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Sophomore Fall Final Study Guide – 2014
Define and provide 2 examples of the following terms/concepts. You may use the Elements of Literature glossary,
or a dictionary to look up the definitions. NO PHONES! The first one is done for you as an example.
Diction
Definition – Word choice intended to convey a certain effect.
Examples – “His haughty and condescending manner conveyed his abhorrence for the middle class” – his
vocabulary conveys his upper-class snobbishness; “Dude, I, like, LOVE, pizza” – we can infer he is a teenager
from his vocabulary.
Inference
Definition –
Examples – (What are the four different types of
external conflict?)
1.
Examples –
1.
2.
2.
3.
Theme
Definition –
4.
Examples –
1.
Internal Conflict
Definition –
2.
Examples –
1.
External Conflict
Definition –
2.
Plot Elements: For your example, identify each for Anthem
Exposition
Example –
Example Falling Action
Rising Action
Example –
Example –
Resolution
Climax – the point at which the Protagonist’s
conflict will be resolved one way or another
(it is not simply the most exciting part of the
story!)
Example -
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Dramatic Irony
Definition –
Verbal Irony
Definition –
Examples –
1.
Examples –
1.
2.
2.
Situational Irony
Definition –
Mood
Definition –
Examples –
1.
Examples –
1.
2.
2.
Tone
Definition –
Examples –
1.
2.
Rhetorical Techniques
Definition –
Pathos
Definition –
Examples –
Examples –
1.
1.
2.
2.
Logos
Definition –
Ethos
Definition –
Examples –
1.
Examples –
1.
2.
2.
2
Define the following words:
AmbiguousPhilanthropyRefrain (verb)AnalyticSerfArtfulSubversiveMimicVigorousLiterary Concepts:
The purpose of long, descriptive sentences Proper in-text citation for a work
Examples –
Quote from article:
Quote from Shakespeare:
Quote from novel:
The purpose of short, abrupt sentences -
Read the following passages and answer the multiple choice question that is the best answer
The Picture of Dorian Gray, The Preface
by Oscar Wilde
Introductory Comments: The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The
critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the
lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without
being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is
hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral
book. Books are well written, or badly written. That is all. The nineteenth century dislike of romanticism is the rage of
Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the
morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are
true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.
No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice
and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the
musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go
beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that
art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics
disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it.
The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. The
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1.
What might explain why the perspective that is revealed in
Wilde’s preface was more common at the time the story
was written than at the present?
A. Wilde wrote during a literary movement known as the
Aesthetic movement that encouraged the separation of
morality from artistic value.
B. Wilde wrote about things related only to the time and
place in which he lived.
C. Wilde wrote during a literary movement that
encouraged authors to make a point in their works.
D. Wilde wrote during a literary movement known as the
Romantic Period which has long since passed.
2.
According to the author, what is the true reflection of art?
A. Life
B. the artist
C. the spectator
D. the object
3. What conclusion can be drawn from these sentences?
The critic is he who can translate into another manner or a new
material his impression of beautiful things. It is the spectator,
and not life, that art really mirrors.
A. A work of art can be interpreted in many different
ways.
B. There is one right interpretation of a work of art.
C. Critics and artists perform the same function.
D. The artist disagrees with critics.
4.
To what does the author compare art criticism?
A. Autobiography
B. Fiction
C. Translation
D. Poetry
5.
According to the author of this preface, how are vice and
virtue similar?
A. They are both works of art.
B. They are both unpardonable mannerisms of style.
C. They are both subject matter for the artist.
D. They are both materials for the artist.
Body Language around the World
by Elizabeth Knapp
We all use body language. Sometimes a shrug, grimace, or slump conveys our feelings more honestly than what we say. Like
spoken language, much of our body language is learned rather than innate. Some gestures and expressions do seem to be
instinctive. For example, many experts believe that a smile is an automatic human response to feelings of joy or satisfaction.
But many of our gestures, expressions, and postures are the result of our cultural environment and upbringing. If you have
ever traveled to a different country or been with people of a different culture, you have probably noticed some differences in
nonverbal communication. For example, in some places, kissing on both cheeks is a form of greeting. In others, a slight bow
and nod is the way to say hello. Where you come from speaks volumes about the way you move or look when
communicating with others. Studies have found that more than 50 percent of a message is communicated nonverbally.
Body language is a big part of how we interpret what other people are thinking or feeling and how they read us. Therefore, it
is important to be able to understand what body language can mean.
What Is Nonverbal Communication?
Nonverbal communication can be defined as all communication that does not use spoken or written language. However, it
can include accent, rate, pitch, volume, and other aspects of speech. Nonverbal communication includes gestures, facial
expressions, body movements, and postures. In different countries and cultures, these types of communication take different
forms and have different meanings. In interpreting nonverbal communication, we need to remember that there is an
enormous amount of variety in how people express their thoughts and feelings. Therefore, we need to be careful to avoid
stereotyping.
Kinesics
Experts have divided nonverbal communication into several types. One is kinesics, which consists of gestures, body
movements, and facial expressions. The ways we sit or stand, greet someone or wave goodbye, and express anger or
boredom are all determined by the culture in which we live. Like the universal smile, some gestures carry the same meaning
across the globe. For example, nodding and shaking the head from side to side almost always mean yes and no, whether you
live in Kansas or Timbuktu. However, many gestures that are common around the world mean very different things in
different countries. Consider these examples:
 Extending the arm with palm facing up and fingers waving means “come here” in some cultures but “goodbye” in
others.
 The Western “OK” gesture of creating a circle with the index finger and thumb is a vulgar sign in Greece, a symbol
for money in Japan, and “zero” in France.
 The thumbs-up sign is an obscene gesture in Iran.
 In Mexico, standing with one’s hands on one’s hips is a sign of hostility.
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Oculesics
Oculesics is the use of the eyes in interpersonal communication. Like hand and body gestures, the movement and position
of people’s eyes when communicating vary widely across cultures. They can also differ within a culture, depending on social
status, age, and gender. The following are some examples of oculesics:
 In most Asian cultures, it is unacceptable to look one’s superior in the eyes. In some Asian countries, women avoid
direct eye contact with men.
 Similarly, in Ghana, young children are taught not to look adults in the eye. It is considered an act of defiance.
 Blinking is thought to be impolite in Taiwan.
 People in Southern Europe, the Middle East, and Latin America maintain direct eye contact when talking.
 People in East Asia, India, and Northern Europe use a peripheral gaze. That is, they keep the person they are
talking with in their field of vision, but they do not focus on that person’s face. Or, they do not make eye contact at
all.
6. How does the author’s use of bullets help readers
better understand the concepts she explains in this
passage?
a. to show the different gestures that are used
around the world
b. to prove that more than 50 percent of a message
is communicated nonverbally
c. to give examples to illustrate how many cultures
vary in their use and meaning of different forms
of nonverbal communication
d. to help define the different types of nonverbal
communication
8. How would you greet your friends if you lived in
Italy?
A. with an abrazo
B. by taking their elbows
C. by holding their forearms
D. by kissing on both cheeks
9. Which of the following statements describes body
language in Saudi Arabia?
A. People maintain direct eye contact when talking
and hold hands with friends.
B. People use a peripheral gaze when talking and
greet friends with an abrazo.
C. Blinking is impolite, and shaking hands with a
child shows respect toward the parents.
D. Women avoid direct eye contact with men, and
friends greet each other by kissing on both
cheeks.
7. What is the main idea of paragraph 3 of the passage?
A. Body language makes up more than half of a
communicated message.
B. Because body language varies widely around the
world, it is important to understand its different
uses.
C. Because we use body language so much, it is
important to understand what body language can
mean.
D. Body language is an important part of human
communication.
The Bells
Edgar Allen Poe
I
Hear the sledges with the bells,
Silver bells!
What a world of merriment their
melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars, that oversprinkle
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
10. How might one express anger at another person in
Mexico?
A. by looking the other person directly in the eye
B. By making the “OK” gesture
C. by standing with one’s hands on one’s hips
D. by making the thumbs-up sign
To the tintinnabulation that so
musically wells
From the bells, bells, bells, bells,
Bells, bells, bells—
From the jingling and the tinkling of
the bells.
II
Hear the mellow wedding bells,
Golden bells!
What a world of happiness their
harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
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And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while
she gloats
On the moon!
Oh, from out the sounding cells,
What a gush of euphony voluminously
wells!
How it swells!
How it dwells
On the Future! how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells—
To the rhyming and the chiming of the
bells!
III
Hear the loud alarum bells,
Brazen bells!
What a tale of terror, now, their
turbulency tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy
of the fire,
In a mad expostulation with the deaf
and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now—now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging
And the clanging,
How the danger ebbs and flows;
Yet the ear distinctly tells,
In the jangling
And the wrangling,
How the danger sinks and swells,—
By the sinking or the swelling in the
anger of the bells,
Of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells—
In the clamor and the clangor of the
bells!
IV
Hear the tolling of the bells,
Iron bells!
What a world of solemn thought their
monody compels!
In the silence of the night
How we shiver with affright
At the melancholy menace of their
tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people—ah, the people,
They that dwell up in the steeple,
All alone,
And who tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
11. How are the first and second stanzas of the poem
similar in tone?
A. Both stanzas are dull and serious in tone.
B. Both stanzas are light and cheerful in tone.
C. Both stanzas are joking and playful in tone.
D. Both stanzas are frightening and threatening in
tone.
On the human heart a stone—
They are neither man nor woman,
They are neither brute nor human,
They are Ghouls:
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls
A pæan from the bells;
And his merry bosom swells
With the pæan of the bells,
And he dances, and he yells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the pæan of the bells,
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells,
Of the bells, bells, bells—
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells,
Of the bells, bells, bells:
To the tolling of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells—
To the moaning and the groaning of
the bell
14. Which of the following words best describes the
theme of the last stanza?
A. Evil
B. Death
C. Tyranny
D. Grief
12. The poet’s use of rhyme and repetition throughout
the poem produces
A. a hypnotic effect
B. a calming effect
C. an alarming effect
D. a playful effect
15. In which stanza of the poem does the first shift in
tone occur?
A. II
B. III
C. IV
D. V
13. How does the sound of the bells change as the poem
progresses?
A. The sound of the bells becomes increasingly
urgent.
B. The sound of the bells becomes increasingly
frightening.
C. The sound of the bells becomes increasingly dull.
D. The sound of the bells becomes increasingly
harmonious.
16. What mood does the poet create in lines 70–85 of
the poem?
A. a dismal mood
B. a threatening mood
C. a joyous and carefree mood
D. a frightening mood
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