Humanities

Front 1

Plot:

Back 1

The arrangement of events or incidents on the stage

Front 2

Character:

Back 2

The agents of the plot. Provide the motivations and reasons for the events of the plot

Front 3

Thought (Theme):

Back 3

The reason the play was written, the examination of “patterns of life”

Front 4

Diction:

Back 4

the way language is used to convey the representation, the metrical composition of the play,

Front 5

Song:

Back 5

an embellishment of language,

Front 6

Spectacle:

Back 6

Aristotle lists spectacle last in order of importance, pointing out that the power of tragedy is not fully dependent upon its performance (we can read a tragedy and still appreciate its message), and that the art of the spectacle really belongs to the set designer and not to the poet.

Front 7

tragic hero:

Back 7

a literary character who makes a judgment error that inevitably leads to his/her own destruction,

Front 8

main themes:

Back 8

the destruction wrought when ambition goes unchecked by moral constraints

Front 9

the prophecies of the weird sisters:

Back 9

Macbeth becomes Thane of Cawdor, then king. Banquo's sons would be kings

Front 10

Banquo:

Back 10

Macbeth’s friend who was killed by murderers hired by Macbeth

Front 11

Fleance:

Back 11

Banquo’s son

Front 12

Macduff:

Back 12

leads the opposition to Macbeth

Front 13

Malcolm:

Back 13

Duncan’s eldest son

Front 14

Lady Macbeth:

Back 14

Macbeth’s wife who is very ambitious but later kills herself due to guilt.

Front 15

Margaret:

Back 15

The thirteen year old, good humored youngest daughter of Mr. and Mrs. Henry Dashwood, Margaret shares her sister Marianne's romantic tendencies.

Front 16

Mrs. Dashwood:

Back 16

The kind and loving mother of Elinor, Marianne, and Margaret and second wife to Henry Dashwood. She has inherited no fortune of her own but wants the best for her daughters and shares Marianne's romantic sensibilities.

Front 17

John Dashwood:

Back 17

The weak minded and money grubbing heir to the Norland estate. At his wife Fanny's suggestion, he leaves his mother and sisters with very little money and remains largely unconcerned for their welfare.

Front 18

Fanny Dashwood:

Back 18

The selfish, snobbish, and manipulative wife of John Dashwood and the sister of Edward and Robert Ferrars.

Front 19

Sir John Middleton:

Back 19

The jovial but vulgar distant relation of the Dashwoods who invites Mrs. Dashwood and her three daughters to stay at Barton Cottage after Mr. and Mrs. John Dashwood inherit Norland, leaving the women homeless.

Front 20

Edward Ferrars:

Back 20

The sensible and friendly older brother of Fanny Dashwood and Robert Ferrars. Edward develops a close relationship with Elinor while staying at Norland and ultimately marries her, after he is freed from a four year secret engagement to Lucy Steele.

Front 21

Robert Ferrars:

Back 21

A conceited coxcomb and the younger brother of Edward and Fanny. Robert inherits his mother's fortune after she disinherits Edward. Ironically, he ultimately marries Lucy Steele, even though it was Edward's engagement to this same woman that caused his mother to disinherit him

Front 22

Willoughby:

Back 22

An attractive but deceitful young man who wins Marianne Dashwood's heart but then abandons her (greedily) in favor of the wealthy Miss Sophia Grey.

Front 23

Colonel Brandon:

Back 23

A retired officer and friend of Sir John Middleton who falls in love with Marianne Dashwood and acts kindly, honorably, and graciously towards the Dashwoods throughout the novel

Front 24

Lucy Steele:

Back 24

Mrs. Jennings' cousin and a sly, selfish, and insecure young woman. She has been secretly engaged to Edward Ferrars for four years but she ultimately marries his brother, Robert, once Edward is disinherited.

Front 25

Mrs. Jennings:

Back 25

Lady Middleton's gossipy but well intentioned mother who invites the Dashwood sisters to stay with her in London and makes it her "project" to marry them off as soon as possible.

Front 26

establishing shot

Back 26

long shot, how far away,

Front 27

high angle shot

Back 27

camera is high looking low,

Front 28

low angle shot

Back 28

camera is low, looking high,

Front 29

long shot

Back 29

a view of a scene that is shot from a considerable distance, so that people appear as indistinct shapes.

Front 30

long take

Back 30

a shot lasting much longer than the conventional editing pace either of the film itself or of films in general. Significant camera movement and elaborate blocking are often elements in long takes,

Front 31

match cut

Back 31

matches something in previous scene to the next(object, action, sound),

Front 32

Mise en scene

Back 32

placement in the scene, where people or objects are.,

Front 33

strong axis

Back 33

Right of center

Front 34

X axis

Back 34

Left to right, denotes movement,

Front 35

Y axis

Back 35

mood: open, closed,

Front 36

Z axis

Back 36

emotion:tension, shock, love. Out to in, close ups, medium/long shots, focusing in and out on subjects.

Front 37

Absolute Music:

Back 37

Music written as an expression with no real subject.

Front 38

Program Music:

Back 38

designed to convey a specific image

Front 39

Apollo v. Dionysus

Back 39

Apollo is reason and ration and Dionysus is irrationality and chaos

Front 40

Concerto:

Back 40

A highlighted instrument in competition with a group of instruments.

Front 41

Types of musicals:

Back 41

(book, rock opera, mega, movicals)

Front 42

Oratorio:

Back 42

religious opera no staging, costumes, acting, based on religious subject

Front 43

Overture:

Back 43

intro into something larger

Front 44

Sonata Form:

Back 44

3 Movement work for solo instruments (Exposition, Development,

Front 45

Recapitulation:

Back 45

Return to original (A) theme.

Front 46

Coda:

Back 46

Recapitulation at the end

Front 47

Timbre:

Back 47

resonator, viberator, pitch regulator.