Keywords
Term ID |
Vocabulary![]() |
Parent | Term | Description |
---|---|---|---|---|
1139 | Aesthetics | Narrative | Self-correction |
When the narrator corrects, or significantly qualifies, an immediately preceding statement or account. JW |
1153 | Aesthetics | Description | Character portrait | |
1167 | Aesthetics | Allusion, Historical | Jackson, Thomas "Stonewall" | |
1172 | Aesthetics | Genre Conventions | Mystery | |
1180 | Aesthetics | Intertextuality | Embedded text, lettering | |
1186 | Aesthetics | Narrative | Collaborative narration |
Any time multiple characters or voices participate in relating a story. JW |
1204 | Aesthetics | Description | Eyes | |
1215 | Aesthetics | Allusion, Historical | Longstreet, James | |
1265 | Aesthetics | Allusion, Geographical | France | |
1266 | Aesthetics | Allusion, Literary | Gulliver's Travels | |
1267 | Aesthetics | Style | Unfinished sentence | |
1274 | Aesthetics | Allusion, Literary | Coleridge, Samuel | |
1278 | Aesthetics | Allusion, Mythical | Fate | |
1279 | Aesthetics | Allusion, Mythical | Vestal | |
1308 | Aesthetics | Typography/Orthography | Dots |
This is for the occasions when Faulkner uses a series of dots as a feature of his prose - i.e. ". . ." or ". . . . . ." We can't call these dots ellipses, because they do not represent anything being left out of the text. The most disconcerting use of this technique is in "Miss Zilphia Gant." SR |
1315 | Aesthetics | Symbolism | Freudian | |
1323 | Aesthetics | Symbolism | Shadows | |
1336 | Aesthetics | Allusion, Biblical | Christ | |
1361 | Aesthetics | Tone | Sarcastic | |
1364 | Aesthetics | Narrative | Pause | |
1370 | Aesthetics | Tone | Farce | |
1380 | Aesthetics | Language | Ah-Ah-Ah | |
1386 | Aesthetics | Tone | Absurdist | |
1423 | Aesthetics | Figures of Speech | Pathetic fallacy | |
1425 | Aesthetics | Language | Ellipsis | |
1449 | Aesthetics | Language | Interjection |
A cry that expresses an emotion (Ouch! Ugh!) or functions as a command or request (Shhh!). BR |
1451 | Aesthetics | Style | Bricolage | |
1470 | Aesthetics | Narrative | Conversation with oneself | |
1484 | Aesthetics | Figures of Speech | Harvest | |
1486 | Aesthetics | Allusion, Historical | Forrest, Nathan Bedford | |
1496 | Aesthetics | Allusion, Mythical | Centaur | |
1526 | Aesthetics | Allusion, Biblical | Angel | |
1533 | Aesthetics | Figures of Speech | Flag | |
1542 | Aesthetics | Typography/Orthography | Inscription | |
1545 | Aesthetics | Figures of Speech | Face | |
1547 | Aesthetics | Figures of Speech | Tomb | |
1560 | Aesthetics | Symbolism | Blood | |
1605 | Aesthetics | Diction | Hill dialect | |
1606 | Aesthetics | Diction | Native American languages |
I created this for "The Old People," 204.2, because the emphasis is on the "old tongue" that Sam Fathers speaks. LW |
1636 | Aesthetics | Language | Indian | |
1637 | Aesthetics | Narrative | Epiphany | |
1638 | Aesthetics | Narrative | Anti-climax | |
1639 | Aesthetics | Narrative | Withholding | |
1650 | Aesthetics | Narrative | Self-Reflective | |
1659 | Aesthetics | Narrative | Frame |
Though somewhat obvious, this refers to a "nested" narrative where a story is told by someone to someone else. The example here is the opening of The Reivers, where the entire text is framed as being told to Lucius III by Lucius II. JB |
1661 | Aesthetics | Allusion, Historical | Explorers | |
1685 | Aesthetics | Allusion, Historical | Napoleon | |
1686 | Aesthetics | Allusion, Mythical | Damocles sword | |
1687 | Aesthetics | Narrative | Parentheses | |
1688 | Aesthetics | Interpretation | Debunking story | |
1692 | Aesthetics | Interpretation | Ambiguity | |
1698 | Aesthetics | Allusion, Historical | Dillinger, John | |
1699 | Aesthetics | Allusion, Historical | James, Jesse | |
1715 | Aesthetics | Symbolism | Created by characters | |
1751 | Aesthetics | Narrative | Delayed revelation |
Any time in a narrative where something happens, but the exact nature of the event is not revealed till some time later. Faulkner uses this technique quite often. The example here is from Monk, where Monk had apparently been living in a house for several months, but the town does not find out about it until months later. |
1792 | Aesthetics | Typography/Orthography | Square brackets | |
1795 | Aesthetics | Allusion, Historical | Roman senator | |
1798 | Aesthetics | Language | Call and response | |
1804 | Aesthetics | Diction | Imitation |
When a character imitates or approximates the dialect of another, whose dialect they themselves do not use. BR |
1805 | Aesthetics | Narrative | Imagined conversation |
When a narrator retrospectively imagines what they could have or wished they had said in a particular conversation. BR |
1821 | Aesthetics | Figures of Speech | Bird | |
1828 | Aesthetics | Allusion, Historical | Boxers Sullivan and Kilrain | |
1829 | Aesthetics | Allusion, Historical | Boxers Dempsey and Tunney | |
1852 | Aesthetics | Narrative | Commentary | |
1869 | Aesthetics | Allusion, Historical | Bonaparte, Napoleon | |
1871 | Aesthetics | Allusion, Historical | Coke upon Littleton | |
1872 | Aesthetics | Allusion, Literary | Josephus, Flavius | |
1873 | Aesthetics | Allusion, Literary | Koran | |
1874 | Aesthetics | Allusion, Historical | Mississippi Reports | |
1875 | Aesthetics | Allusion, Literary | Taylor, Jeremy | |
1876 | Aesthetics | Allusion, Literary | Scott, Walter | |
1877 | Aesthetics | Allusion, Literary | Cooper, James Fenimore | |
1878 | Aesthetics | Allusion, Literary | Dumas, Alexandre | |
1885 | Aesthetics | Allusion, Biblical | Crucifixion | |
1886 | Aesthetics | Figures of Speech | Voice | |
1888 | Aesthetics | Style | Long sentence | |
1889 | Aesthetics | Metafictional | Painting | |
1890 | Aesthetics | Allusion, Mythical | Demon | |
1891 | Aesthetics | Figures of Speech | Chains | |
1892 | Aesthetics | Figures of Speech | Oxymoron | |
1893 | Aesthetics | Symbolism | Hamsa | |
1895 | Aesthetics | Allusion, Biblical | Genesis | |
1901 | Aesthetics | Narrative | Anticipation | |
1902 | Aesthetics | Figures of Speech | Disease | |
1903 | Aesthetics | Figures of Speech | Skeleton | |
1904 | Aesthetics | Allusion, Mythical | Ogre | |
1905 | Aesthetics | Allusion, Biblical | Hell | |
1907 | Aesthetics | Allusion, Mythical | Niobe | |
1928 | Aesthetics | Allusion, Biblical | Heaven | |
1930 | Aesthetics | Allusion, Biblical | Divine intervention | |
1931 | Aesthetics | Allusion, Mythical | Cassandra | |
1936 | Aesthetics | Allusion, Mythical | Djinn | |
1937 | Aesthetics | Figures of Speech | Tornado | |
1939 | Aesthetics | Figures of Speech | Replica | |
1949 | Aesthetics | Figures of Speech | Breath | |
1959 | Aesthetics | Style | Cubism | |
1963 | Aesthetics | Typography/Orthography | Onomatopoeia | |
1964 | Aesthetics | Typography/Orthography | Spacing | |
1973 | Aesthetics | Description | Tableau | |
1975 | Aesthetics | Narrative | Second-person directed |
Whenever the narrator of the text refers to "you" as a specific subject or auditor, as is the case with Lucius II referring to Lucius III in the Reivers. This is slightly more nuanced than storytelling, which is generic. Instead this is a narrative crafted with a particular auditor in mind. |