Genre/Definition
| |Examples/Authors |Themes |Historical Events/Influences |
|Modernism – Characteristics |Fitzgerald – Great Gatsby, Winter Dreams |*Disillusionment with American Dream |*WWI |
| |Steinbeck – Grapes of Wrath |*Diversity of voices – women, African-Americans, etc… |*1920s - Prohibition |
|Copied from p. 962 | |*Fragmentation of American society |*Jazz Age – Roaring 20s |
| | |*themes implied instead of directly stated |*Great Depression |
| | |*captured the essence of modern life – confusing/changing values |*Women’s Rights |
| | | |*WWII |
| | | |*Expatriates – the Lost Generation |
| | | |*modern psychology |
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|Harlem Renaissance – Characteristics |Langston Hughes, Zora Neale Hurston – Dust |*no shared style or theme – some traditional, some modern |*disappointment in American Dream |
|Harlem, NY in 1920s-1930s |Tracks in the Road; Their Eyes were Watching |*documented experiences of African Americans |*racism |
|Flowering of African American culture – arts – |God; Countee Cullen |*beginning the discussion of racism |*The Great Migration |
|dance, music, visual arts, literature, etc… | |*celebrated racial identity |*Prohibition/Jazz Age/Roaring 20s |
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|Imagism (poetry) |Ezra Pound - , H.D. – “Pear Tree” – “Heat”, |*influenced by Chinese and Japanese poetry |*resemble Japanese poetry “tanka” and |
|*poetry movement focused on evoking emotion and |William Carlos Williams “The Red Wheelbarrow” |*expressed “essence” of an object, person or incident without |“haiku |
|vivid mental associations through the | |explaining it |*Greek and Roman classics |
|presentation of concise and concrete images | |*free verse/rebelled against the sentimentality of traditional poetry|*WWI |
|*utilized everyday language to freeze a single | | |*1909-1916 |
|moment in time and capture the emotions of the | | | |
|moment | | | |
|*avoided traditional patterns of poetry | | | |
|Term |Definition |Term |Definition |
|Point of View | |THEME | |
|3rd Person | | | |
|1st Person | | | |
|Omniscient | | | |
|Limited | | | |
|Plot | |Stream of Consciousness | |
|Exposition | | | |
|Inciting Incident | | | |
|Conflict Development | | | |
|Climax | | | |
|Rising/Falling Action | | | |
|Autobiography | |Characterization (direct/indirect) | |
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| | |Motivation | |
|Biography | | | |
|Imagery | |Foreshadowing | |
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| | |Flashback | |
|Dramatic Monologue | |Anticlimax | |
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|Narrator | |Figurative Language | |
| | |Personification | |
|Speaker | |Simile | |
| | |Metaphor – extended metaphor | |
|Symbol | |Satire | |
|Allusion | |Blank Verse | |
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| | |Onomatopoeia | |
Social context dialogue author’s purpose historical context
|Story/Text Selection – Sentence Summary |Vocabulary |Definitions |
|The Turtle | | |
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|In Another Country | | |
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|A Worn Path | | |
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|Out, Out | | |
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|Dust Tracks on a Road | | |
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|Dream Variations | | |
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|Summarize Authors and Selections: |**For these selections, students are responsible for reading and |NA |
|Eliot 716 |summarizing author biographies and the two informational pieces | |
|Williams 726 and other imagist poets |listed (on separate sheets of paper!) | |
|Fitzgerald 742 | | |
|Steinbeck 766 | | |
|Cummings 774 | | |
|Hemingway 806 | | |
|Welty 807 | | |
|Sandburg 836 | | |
|Porter 844 | | |
|Faulkner 858 | | |
|Frost 880 | | |
|Hurston 912-3 | | |
|Hughes, etc… 924-5 | | |
|Cullen, etc. 934-5 | | |
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|Disillusion, Defiance, Discontent | | |
|(p. 704 – 714) | | |
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|Harlem Renaissance (p. 910 – 911) | | |
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|Public Relations Documents | | |
|(p. 942-945) | | |
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Words you should define and know what they mean in literary context:
Historical Context
Social Context
Character Motivation
Parallel Structure
Pastorals
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