Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
100 Cards in this Set
- Front
- Back
|
1. Goody Cloyse
|
One of the Townspeople Goodman Brown knows. He meets her in the forest and sees her taken over by the devil. Upon seeing her he realizes that all of these people he has perceived as good are also sinners and that no one is pure or good in nature.
|
|
|
Pink Ribbons
|
The ribbons that Faith wears in her hair. Whenever they are seen it represents the Faith in Goodman brown to his religion and God. When he sees the dark cloud and the ribbons come floating down he releases he has lost his faith forever.
|
|
|
3. Faith
|
Goodman brown’s wife who he leaves on his journey and meets her in the woods during the ceremony. Represents Goodman Brown’s actual faith towards religious figures, when he sees the towns people at the gathering he “loses his faith”.
|
|
|
4. Allegory
|
Way to convey meaning, Abstract notions are embodies and given life by concrete characters and actions.
|
|
|
5. “Cloud of voices”
|
The part of the story where Goodman brown looks to heaven and sees a cloud with voices coming out of it. This symbolizes that Goodman Brown can no longer reach out to heaven and above and must face the devil and lose his faith completely.
|
|
|
6. Close Reading
|
Method for exploring the complex interrelationships and ambiguities or multiple meanings of the verbal (word choice), figural (imagery), and thematic components of a work.
|
|
|
7. “Ocular deceptions”
|
Happens in young Goodman brown when he perceives the staff as a snake. It denotes the devil’s connection with the staff and the evil and sin within it.
|
|
|
8. Plot Summary
|
Who, what, where, but also the how and why of a summary.
|
|
|
10. Salem
|
The setting of Young Goodman Brown. Also where there was believed to be much witchcraft and evil connects to the sin and spectraility happening to Goodman brown as he enters the forest.
|
|
|
9. Goodman Brown
|
Main in Character in young Goodman brown who goes on a journey into the woods. Goodman brown crosses a threshold in many parts in the story where he abandons his faith upon meeting the townsfolk in the forest who he believed to be pure and sin free.
|
|
|
11. Critique
|
To perform a systematic inquiry into something and offer a reasoned judgement on it. Apply this to any work and derive it’s denotative meaning.
|
|
|
12. Theme
|
Concept point, or meaning that a creative work is trying to communicate to the world. What is it about?
|
|
|
13. Tone
|
Concept point, or meaning that a creative work is trying to communicate to the reader.
|
|
|
14. Connotation
|
All the associations of a word. Used in close reading to make connections to other themes through a literary work by deriving words of their connotative meanings.
|
|
|
15. Denotation
|
Literal meaning of a word, dictionary meaning. Helpful when close reading to understanding the text of a literal work in its literal sense.
|
|
|
16. Threshold (in “Young Goodman Brown)
|
A crossing between two worlds. Appears numerous times in Goodman Brown, when he crosses the threshold of his door he is leaving his “Faith” and beginning his journey into the woods where sin will overcome him.
|
|
|
17. Unceratinty (in “Young Goodman Brown)
|
This unceratintity refers to Goodman Brown being cautious of the dark stranger he meets in the woods. This holds true throughout the play bu slowly dissapates as Goodman Brown sees more and more of the villagers in the forest sinning.
|
|
|
18. Spectrality
|
The surreal world, can’t rely on eyes. Goodman brown goes here into the forest and finds the demonic gathering.
|
|
|
19. Referentiality
|
Visible world that Goodman brown starts in, his judgements and perceptions are true to vision.
|
|
|
20. Dark stranger (in “young Goodman Brown”)
|
The person Goodman Brown meets in the forest. This man represents sin and the Devil and pushes Goodman Brown along the path.
|
|
|
21. Forest
|
The place where Goodman Brown goes to meet the stranger and carry on his task. The forest represents the world of Spectraility where nothing is perceived as it really is.
|
|
|
22. Sonny
|
The brother of the narrator in Sonny’s Blues who gets addicted to Heroin but gets clean and returns to become a musician. Has a complex relationship with the narrator in that the narrator doesn’t understand Sonny’s intentions of being a musician. Sonny explains that by listening you can ease ones suffering and let the music come in. The music shows him expressing himself and only by playing it and through the narrator listening Sonny can truly convey his meaning and release his suffering.
|
|
|
23. Bebop
|
The form of jazz based on fast rhythms and improvisation. Sonny plays this form in the band and contrary to the Narrators seeing of jazz allows him to let loose and let his suffering go without any structure and they way he wants it to be played.
|
|
|
24. Creole
|
The fellow Jazz player in the band Sonny is in. He urges Sonny to break out when he is struggling during the performance and play from his soul and let it all go.
|
|
|
25. Charlie Parker
|
Another Jazz musician, whose music is more uptempo and energetic. Doesn’t have a real structure and is more improvised, Sonny associates his music to this form of letting loose and getting it all out.
|
|
|
26. Louis Armstrong
|
A Jazz musician that reinvented the musical genre. He is mentioned in Sonny’s Blues. His works are slow tempo and moody and bluesy. Has a form of structure, the narrator relates jazz with being this and is his only view of the music.
|
|
|
27. Am I Blue?
|
Blues song by that Creole plays at the final act. As Creole starts the song he commands Sonny and lets him become part of the musical family again and reminded them that were playing the blues
|
|
|
28. Harlem
|
Where the narrator James Baldwin was born and where the story takes place in Sonny’s Blues. The town is described in the story as having ghost like shadows of their past and holding with it the many memories of them growing up. ?
|
|
|
29. Story
|
The sequence of events in chronological order. Used as the basic timeline of the story to understand when each event happens.
|
|
|
30. Plot
|
The arrangement of the story and how the author presents it to the reader. Does not necessarily have to be in chronological order and allows the reader to focus on the main characters as they have their flashbacks and follow them through their life.
|
|
|
31. Isabel
|
Narrator’s wife in Sonny’s Blues. She doesn’t understand Sonny and perceives the piano as pure noise from an animal and holds back Sonny’s creativity, represents the middle class that doesn’t except the expressive form.
|
|
|
32. “Deep Water and drowning”
|
Refferred to in the story as those drowning in their suffering and in deep water by it. Relates to saying drowning is not the same as deep water, you can be in way over your head but still find a way to survive out of it.
|
|
|
33. Suffering (in “Sonny’s Blues)
|
Sonny refers to suffering within the revival scene and says the only way to stop suffering is to listen. Says how those who can release their suffering are those who truly let the music in and come to an understanding of the emotion being poured into it.
|
|
|
34. Dicty
|
Refers to the higher class of Isabels family in Sonny’s Blues. Their family does not fully understand Sonny and his piano playing in the house and thus relates to the higher class not being able to “hear” the expression of Sonny and the other lower class musicians.
|
|
|
35. Street revival (in “Sonny’s Blues”)
|
The part in the story where Sonny and the narrator witness a street religious scene of someone being revived. This is where Sonny says he hears so much suffering in the singers voice, and in order to make the suffering go away you must listen.
|
|
|
36. Anima
|
The breath or soul of something. Used to describe the jazz pieces and shows how Sonny pours out his emotion and suffering into his playing and conveys his intentions.
|
|
|
37. Condensation
|
Freud, Mean: the act of compacting something making it more dense, Relation: Dreams can condense other experiences or ideas into their dream form.
|
|
|
Displacement
|
Freud, Mean: the transfer of an emotion from its original focus to another object, person, or situation. Relati: Connecting the dream form to real life experiences
|
|
|
39. Metaphor
|
Something said that does literally have that meaning. Used in Freud to interpret dreams as in the buffet table he feels like he’s getting too little for what he paid for
|
|
|
40. Metonymy
|
Relating an object directly back to a person. Used in Freud to analyze or dreams and connect something that appears to another person
|
|
|
41. Latent content
|
The dream material discovered by analyzing. As in the material discovered once the disguise is taken off from the manifest content and the dream is seen for what it actually is.
|
|
|
42. Manifest content
|
Referred to in Freud’s work as the dream as it is perceived. The dream as retained in his memory. This suggests that the dream takes on a disguise and this manifest content is what is shown to you.
|
|
|
43. Unconscious
|
Refferred in Freud as the state of mind when you operate below or beyond your conscious mind you are unaware. Unconscious mind never sleeps and its views are seen during sleep when the conscious mind is at rest. The unconscious mind holds the dark desires and secrets we hole from our conscious.
|
|
|
44. Dream work
|
Discussed in Freud as the censorship and border patrol of our dreams. The process where the brain transforms the latent content into manifest content. Suggests our brains go through a process of transforming our repressed wishes into dream form once they pass a censor.
|
|
|
45. Split Subject
|
Talked in frued as though everyone is split in their conscious and unconscious minds. An example would be in the movie Gremlins. The unconscious mind is our evil self that comes out during sleep and expresses our repressed thoughts and wishes that would otherwise be unacceptable in our conscious mind.
|
|
|
46. Table d’hote
|
The buffet table in Freud’s dream that he analyzes. It is a metaphor that connects to a previos incident of him in a cab with a friend and feels like he isn’t getting his money’s worth.
|
|
|
47. Repression
|
Stated by Freud that dreams can be a Repressed wish. Refers back to the concept of a split subject and our unconscious minds hold back repressed thoughts and wishes kept from our conscious minds and once we dream they are shown in dream form. The repressed content can be referred to as the latent content.
|
|
|
48. Trains of association
|
Used during dream analysis to connect the manifest content. When we dream something, the event, or object, or any part of the dream is drawn connections to something in our recent memory and derives from us. Freud states that nothing is unimportant in a dream and it can all be associated back to something.
|
|
|
49. Freudian slip
|
An error in speech, memory, or physical action that is caused by the subconscious mind. This suggests that we are indeed split subjects and the dark side within us is being slightly revealed to the conscious mind through this mistake
|
|
|
50. Psychoanalysis
|
The study of human psychology and behavior. This relates to the study of dreams and that which they make up and what makes us perceive them the way we do.
|
|
|
51. Dream analysis
|
The act of us interpreting our dreams. When we remember the manifest content we try to derive the latent content through analysis and thus relating dreams to repressed wishes or other means of explanation.
|
|
|
52. Robin Goodfellow
|
Obberon’s right hand man who is an impish goblin. He carries out all kinds of micheif and relates to the carnivelesque theme in inverting things and adding the nectar to everyones eyes and creating disorder is his goal, essence of the carnivalesque.
|
|
|
53. Oberon
|
The fairy king who gets jealous of his wife Titania and the Indian boy, thus he plans for Puck to confuse the 4 lovers and alter hihs lady to love an ass. Obberon wants his way and attention and orders Robin Goodfellow to create disorder.
|
|
|
54. Theseus
|
The ruler of Athens who is about to have his wedding. Although he upholds the law of the land he makes the exception of allowing Hermia and Lysander to wed at the end.
|
|
|
55. Hipollyta
|
Thesues’ wife in the play. Thesues gets to marry her after he conquers her in battle. She is basically his spoils of the war and his prize.
|
|
|
56. Nick Bottom
|
One of the rude mechanics who puts on the play Pyramus and Thisbe. He makes an “ass” of himself by wanting to play many parts and thinking he’s the best actor ever with his arrogance. His head become transformed into an Ass’s contributing to the topsy turvey theme and when Titania falls in love with him it contributes to the symbolic inversion.
|
|
|
57. Peter Quince
|
On of the rude carpenters who tries to put on the play for Thesues. He tries to keep order in the play and keep it down to its roots but is continually interrupted by Bottom who wants to make his own interpretation transforming it into a comedy.
|
|
|
58. May Day
|
Celebrated May, 1 when flowers are picked. This is the date when Lysander and Hermia go to hide.
|
|
|
59. Intertextuality
|
When author borrows or refernces from other texts throughout his or her work. Breaks the boundary of the text being a story and within it recognizes other texts in the “real” world
|
|
|
60. Metatextuality
|
Moments in piece of literature where it refers to itself as a piece of literature. Used to effects with the play within a play theme and allows the readers to realize it is just a play and the work realizes this.
|
|
|
61. Midsummer’s Eve
|
The longest day of the year. The long exposure to sun makes people crazy, sexual ceremony. Relates to the crazy events of Midsummer night’s dream.
|
|
|
62. Athens
|
The setting of the play. Where Theseus enforces the Athenian law however after he lets the marriage of Lysander and Hermia takes place the rule of kings and queens is questioned as he doesn’t abide the law.
|
|
|
63. Egeus
|
The father of Hermia. He tries to “force” love upon his daughter by not allowing her to marry Lysander and instead insisting she must marry Demetrius or be killed
|
|
|
64. Hermia
|
Is in love with Lysander. Her and Lysander are loyal to each other and their love is represented as genuine.
|
|
|
65. Demetrius
|
Is in love with Hermia initially but then due to the carnivalesque and the inverted symbolism becomes in love with Helena.
|
|
|
66. Helena
|
Is in love with Demetrius and stays persistent to him no matter what he says. Later through the inverted symbolism of the nectar both Demetrius and Lysander fall in love with Helena and she thinks they are mocking her but eventually order is restored and only Demetrius loves her through the forced love of the nectar.
|
|
|
67. Lysander
|
Is in love with Hermia and has true genuine love. They run off to the fairy world where they can hide from the Athenian law. Eventually the nectar makes him fall in love with Helena and then order is restored and he marries Hermia.
|
|
|
68. Rude mechanicals
|
The actors who are putting on the play within a play in the book. They are terrible at their parts and transform the play from a tragedy to a comedy bringing harmony to the world.
|
|
|
69. Puritans
|
Those that follow Athenian law and are “pure”. Hermia and Lysander rebel from this notion and go into the Fairy world and are enveloped by the carnivalesque theme.
|
|
|
70. Fairies
|
Represents the spectral world within the play. Allows the characters to go into this world and go against the social order thus contributing to the carnivalesque.
|
|
|
71. Symbolic inversion
|
Within the play many inversions take place in which the nectar is applied to the eyes. In one case Titania falls in love with the ass of Bottom holding an inversion there, and when Demetrius falls in love with Helena.
|
|
|
72. Changeling
|
Bottom becomes an ass by the help of Robin Goodfellow. This contributes to the topsy-turvey notion when Titania falls in love with him.
|
|
|
73. Play-within-a-play
|
The notion of the a play of Pyramus and Thisbe being within the setting of a Midsummer Nights Dream as a Intertextuality reference. Using this reference when it is put on and becomes a tragedy transformed into a comedy it creates a harmony within the world of the story.
|
|
|
74. Double casting
|
Bottom wants to play many parts within the play they are conducting. This leads the play to becoming a comedy and Bottom’s failed attempts to mae a good play.
|
|
|
75. Safety valve
|
Refers to the act of being safe and secure. In the carnivalesque theme, during festivals it allows the participants to feel like they can let go and be free in what would otherwise be considered frowned upon in normal society.
|
|
|
76. “Menu of Entertainment”
|
The different plays offered to be acted for Theseus during the wedding. He purposefully chooses the concord out of discord play of Piramus and Thisbe.
|
|
|
77. “Concord out of discord”
|
Theseus chooses the play and by choosing Pyramus and Thisbe he allows harmony to be restored and turns the tragedy play into a comedy as they watch it. This also uses the play within a play mechanics.
|
|
|
78. Law and tradition
|
The law and tradition of Athens states that the daughter Hermia must marry Demetrius under her fathers wish. The daughter however goes against tradition and thanks to Theseus going against the law as ruler marries Lysander.
|
|
|
79. Topsy-turvey
|
Ties into the carnivalesque theme of symbolic inversion and that everything is upside down as in the dog walking his human master. Goes in hand with the romances be reversed and Titantia falling in love with Bottom.
|
|
|
80. Festival
|
The carnival place of celebration. Goes in with the carnivalesque theme and allows the people to go against social order in a safety valved area.
|
|
|
81. “Inverted wedding”
|
uhuihihiuh
|
|
|
82. Character function
|
Discribed as States that all story’s characters have functions. There is the dispatcher, Hero, Helper, Princess, and villain. The dispatcher sends the hero off on his quest. The hero is the protagonist out to retrieve the princess. The helper is the character, usually an animal, that assists the hero in his conquest, the princess is the object being sought by the hero in his quest. And the villain is the character plotting against the hero to thwart him in his journey. These all relate to the different characters in a midsummer night’s dream.
|
|
|
83. Pyramus and Thisbe
|
The play put on by the rude mechanics that tells a Romeo and Juliet type story. This relates to the play within a play and although it is meant to be a tragedy it is perceived as a comedy with the terrible acting thus creates harmony within the story at the wedding.
|
|
|
84. Athenian social order
|
Suggests that Athenians must acted in a civilized manner and how the daughters must marry to the will of their fathers. The carnivalesque of the play allows the characters’ actions to go aagainst the social order of the Athenians.
|
|
|
85. Carnivalesque
|
Represents the spirit of the carnival and festival. Is used in the play to reappropiate the public space and allow the fairy world and all the inversions to become a norm in the world. Is resolved through the play within a play.
|
|
|
86. Wheelbarrow
|
Described in states’ story as the dream and the latent content which is passed under the censor and perceived in the dream. When referring to storytelling the wheelborrow is the text that is read not the meanings it derives from which is concealed.
|
|
|
87. Character function
|
Discribed as States that all story’s characters have functions. There is the dispatcher, Hero, Helper, Princess, and villain. The dispatcher sends the hero off on his quest. The hero is the protagonist out to retrieve the princess. The helper is the character, usually an animal, that assists the hero in his conquest, the princess is the object being sought by the hero in his quest. And the villain is the character plotting against the hero to thwart him in his journey. These all relate to the different characters in a midsummer night’s dream.
|
|
|
88. Mimesis
|
Is greek for imitation or mimicry, imitation of nature. Describes films or documentary’s that show the world as it is normally perceived or viewed.
|
|
|
89. A Train Arrives at the Station
|
A film by the Lumiere brothers showing a training coming into a station. The film is a mimesis view of the train station and the world around it as filmed by the brothers.
|
|
|
90. French Film Academy
|
The academy in the story of Hugo Cabret that hold all the films and Hugo’s friend Eteinne studies there. His teacher goes and meets with Papa Georges and brings him to his senses. It displays the painting of Prometheus.
|
|
|
91. Prometheus
|
From Hugo Cabret there was a mural of this god in the french film academy. It shows him stealing fire from the goods in order to keep his people living, and shows that he is creating magic in doing so as as though it is of a projector sceen. Connects to film infact being stolen magic from the gods.
|
|
|
92. Automaton/Automation
|
The machines that can do simple tasks automatically. It brings a sense of magic and wonder to a person and connects the technological world with the fantastic world.
|
|
|
93. Hugo Cabret
|
– The main character in the story who discovers his purpose in life through discovering film and fixing the automaton. Hugo starts out as a thief who wants to fix his automaton and stop being isolated to get the message he believes his father left for him. By finally fixing it and seeing the message he sees the man in the moon his father had always loved and discovers that Papa Georges is George Melies.
|
|
|
94. Papa Georges
|
The godfather of Isabelle and owner of the Toy booth. He initially is perceived by Hugo as a mean old man and steals his notebook to get him to work for him. He hates the sounds of shoes walking and connects it to the ghosts of his past being a now “dead” film creator.
|
|
|
95. Georges Melies
|
A director who made A trip to the Moon. He invented the phantatic genre of seeing film from your imagination and opened up a huge world to which films could be made and created.
|
|
|
96. Isabelle
|
George Mêlées’ Godchild. She is the first person to reach out to Hugo and allow him to stop being alone and isolated. Her father was a cameraman for Mêlées.
|
|
|
97. Etienne
|
Isabelle’s friend with an eye patch. He quits his job at the movie theatre and becomes a student at the French film academy, by doing so he becomes a cameraman and says it’s easier to see with his eyepatch. He helps Papa george discover who he really is and reaches out to Hugo as well become a friend to him.
|
|
|
98. A Trip to the Moon
|
– Is a film created by George Melies. One of the first films ever to use special effects and the phantasia effect of what the mind sees and imagines. His film transforms Hugo in the theater to a magical place and allows him enter a new wondrous world.
|
|
|
99. Horology
|
Horology is referred to the act of measuring time. Using it relates to Hugo and his profession of fixing the clocks and the means by which it is connected with it’s framework of gears and cogs. In this sense gears and cogs are used to make up the automaton and can relate to time making fantastic images that are amazing to the eye.
|
|
|
100. Professor Alcofrisbas
|
Writes the opening introduction in Hugo Cabret. He relates the story to being that of a movie and taking you to a place you’ve never been and a new world that unfolds on the screen.
|
