author‬‭is‬‭Harper‬‭Lee.‬ ‭ ersonification‬‭--‬‭involves‬‭giving‬‭an‬‭inanimate‬‭object‬‭or‬‭an‬‭abstract‬‭idea,‬‭human‬‭traits.‬‭For‬‭example,‬‭the‬‭window‬ p ‭winked‬‭at‬‭me‬‭.‬ ‭3‬‭|‬‭Page‬  ‭English‬‭1201‬ ‭Examinable‬‭Terms‬ ‭ lot‬‭development‬‭--‬‭refers‬‭to‬‭what‬‭happens‬‭in‬‭a‬‭story‬‭and‬‭the‬‭order‬‭in‬‭which‬‭it‬‭happens.‬‭There‬‭are‬‭typically‬‭five‬ p ‭stages‬‭in‬‭plot‬‭development:‬‭exposition,‬‭rising‬‭action,‬‭climax,‬‭falling‬‭action,‬‭denouement‬‭(resolution).‬ ‭point‬‭of‬‭view‬‭--‬‭the‬‭perspective‬‭established‬‭by‬‭the‬‭narrator‬‭of‬‭a‬‭literary‬‭work.‬ f‭ irst-person‬‭--‬‭a‬‭character‬‭narrates‬‭the‬‭story.‬‭In‬‭this‬‭instance,‬‭the‬‭main‬‭character‬‭conveys‬‭the‬‭incidents‬ ‭he/she‬‭encounters,‬‭as‬‭well‬‭as‬‭giving‬‭the‬‭reader‬‭insight‬‭into‬‭himself‬‭as‬‭he‬‭reveals‬‭his/her‬‭thoughts,‬‭feelings,‬ ‭and‬‭intentions.‬‭For‬‭example,‬‭Scout‬‭tells‬‭her‬‭own‬‭story‬‭in‬‭To‬‭Kill‬‭a‬‭Mockingbird‬‭.‬ s‭ econd-person‬‭--‬‭the‬‭narrator‬‭addresses‬‭the‬‭protagonist‬‭directly‬‭as‬‭you‬‭and‬ ‭never‬‭reverts‬‭back‬‭to‬‭I‬‭.‬‭The‬ ‭second‬‭person‬‭point‬‭of‬‭view‬‭is‬‭used‬‭in‬‭essays‬‭and‬‭poems,‬‭but‬‭is‬‭not‬‭common.‬ t‭ hird-person‬‭limited‬‭–‬‭a‬‭personage‬‭who‬‭is‬‭not‬‭a‬‭character‬‭in‬‭the‬‭story,‬‭tells‬‭the‬‭story.‬‭The‬‭narrator’s‬ ‭knowledge‬‭of‬‭a‬‭character‬‭is‬‭limited‬‭and‬‭the‬‭focus‬‭is‬‭usually‬‭on‬‭the‬‭thoughts/feelings‬‭of‬‭ONE‬‭character.‬ ‭For‬‭example,‬‭The‬‭Giver‬‭focuses‬‭on‬‭Jonas.‬ t‭ hird-person‬‭omniscient‬‭--‬‭a‬‭personage‬‭who‬‭is‬‭not‬‭a‬‭character‬‭in‬‭the‬‭story,‬‭tells‬‭the‬‭story.‬‭The‬‭narrator‬ ‭knows‬‭everything‬‭about‬‭ALL‬‭of‬‭the‬‭characters,‬‭including‬‭their‬‭feelings,‬‭thoughts,‬‭etc.‬‭The‬‭narrator‬‭moves‬ ‭from‬‭one‬‭character‬‭to‬‭another‬‭as‬‭necessary‬‭to‬‭provide‬‭those‬‭character’s‬‭respective‬‭motivations‬‭and‬ ‭emotions.‬‭For‬‭example,‬‭Animal‬‭Farm‬‭.‬ ‭protagonist‬‭--‬‭considered‬‭to‬‭be‬‭the‬‭main‬‭character‬‭or‬‭lead‬‭figure‬‭in‬‭a‬‭novel,‬‭play,‬‭story,‬‭or‬‭poem.‬‭For‬‭example,‬ ‭Jonas‬‭in‬‭The‬‭Giver.‬ ‭rising‬‭action‬‭--‬‭the‬‭sequence‬‭of‬‭events‬‭and‬‭complications‬‭that‬‭lead‬‭to‬‭the‬‭climax‬‭in‬‭a‬‭story.‬ s‭ arcasm‬‭--‬‭the‬‭use‬‭of‬‭verbal‬‭irony‬‭in‬‭which‬‭a‬‭person‬‭appears‬‭to‬‭be‬‭praising‬‭something,‬‭but‬‭is‬‭actually‬‭insulting‬‭it.‬ ‭For‬‭example,‬‭saying‬‭I‬‭love‬‭broccoli‬‭!‬‭when‬‭really‬‭you‬‭detest‬‭it.‬ s‭ etting‬‭--‬‭the‬‭time,‬‭place‬‭and‬‭circumstances‬‭of‬‭a‬‭literary‬‭work‬‭that‬‭establish‬‭its‬‭context.‬ ‭simile‬‭--‬‭is‬‭a‬‭figure‬‭of‬‭speech‬‭involving‬‭a‬‭comparison‬‭between‬‭unlike‬‭things‬‭using‬‭like‬‭,‬‭as‬‭,‬‭or‬‭as‬‭though‬‭.‬‭For‬ ‭example,‬‭My‬‭love‬‭is‬‭like‬‭a‬‭red,‬‭red‬‭rose‬‭.‬ s‭ ubplot‬‭--‬‭a‬‭secondary‬‭plot‬‭or‬‭storyline‬‭that‬‭coexists‬‭with‬‭the‬‭main‬‭story.‬‭For‬‭example,‬‭the‬‭main‬‭plot‬‭may‬‭be‬‭a‬ ‭love‬‭story‬‭between‬‭two‬‭characters‬‭and‬‭a‬‭subplot‬‭could‬‭involve‬‭a‬‭quirky‬‭best‬‭friend‬‭who‬‭works‬‭with‬‭the‬‭female‬ ‭lead‬‭and‬‭is‬‭constantly‬‭setting‬‭her‬‭up‬‭with‬‭all‬‭of‬‭the‬‭wrong‬‭guys.‬ ‭suspense‬‭--‬‭the‬‭excited‬‭anticipation‬‭of‬‭an‬‭approaching‬‭climax.‬ s‭ ymbolism‬‭--‬‭when‬‭an‬‭object‬‭or‬‭action‬‭in‬‭a‬‭literary‬‭work‬‭means‬‭more‬‭than‬‭itself,‬‭and‬‭stands‬‭for‬‭something‬‭beyond‬ ‭itself.‬‭For‬‭example,‬‭in‬‭To‬‭Kill‬‭a‬‭Mockingbird‬‭,‬‭the‬‭mockingbird‬‭symbolizes‬‭the‬‭harm‬‭in‬‭injuring‬‭the‬ ‭innocent.‬ ‭temporal‬‭references‬‭--‬‭reference‬‭to‬‭time‬‭within‬‭a‬‭text.‬ t‭ heme‬‭--‬‭the‬‭message‬‭an‬‭author‬‭wishes‬‭to‬‭convey‬‭in‬‭through‬‭a‬‭work.‬‭A‬‭theme‬‭should‬‭not‬‭be‬‭written‬‭as‬‭merely‬‭one‬ ‭word;‬‭it‬‭is‬‭a‬‭statement.‬‭It‬‭should‬‭not‬‭be‬‭written‬‭as‬‭a‬‭cliché.‬ ‭4‬‭|‬‭Page‬  ‭English‬‭1201‬ ‭Examinable‬‭Terms‬ t‭ itle‬‭(significance)‬‭--‬‭the‬‭significance‬‭of‬‭the‬‭title‬‭can‬‭be‬‭ascertained‬‭by‬‭determining‬‭how‬‭the‬‭title‬‭relates‬‭to‬‭the‬ ‭work‬‭and‬‭what‬‭new‬‭insights‬‭can‬‭be‬‭gained‬‭from‬‭the‬‭work‬‭when‬‭one‬‭considers‬‭the‬‭title.‬ ‭tone‬‭--‬‭is‬‭the‬‭implied‬‭attitude‬‭of‬‭a‬‭writer‬‭toward‬‭the‬‭subject‬‭and‬‭characters‬‭of‬‭a‬‭work.‬‭The‬‭tone‬‭of‬‭a‬‭selection‬‭may‬ ‭be‬‭serious,‬‭humorous,‬‭sarcastic,‬‭etc.‬ ‭SOUND‬‭DEVICES‬ ‭ lliteration‬‭--‬‭the‬‭repetition‬‭of‬‭consonant‬‭sounds‬‭at‬‭the‬‭beginning‬‭of‬‭words‬‭in‬‭close‬‭proximity.‬‭For‬‭example,‬‭He‬ a ‭was‬‭a‬‭b‬‭ouncing‬‭b‬‭aby‬‭b‬‭oy.‬ ‭ nomatopoeia‬‭--‬‭the‬‭use‬‭of‬‭words‬‭to‬‭imitate‬‭the‬‭sounds‬‭they‬‭describe.‬‭Words‬‭such‬‭as‬‭buzz‬‭and‬‭crack‬‭are‬ o ‭onomatopoetic.‬ ‭LANGUAGE‬‭TERMS‬ ‭ udience‬‭--‬‭the‬‭people‬‭for‬‭which‬‭something‬‭is‬‭written‬‭or‬‭produced.‬‭For‬‭instance,‬‭the‬‭selection/visual‬‭may‬‭be‬ a ‭created‬‭for‬‭a‬‭very‬‭specific‬‭audience‬‭such‬‭as‬‭teenagers,‬‭consumers,‬‭etc.,‬‭or‬‭it‬‭may‬‭be‬‭created‬‭for‬‭a‬‭general‬ ‭audience.‬ c‭ oherence‬‭--‬‭comes‬‭from‬‭the‬‭Latin‬‭word‬‭meaning‬‭“to‬‭stick‬‭together”.‬‭Coherence‬‭is‬‭the‬‭quality‬‭that‬‭makes‬‭it‬‭easy‬ ‭for‬‭reader‬‭to‬‭follow‬‭a‬‭writer’s‬‭train‬‭of‬‭thought‬‭as‬‭it‬‭moves‬‭from‬‭sentence‬‭to‬‭sentence‬‭and‬‭paragraph‬‭to‬‭paragraph.‬ ‭In‬‭other‬‭words,‬‭the‬‭writing‬‭flows‬‭.‬‭There‬‭are‬‭several‬‭ways‬‭to‬‭create‬‭coherence.‬ ‭Methods‬‭of‬‭Creating‬‭Coherence:‬ ‭emphatic‬‭devices‬‭--‬‭used‬‭to‬‭emphasize‬‭an‬‭idea;‬‭include‬‭listing,‬‭font,‬‭punctuation,‬‭repetition,‬‭parallel‬ ‭structure,‬‭fragments,‬‭and‬‭short‬‭sentences.‬ ‭ arallel‬‭structure‬‭/‬‭parallelism‬‭--‬‭using‬‭the‬‭same‬‭pattern‬‭of‬‭words‬‭to‬‭show‬‭that‬‭two‬‭or‬‭more‬‭ideas‬‭have‬ p ‭the‬‭same‬‭level‬‭of‬‭importance.‬‭This‬‭can‬‭happen‬‭at‬‭the‬‭word,‬‭phrase,‬‭or‬‭clause‬‭level.‬‭For‬‭example:‬‭I‬‭like‬ ‭runn‬‭ing‬‭,‬‭jump‬‭ing‬‭,‬‭and‬‭ski‬‭ing‬‭.‬ ‭ ronoun‬‭reference‬‭--‬‭replacing‬‭key‬‭nouns‬‭with‬‭pronouns.‬‭For‬‭example,‬‭“the‬‭children”‬‭can‬‭be‬‭replaced‬ p ‭with‬‭“they,‬‭them”.‬ r‭ epetition‬‭--‬‭repeating‬‭key‬‭words‬‭and‬‭phrases,‬‭or‬‭recognizable‬‭synonyms,‬‭for‬‭key‬‭words.‬‭Examples‬ ‭include‬‭using‬‭baby,‬‭infant,‬‭and/or‬‭newborn.‬ t‭ ransitions‬‭--‬‭using‬‭conjunctive‬‭adverbs‬‭or‬‭thought-connecting‬‭words‬‭such‬‭as‬ ‭nonetheless,‬‭moreover,‬ ‭therefore,‬‭however,‬‭subsequently,‬‭accordingly,‬‭etc.‬ s‭ equence‬‭--‬‭arranging‬‭the‬‭sequence‬‭of‬‭events‬‭in‬‭some‬‭order.‬‭For‬‭example,‬‭narration‬‭is‬‭usually‬‭arranged‬ ‭chronologically,‬‭description‬‭is‬‭arranged‬‭spatially,‬‭and‬‭exposition‬‭is‬‭arranged‬‭logically.‬ ‭contrast‬‭--‬‭to‬‭examine‬‭two‬‭or‬‭more‬‭items‬‭by‬‭looking‬‭at‬‭only‬‭their‬‭differences‬‭.‬ ‭5‬‭|‬‭Page‬  ‭English‬‭1201‬ ‭Examinable‬‭Terms‬ e‭ xposition‬‭--‬‭an‬‭essay‬‭that‬‭is‬‭explanatory‬‭in‬‭nature.‬‭It‬‭deals‬‭with‬‭the‬‭world‬‭of‬‭ideas‬‭and‬‭is‬‭logically‬ ‭arranged.‬‭The‬‭methods‬‭of‬‭development‬‭for‬‭essays‬‭include‬‭compare‬‭and‬‭contrast,‬‭classification‬‭and‬ ‭division,‬‭example‬‭and‬‭illustration,‬‭process‬‭analysis,‬‭and‬‭definition.‬‭(There‬‭is‬‭usually‬‭a‬‭combination‬‭of‬ ‭methods‬‭in‬‭any‬‭expository‬‭essay,‬‭but‬‭quite‬‭often,‬‭there‬‭is‬‭one‬‭dominant‬‭method.)‬ I‭ diom:‬‭a‬‭group‬‭of‬‭words‬‭established‬‭by‬‭usage‬‭as‬‭having‬‭a‬‭a‬‭meaning‬‭not‬‭deducible‬‭from‬‭those‬‭of‬‭the‬ ‭individual‬‭words.‬‭For‬‭example,‬‭killing‬‭two‬‭birds‬‭with‬‭one‬‭stone,‬‭raining‬‭cats‬‭and‬‭dogs‬ ‭ arallel‬‭structure‬‭/‬‭parallelism‬‭--‬‭using‬‭the‬‭same‬‭pattern‬‭of‬‭words‬‭to‬‭show‬‭that‬‭two‬‭or‬‭more‬‭ideas‬‭have‬‭the‬‭same‬ p ‭level‬‭of‬‭importance.‬‭This‬‭can‬‭happen‬‭at‬‭the‬‭word,‬‭phrase,‬‭or‬‭clause‬‭level.‬‭For‬‭example:‬‭I‬‭like‬‭runn‬‭ing‬‭,‬‭jump‬‭ing‬‭,‬ ‭and‬‭ski‬‭ing‬‭.‬ ‭paraphrase‬‭--‬‭to‬‭express‬‭the‬‭meaning‬‭of‬‭a‬‭text‬‭in‬‭different‬‭words.‬ ‭ nity‬‭--‬‭means‬‭that‬‭all‬‭information‬‭in‬‭a‬‭piece‬‭of‬‭writing‬‭is‬‭relevant‬‭to‬‭the‬‭thesis‬‭and‬‭the‬‭topic‬‭sentence.‬‭Irrelevant‬ u ‭facts‬‭should‬‭be‬‭disregarded‬‭to‬‭for‬‭the‬‭sake‬‭of‬‭unity‬‭or‬‭oneness.‬‭Paragraph‬‭unity‬‭means‬‭that‬‭one‬‭paragraph‬‭is‬‭about‬ ‭ONLY‬‭ONE‬‭main‬‭topic.‬‭That‬‭is,‬‭all‬‭the‬‭sentences‬‭--‬‭the‬‭topic,‬‭supporting‬‭sentences,‬‭the‬‭detail‬‭sentences,‬‭and‬ ‭(sometimes)‬‭the‬‭concluding‬‭sentence‬‭--‬‭are‬‭all‬‭telling‬‭the‬‭reader‬‭about‬‭ONE‬‭main‬‭topic.‬‭If‬‭your‬‭paragraph‬‭contains‬ ‭a‬‭sentence‬‭or‬‭some‬‭sentences‬‭that‬‭are‬‭NOT‬‭related‬‭to‬‭the‬‭main‬‭topic,‬‭then‬‭we‬‭say‬‭that‬‭the‬‭paragraph‬‭lacks‬‭unity‬‭,‬‭or‬ ‭that‬‭the‬‭sentence‬‭is‬‭off-topic‬‭.‬‭In‬‭general,‬‭unity‬‭means‬‭that‬‭your‬‭paper‬‭is‬‭coherent,‬‭easy‬‭to‬‭follow,‬‭and‬‭each‬ ‭paragraph‬‭relates‬‭to‬‭the‬‭main‬‭thesis.‬ ‭ ialogue‬‭--‬‭the‬‭actual‬‭words‬‭that‬‭characters‬‭speak.‬‭Authors‬‭use‬‭dialogue‬‭skillfully‬‭in‬‭the‬‭short‬‭story‬‭to‬‭portray‬ d ‭character‬‭and‬‭to‬‭dramatize‬‭conflict.‬ ‭ rologue‬‭--‬‭the‬‭opening‬‭speech‬‭or‬‭dialogue‬‭of‬‭a‬‭play;‬‭usually‬‭gives‬‭the‬‭exposition‬‭necessary‬‭to‬‭follow‬‭the‬ p ‭subsequent‬‭action;‬‭also‬‭refers‬‭to‬‭the‬‭introduction‬‭to‬‭any‬‭literary‬‭work.‬ ‭image‬‭--‬‭a‬‭visual‬‭representation‬‭(of‬‭an‬‭object‬‭or‬‭scene‬‭or‬‭person‬‭or‬‭abstraction)‬‭produced‬‭on‬‭a‬‭surface.‬ ‭VISUAL‬‭TERMS‬‭(January‬‭10th,‬‭2025)‬ e‭ lements‬‭--‬‭component‬‭parts‬‭and‬‭contributing‬‭factors‬‭that‬‭combine‬‭to‬‭create‬‭an‬‭overall‬‭effect‬‭in‬‭a‬‭piece‬‭of‬‭writing‬ ‭or‬‭in‬‭a‬‭visual.‬ ‭1.‬ ‭Angle‬‭--‬‭the‬‭relationship‬‭between‬‭the‬‭camera‬‭and‬‭the‬‭object‬‭being‬‭photographed.‬‭The‬‭angle‬‭of‬‭a‬ ‭ isual‬‭communicates‬‭information‬‭to‬‭an‬‭audience,‬‭and‬‭guides‬‭their‬‭judgment‬‭about‬‭the‬‭character‬‭or‬ v ‭object‬‭in‬‭shot,‬‭as‬‭the‬‭more‬‭extreme‬‭the‬‭angle‬‭(i.e.‬‭the‬‭further‬‭away‬‭it‬‭is‬‭from‬‭the‬‭eye),‬‭the‬‭more‬ ‭6‬‭|‬‭Page‬  ‭English‬‭1201‬ ‭Examinable‬‭Terms‬ s‭ ymbolic‬‭and‬‭heavily-loaded‬‭the‬‭shot.‬‭Examples‬‭of‬‭angles‬‭include‬‭bird’s‬‭eye‬‭view,‬‭high‬‭angle,‬‭low‬ ‭angle,‬‭eye‬‭level.‬ ‭2.‬ ‭Asymmetry‬‭--‬‭lack‬‭or‬‭absence‬‭of‬‭symmetry‬‭in‬‭spatial‬‭arrangements.‬ ‭3.‬ ‭Background‬‭--‬‭the‬‭part‬‭of‬‭the‬‭scene‬‭that‬‭appears‬‭behind‬‭the‬‭main‬‭subject‬‭of‬‭the‬‭picture;‬‭the‬‭distance‬ ‭ art‬‭of‬‭a‬‭landscape.‬‭It‬‭is‬‭also‬‭defined‬‭as‬‭the‬‭area‬‭located‬‭from‬‭3-5‬‭miles‬‭to‬‭infinity‬‭from‬‭the‬‭viewer,‬ p ‭characterized‬‭by‬‭perception‬‭of‬‭outline‬‭shape,‬‭landforms,‬‭and‬‭patterns‬‭of‬‭light‬‭and‬‭dark.‬‭Skylines‬‭or‬ ‭ridgelines‬‭against‬‭other‬‭land‬‭surfaces‬‭are‬‭the‬‭strongest‬‭visual‬‭elements‬‭of‬‭background.‬ ‭4.‬ ‭Balance‬‭--‬‭the‬‭way‬‭shapes‬‭are‬‭arranged‬‭within‬‭a‬‭visual;‬‭when‬‭shapes‬‭are‬‭balanced,‬‭they‬‭create‬‭a‬ ‭feeling‬‭of‬‭order‬‭or‬‭harmony.‬ ‭5.‬ ‭Colour‬‭--‬‭appearance‬‭of‬‭objects‬‭(or‬‭light‬‭sources)‬‭described‬‭in‬‭terms‬‭of‬‭a‬‭person's‬‭perception‬‭of‬‭their‬ ‭hue‬‭and‬‭lightness‬‭(or‬‭brightness)‬‭and‬‭saturation.‬ ‭6.‬ ‭Contrast‬‭--‬‭occurs‬‭when‬‭there‬‭is‬‭a‬‭visual‬‭difference‬‭between‬‭things‬‭or‬‭qualities‬‭being‬‭compared.‬ ‭ xamples‬‭include,‬‭contrasting‬‭textures‬‭(rough‬‭and‬‭smooth),‬‭colour‬‭(name‬‭of‬‭the‬‭colour,‬‭such‬‭as‬‭blue‬ E ‭or‬‭red),‬‭intensity‬‭(pure‬‭or‬‭strong),‬‭and‬‭value‬‭(light‬‭or‬‭dark).‬ ‭7.‬ ‭Dominant‬‭image‬‭--‬‭the‬‭central‬‭thought‬‭or‬‭object‬‭that‬‭stands‬‭out‬‭in‬‭a‬‭work.‬ ‭8.‬ ‭Focal‬‭point‬‭--‬‭part‬‭of‬‭a‬‭visual‬‭that‬‭is‬‭the‬‭main‬‭area‬‭of‬‭interest.‬‭It‬‭is‬‭created‬‭through‬‭the‬‭use‬‭of‬‭lines,‬ ‭colour,‬‭contrast,‬‭size,‬‭positioning,‬‭focus,‬‭etc.‬ ‭9.‬ ‭Font‬‭--‬‭the‬‭typeface‬‭used‬‭in‬‭a‬‭text.‬‭Examples‬‭include‬‭bold,‬‭italic,‬‭times‬‭new‬‭roman,‬‭comic‬‭sans‬‭serif.‬ ‭10.‬‭Foreground‬‭--‬‭the‬‭part‬‭of‬‭a‬‭scene,‬‭landscape,‬‭etc.,‬‭which‬‭is‬‭near‬‭the‬‭viewer‬‭(between‬‭the‬‭observer‬‭and‬ ‭ p‬‭to‬‭l/4‬‭or‬‭1/2‬‭mile‬‭distant).‬‭The‬‭surface‬‭patterns‬‭or‬‭objects‬‭and‬‭visual‬‭elements‬‭are‬‭important‬‭in‬‭the‬ u ‭foreground‬‭portions‬‭of‬‭views.‬ ‭11.‬ ‭Perspective‬‭--‬‭an‬‭approximate‬‭representation,‬‭on‬‭a‬‭flat‬‭surface‬‭(such‬‭as‬‭paper),‬‭of‬‭an‬‭image‬‭as‬‭it‬‭is‬ ‭seen‬‭by‬‭the‬‭eye.‬‭The‬‭two‬‭most‬‭characteristic‬‭features‬‭of‬‭perspective‬‭are‬‭that‬‭objects‬‭are‬‭drawn:‬ ‭ ‬ s‭ maller‬‭as‬‭their‬‭distance‬‭from‬‭the‬‭observer‬‭increases.‬ ‭‬ ‭foreshortened:‬‭the‬‭size‬‭of‬‭an‬‭object's‬‭dimensions‬‭along‬‭the‬‭line‬‭of‬‭sight‬‭are‬‭relatively‬‭shorter‬‭than‬ ‭dimensions‬‭across‬‭the‬‭line‬‭of‬‭sight.‬ ‭12.‬‭Proportion‬‭--‬‭the‬‭relationship‬‭of‬‭two‬‭or‬‭more‬‭elements‬‭in‬‭a‬‭design‬‭and‬‭how‬‭they‬‭compare‬‭with‬‭one‬ a‭ nother.‬‭Proportion‬‭is‬‭said‬‭to‬‭be‬‭harmonious‬‭when‬‭a‬‭correct‬‭or‬‭desirable‬‭relationship‬‭exists‬‭between‬ ‭the‬‭elements‬‭with‬‭respect‬‭to‬‭size,‬‭color,‬‭quantity,‬‭degree,‬‭or‬‭setting.‬‭Proportion‬‭refers‬‭to‬‭the‬‭relative‬ ‭size‬‭and‬‭scale‬‭of‬‭the‬‭various‬‭elements‬‭in‬‭a‬‭design.‬‭The‬‭issue‬‭is‬‭the‬‭relationship‬‭between‬‭objects,‬‭or‬ ‭parts,‬‭of‬‭a‬‭whole.‬ ‭13.‬‭Scale‬‭--‬‭the‬‭relative‬‭size‬‭of‬‭objects‬‭within‬‭visual;‬‭large‬‭objects‬‭attract‬‭the‬‭viewer’s‬‭attention‬‭first.‬ ‭7‬‭|‬‭Page‬  ‭English‬‭1201‬ ‭Examinable‬‭Terms‬ ‭14.‬ ‭15.‬‭Symbol‬‭--‬‭something‬‭that‬‭represents‬‭an‬‭idea‬‭,‬‭a‬‭process‬‭,‬‭or‬‭a‬‭physical‬‭entity‬‭.‬‭The‬‭purpose‬‭of‬‭a‬‭symbol‬ ‭is‬‭to‬‭communicate‬‭meaning.‬‭For‬‭example,‬‭a‬‭red‬‭octagon‬‭may‬‭be‬‭a‬‭symbol‬‭for‬‭STOP‬‭.‬ ‭16.‬‭Symmetry‬‭--‬‭balance‬‭in‬‭which‬‭the‬‭parts‬‭are‬‭visually‬‭equal;‬‭also‬‭called‬‭formal‬‭balance.‬ ‭form‬‭--‬‭the‬‭medium‬‭in‬‭which‬‭a‬‭message‬‭is‬‭presented‬‭(i.e.‬‭poster,‬‭sculpture‬‭etc.)‬ ‭Know‬‭ALL‬‭of‬‭the‬‭forms!‬ ‭1.‬ ‭Advertisement‬‭--‬‭a‬‭public‬‭notice;‬‭especially‬‭:‬‭one‬‭published‬‭in‬‭the‬‭press‬‭or‬‭broadcast‬‭over‬‭the‬‭air.‬ ‭2.‬ B ‭ rochure‬‭--‬‭a‬‭booklet‬‭of‬‭printed‬‭informational‬‭matter,‬‭like‬‭a‬‭pamphlet,‬‭often‬‭for‬‭promotional‬ ‭purposes.‬ ‭3.‬ ‭Caricature‬‭--‬‭a‬‭comically‬‭distorted‬‭drawing‬‭or‬‭likeness‬‭intended‬‭to‬‭satirize‬‭or‬‭ridicule‬‭its‬‭subject.‬ ‭4.‬ C ‭ ollage‬‭--‬‭the‬‭technique‬‭of‬‭composing‬‭a‬‭work‬‭of‬‭art‬‭by‬‭pasting‬‭on‬‭a‬‭single‬‭surface‬‭various‬‭materials‬ ‭not‬‭normally‬‭associated‬‭with‬‭one‬‭another,‬‭such‬‭as‬‭newspaper‬‭clippings,‬‭parts‬‭of‬‭photographs,‬‭parts‬‭of‬ ‭cards,‬‭etc.‬ ‭5.‬ C ‭ omic‬‭strip‬‭--‬‭a‬‭sequence‬‭of‬‭drawings‬‭arranged‬‭in‬‭interrelated‬‭panels‬‭to‬‭form‬‭or‬‭display‬‭a‬‭brief‬ ‭narrative,‬‭with‬‭text‬‭in‬‭balloons‬‭and‬‭captions.‬ ‭6.‬ ‭Commercial‬‭--‬‭a‬‭television‬‭or‬‭radio‬‭advertisement.‬ ‭7.‬ E ‭ ditorial‬‭cartoon‬‭--‬‭an‬‭illustration‬‭containing‬‭a‬‭commentary‬‭that‬‭usually‬‭relates‬‭to‬‭current‬‭events‬‭or‬ ‭personalities.‬ ‭They‬‭typically‬‭combine‬‭artistic‬‭skill,‬‭hyperbole‬‭and‬‭biting‬‭humour‬‭in‬‭order‬‭to‬‭question‬ ‭authority‬‭and‬‭draw‬‭attention‬‭to‬‭corruption‬‭and‬‭other‬‭social‬‭ills‬‭.‬ ‭8.‬ G ‭ raphics‬‭--‬‭visual‬‭presentations‬‭on‬‭some‬‭surface,‬‭such‬‭as‬‭a‬‭wall,‬‭canvas‬‭,‬‭screen,‬‭paper,‬‭or‬‭stone‬‭to‬ ‭brand‬‭,‬‭inform,‬‭illustrate,‬‭or‬‭entertain.‬ ‭9.‬ P ‭ hoto‬‭essay‬‭--‬‭a‬‭series‬‭of‬‭photographs‬‭that‬‭tells‬‭a‬‭story‬‭or‬‭evokes‬‭an‬‭emotional‬‭response‬‭from‬‭the‬ ‭viewer;‬‭often‬‭accompanied‬‭by‬‭a‬‭written‬‭text‬‭(simple‬‭captions,‬‭titles,‬‭artist’s‬‭statement,‬‭essay,‬‭etc‬‭.).‬ ‭10.‬ ‭Poster‬‭--‬‭a‬‭sign‬‭usually‬‭consisting‬‭of‬‭a‬‭combination‬‭of‬‭print‬‭and‬‭visuals;‬‭mainly‬‭designed‬‭to‬‭attract‬ ‭and‬‭hold‬‭the‬‭attention‬‭of‬‭the‬‭audience.‬‭Posters‬‭often‬‭convey‬‭a‬‭message‬‭to‬‭make‬‭people‬‭think.‬ ‭11.‬ ‭Print‬‭--‬‭a‬‭picture‬‭that‬‭was‬‭created‬‭in‬‭multiple‬‭copies‬‭by‬‭printing.‬ ‭12.‬ ‭Storyboard‬‭--‬‭a‬‭sequence‬‭of‬‭images‬‭used‬‭to‬‭plan‬‭a‬‭film,‬‭video,‬‭television‬‭program,‬‭drama,‬‭story‬‭or‬ ‭presentation.‬ ‭13.‬ ‭Mosaique-see‬‭Artistic‬‭Visual‬ ‭Slideshow‬ ‭14.‬ ‭Sculpture–see‬‭Artistic‬‭Visual‬‭Slideshow‬ ‭8‬‭|‬‭Page‬