1. accent or stress: the emphasis placed upon a syllable in pronunciation. 3 types: etymological accent, rhetorical accent, metrical accent.
2. accentual- syllabic verse: verse in which both stressed stressed and unstressed syllables are counted.
3. affective fallacy: affective criticism evaluates literary works in terms of the feelings they arouse (kelt) in audiences or readers – fallacy: essay by Wimsatt and Beardsley, critics confused the poem with its results or emotional effect upon themselves, paying too much attebtion to the personal feelings and memories it conjured up.
4. agent verbs:
5. allegory: a story or a visual image with a second distinct meaning partially hidden behind its literal or visible meaning. (personification, metaphor)
6. alliteration: (head rhyme, initial rhyme) the repetition of the same sounds. Usually initial consonants of words or of stressed syllables.
7. allusion: an indirect or passing reference to some event, person, place or artistic work, the nature and revelance of which is not explained by the writer but relies on the reader’s familiarity with what is this mentioned.
8. anapest: a metrical foot made up of two unstressed syllables followed by a stressed syllable (eg.: interrupt)
9. antagonist: the most prominent (kiemelkedő) of the charactres who oppose the protagonist (főszereplő) or hero in a dramatic or narrative work.
10. anticlimax: an abrupt lapse from growing intensity to triviality in any passage of dramatic, narrative or discriptive writing, with thw effect of disapointed expectation or deflated suspense.
11. antithesis: a conrast or opposition, either rhetorical or philosophical. In rhetoric, any disposition of words that serves to emphasize a contrast or opposition of ideas, usually by the balancing of connected clauses with parallel grammatical constuctiions.
12. apocrypha: those books that were not accepted as canonical were relegated to the Apocrypha.
13. apostrophe: a rhetorical figure in which the speaker addresses a dead or absent person, or an abstraction or inanimate object. (eg.: found frequently in the speeches of Shakespears’s characters)
14. archetype: an archetype is a basic model from which copies are made. The most basic archetype, a story of death and rebirth, expresses the fond hope of man that he can find a pattern in human life that resembles the pattern of nature.
15. assonance: repetition of the same vowel sound in two or more words in a line of poetry. This reinforces the meaning of the words and gives them emphasis.
16. Belles- letters: the Ferench term for ’fine writing’, originally used to distinguish (kitüntet) artistic literature from scientific or philosophical writing.
17. Bildungsroman: German noun formed from ’Bildung’ (education or cultivation) and ’roman’ (novel). A kind of novel that follows the development of the hero or heroine from childhood or adolescence into adulthood, through a troubled quest for identity.
18. blank verse: unrhymed poetry, but a very disciplined verse form in that each line is an iambic pentamet. It is close to the rhythm of speech. Eg.: Tennyson’s ’Ulysses’
19. cadence: the rising and falling rhythm of speech, especially that of the balanced phrases in free verse or in prose, as distinct from the sticter rhythms of verse metre.
20. caesura: a pause in a line of verse, often marked by punctuation. 3 types: initial (near to the beginning), medial caesura (in the middle), terminal (towards the end)
21. canonization: during canonization the religious leaders accepted a set of books of holy scripture (szentírás) which were genuine (hiteles). New Testament in 365
22. character in novel: people in a novel are referred to as characters. We asses them on the basis of what the author tells about them and on the basis of what they do and say.
23. chiasmus: in rethoric, a...