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Flashcards · AP® English Literature and Composition · Unit 3
Unit 3: Longer Fiction or Drama I flashcards
48 cards on topics 3.1 to 3.8. Pick a topic or study the whole unit.
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3.1 Character in longer works
- How does early description create expectations about a character in a novel or play?
- Early description leads the reader to predict how the character will behave. Interpretation then depends on whether later actions meet or break those expectations.
- Why must you ask whose perspective a description comes from?
- In a longer work a character may be described by the narrator, a community, another character or themselves. A community's verdict is not the narrator's, so the description also reveals the describer's values.
- What is a soliloquy, and what does it reveal?
- A speech in which a character thinks aloud, usually alone on stage. It gives the audience the character's own reasoning, including motives and doubts, with no narrator in between.
- What can a comparison made by one character reveal?
- It reveals the speaker's perspective as well as the person described. If a character compares hesitation to cowardice, she shows that she judges courage by consistency between desire and act.
- How can inaction reveal character?
- What a character fails to do or say can show a motive, such as fear or loyalty. Ask what the silence protects and what an expected action would have cost.
- Why is a first impression of a character not the whole truth?
- Early descriptions may be partial or biased, and a longer work can overturn them. Hold a first impression as a hypothesis and test it against later evidence.
3.2 Characters who change or remain unchanged
- What is the difference between a dynamic and a static character?
- A dynamic character changes significantly over the work; a static character stays largely the same. Static does not mean badly written: constancy can measure the change in others.
- What is the difference between internal and external change?
- External change is a change of circumstance, such as wealth, health or position. Internal change is a change of understanding or feeling, such as self-knowledge. Say which one you are claiming.
- How do you prove that a character has changed?
- Quote an early and a late detail and state the difference: "At first she trusts her judgement; later she calls herself blind." Without both, a claim of change is only an assertion.
- What is a turning point in character change?
- The event or realisation where change becomes visible. Name it and say what changed, then show how the character acts differently afterwards.
- What can a static character do for a text?
- Their unchanged manner can make another character's change visible, or can show what stays fixed about a world or a value. Constancy is a choice with an effect.
- Why should a change claim mention the effect on the plot?
- Character change usually drives or results from events. Linking it to the climax or conflict shows why the change matters to the work as a whole.
3.3 Setting in longer works
- What does setting include in a longer work?
- The time and place, and the social, cultural and historical situation: who holds rank, which customs rule, which feuds or institutions press on the characters. These details depict a world and its values.
- How does the arrangement of a space show social setting?
- Who sits, stands or lives where often signals rank and belonging. A favoured child by the fire and an excluded child in a window-seat show a household's values.
- How should you write about a historical or cultural situation?
- Use only what the text shows and support each point with a detail. Do not import facts about the period that the passage does not support.
- What do stage directions tell you about setting in a play?
- They describe the place, props and action, and often establish mood or values before anyone speaks. Treat them as evidence like narration.
- How does setting affect conflict?
- Setting makes some actions possible and others impossible. A feud, a locked house or a social rule can limit what characters can do and so shape the conflict.
- What is the most common mistake in setting analysis?
- Naming the place and stopping. Always say what the setting does: how it shapes character, sets values or limits events.
3.4 Significant events in a plot
- What kinds of events make up a plot?
- Episodes (self-contained incidents), encounters (meetings between characters) and scenes (continuous units in one place and time). Each can be analysed for what it adds to the whole.
- What makes an event significant?
- Its relationship to the narrative, the conflict and character development. An event is significant if the story would lose its cause, meaning or direction without it.
- What is a turning point?
- An event after which things cannot go back. Name what changes permanently, such as a relationship, a secret or a plan.
- What are the functions an event can serve?
- Introduce, develop, reveal, turn, resolve or mirror. Name the function you claim, then show it with details.
- How do you avoid retelling when writing about an event?
- Explain its effect instead of its content: say what it changes, what it causes and why it matters at this point in the story.
- Why is the loudest event not always the most significant?
- Significance depends on what the event changes, not on how dramatic it is. A quiet decision can alter the conflict more than a fight.
3.5 Conflict
- What is conflict in a literary text?
- Tension between competing values. It may be internal (within a character) or external (between a character and outside forces). Name the values on each side, not just the people.
- What is the difference between internal and external conflict?
- Internal conflict is competing values inside a character, such as loyalty against ambition. External conflict sets a character against another person, a rule or society.
- What are intersecting conflicts?
- Conflicts that press on one another, so that an outside pressure worsens an inner doubt. Show how one raises the stakes of the other.
- How can a contradiction in a character show conflict?
- When words and actions clash, the gap shows a struggle. A character who says "don't mind me" but refuses every dinner shows two competing wishes.
- What is a heightened conflict?
- One made more intense by an added pressure, such as a deadline on a dilemma. Say what was added and how it raised the cost of choosing.
- Should you say who is right in a conflict?
- No. Explain what each side values and why the values cannot both be satisfied. Judging who is right replaces analysis with opinion.
3.6 From claim-and-evidence paragraph to defensible thesis
- What is a thesis statement in literary analysis?
- A defensible interpretation that answers the prompt and needs evidence and a line of reasoning. It can be disputed by a reasonable reader but is supported by the text.
- What is the ladder from topic to thesis?
- Topic, then fact, then summary, then device list, then claim, then thesis. Each rung adds an interpretive step; a thesis answers "so what?" about the text.
- Why is a device list not a thesis?
- "Chopin uses imagery and irony" names features but makes no claim about meaning. A thesis says what the devices show: how they create an argument about the character or situation.
- What does it mean for a thesis to be defensible?
- A reader could disagree with it, but the text offers evidence for it. A thesis that nobody could dispute, or that no evidence could defend, is not defensible.
- What is a useful sentence frame for a thesis?
- "By [what the text does], [writer] shows that [meaning], so that [effect]." Another is "Although [common view], the text shows [your claim]."
- What should a thesis respond to?
- The prompt's focus. If the prompt asks about a character's choice, the thesis must make a claim about that choice, not about a general theme.
3.7 Commentary and the line of reasoning
- What is commentary?
- Explanation of how the evidence supports a claim and how the claim supports the thesis. It says what the choice is, how it works and why it matters.
- How does paraphrase differ from commentary?
- A paraphrase restates the evidence in other words. Commentary adds interpretation: it names the writer's choice and explains its effect.
- What is a line of reasoning?
- The logical sequence of claims that together defend the thesis. Each claim builds on the last, so the essay moves forward instead of repeating itself.
- What does a transition do in an argument?
- It shows how one claim leads to the next, for example with "more than this" or "as a result". A transition names the relationship, not just the order.
- What is wrong with leaving a quotation without commentary?
- The reader does not know why it is there. Every piece of evidence needs a sentence explaining how it supports the claim.
- How do you make sure a paragraph links to the thesis?
- End with a sentence that returns to the thesis wording, saying how this claim adds to the overall interpretation, not just repeating the topic sentence.
3.8 Selecting evidence and controlling composition
- What makes evidence relevant?
- It bears directly on the claim. Test: can you explain the link in one sentence? If not, choose a different detail.
- What makes evidence sufficient?
- There is enough of it, in quantity and quality, to support the line of reasoning: usually two or three varied details with commentary, not one detail and not everything related.
- What are the purposes evidence can serve?
- Illustrate, clarify, exemplify, associate, amplify and qualify. Choosing a purpose for each piece of evidence helps you use it strategically.
- What does it mean to qualify a claim with evidence?
- To limit or complicate it, showing awareness of an exception or tension. A qualifying detail refines the claim and makes it more convincing.
- Why do mechanics matter in an essay?
- Punctuation, agreement and tense let the reader follow the argument. Errors that interfere with communication can cost marks in the essay's top band.
- How should you edit a paragraph for clarity?
- One idea per sentence, a comma plus "and" or "but" between joined clauses, the present tense for describing the text, and no change to quoted words.
Study Unit 3 further
- 3.1 Character in longer works Study guide: 3.1 Character in longer worksRevision notes: 3.1 Character in longer worksPractice questions: 3.1 Character in longer works
- 3.2 Characters who change or remain unchanged Study guide: 3.2 Characters who change or remain unchangedRevision notes: 3.2 Characters who change or remain unchangedPractice questions: 3.2 Characters who change or remain unchanged
- 3.3 Setting in longer works Study guide: 3.3 Setting in longer worksRevision notes: 3.3 Setting in longer worksPractice questions: 3.3 Setting in longer works
- 3.4 Significant events in a plot Study guide: 3.4 Significant events in a plotRevision notes: 3.4 Significant events in a plotPractice questions: 3.4 Significant events in a plot
- 3.5 Conflict Study guide: 3.5 ConflictRevision notes: 3.5 ConflictPractice questions: 3.5 Conflict
- 3.6 From claim-and-evidence paragraph to defensible thesis Study guide: 3.6 From claim-and-evidence paragraph to defensible thesisRevision notes: 3.6 From claim-and-evidence paragraph to defensible thesisPractice questions: 3.6 From claim-and-evidence paragraph to defensible thesis
- 3.7 Commentary and the line of reasoning Study guide: 3.7 Commentary and the line of reasoningRevision notes: 3.7 Commentary and the line of reasoningPractice questions: 3.7 Commentary and the line of reasoning
- 3.8 Selecting evidence and controlling composition Study guide: 3.8 Selecting evidence and controlling compositionRevision notes: 3.8 Selecting evidence and controlling compositionPractice questions: 3.8 Selecting evidence and controlling composition
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