Comprehensive Notes: 21st Century Literature - Lesson 7

FICTION

  • Definition: Products purely out of the writer’s imagination. Any accounts involving people or events that are perceived to be unreal. (Page 7)
  • Example content from the lecture illustrating dense, formal prose:
    • A research team proceeded toward the apex of a natural geologic protuberance, the purpose of their expedition being the procurement of a sample of fluid hydride of oxygen in a large vessel, the exact size of which was unspecified. (Page 3)
    • One member of the team precipitantly descended, sustaining severe fractural damage to the upper cranial portion of his anatomical structure. (Page 3)
    • Subsequently, the second member of the team performed a self-rotational translation oriented in the direction taken by the first member. (Page 3)
    • A triumvirate of marine rodents totally devoid of ophthalmic acuity were observed in a state of rapid locomotion in pursuit of an agriculturalist's marital adjunct. Said adjunct then performed triple caudectomy utilizing an acutely honed bladed instrument generally used for the subdivision of edible tissue. (Page 4)
    • A female of the species homo sapiens was the possessor of a small immature ruminant of the genus ovis, the outer most covering of which reflected all wavelengths of visible light with a luminosity equal to that mass of naturally occurring microscopically crystalline water. Regardless of the translational pathway chosen by the Homo Sapien, the probability was 1 that the aforementioned ruminant would select the same pathway. (Page 5)
  • Course sections shown in the transcript:
    • Page 2: Guess the characters in the story (course activity)
    • Page 6: Reading and Exploring Fictional Works
  • Real-world relevance: Introduction to fiction as imagined worlds and events, contrasting with non-fiction and documentary forms.

Major Forms of Fiction

  • FICTION forms definitions:
    • FICTION • Products purely out of the writer’s imagination. • Any accounts involving people or event that are perceived to be unreal. (Page 7)
  • 1. Short Story
    • Definition: Fiction that can be read in one sitting.
    • Characteristics: Composed of few characters, singular complications, and thematic development.
    • Purpose: Propel an intellectual and affective response to the reader. (Page 9)
  • 2. Novella
    • Definition: Shorter version of a novel.
    • Length: Recognized for its intermediate length; longer than a short story and shorter than a novel. (Page 10)
  • 3. Novel
    • Definition: Long prose narrative that deals with human experience through a sequence of events.
    • Scope: Involves circumstances of numerous people; has a series of episodes; very complex. (Page 11)

ELEMENTS OF FICTION

  • Setting
    • Definition: Place and time of where the action takes place.
    • Significance: Highlights various conditions and milieus not always perceived to be physical; involves social norms, traditions, social-set-up, and political atmosphere. (Page 13)
  • Character/s
    • Definition: Person or any entity presented in a narrative; the one involved in the circumstances and actions of the story.
    • Classification: Can be major or minor characters. (Page 14)

Types of Characters

  • Protagonist
    • Definition: Principal or lead character; commonly referred to as the "hero" or "heroine". (Page 16)
  • Antagonist
    • Definition: Known as the villain; main role is to oppose or challenge the main character. (Page 17)
  • Static/Flat Character
    • Definition: A character that does not change through the course of the story. (Page 18)
  • Round Character
    • Definition: Known as complex and multi-dimensional; a character that people can relate to the most. (Page 19)
  • Deuteragonist
    • Definition: Second important character in a story. (Page 20)
  • Antihero
    • Definition: Does not exhibit the stereotypical qualities inherent to a hero; known mostly as graceless, dishonest and stupid. (Page 21)
  • Notable interlude fragment:
    • "HI I'M THE PROBLEM IT'S ME! 1830 IT'S ME! YEYO" (Page 22)

Plot

  • Plot
    • Definition: Refers to the flow and sequence of the story. (Page 23)
  • Freytag's Pyramid
    • Overview: According to Aristotle, all stories follow a certain sequence (has a beginning, middle and end); Created by Gustav Freytag from Aristotle’s theory. (Page 25)
    • Exposition (beginning)
    • Introduces the time, place, setting and the main character. (Page 26)
    • Rising Action
    • Unfolds the problems and struggles that would be encountered by the main character. (Page 26)
    • Climax
    • The part where the problem or conflict is at the highest peak of interest. (Page 27)
    • Falling Action
    • The part where the conflict is solved leading to its downward movement. (Page 27)
    • Denouement
    • Contains the last statement of the story; French for “the end”. (Page 27)

Plot Patterns and Techniques

  • en medias res
    • Meaning: "in the middle of things" or "in the middle of an action". (Page 29)
  • Analepsis
    • Definition: Technique which utilizes the inclusion of episodes or prior events to the base time of the plot. (Page 30)
  • Flashback
    • Definition: Technique which utilizes the inclusion of episodes or prior events to the base time of the plot. (Page 31)
  • Prolepsis
    • Also known as flash-forward: A glimpse into what may transpire in the future. (Page 32)
  • Foreshadowing
    • Definition: Provides clues or hints as to events that may happen soon in the flow of the story. (Page 33)
  • Frame Story
    • Definition: A story within a story. (Page 34)

Point of View (POV)

  • Point of view refers to the vantage point as to how the story unfolds. (Page 35)
  • Kinds of Point-of-Views
    • First Person
    • Marked by the use of “I”; the narrator is also part of the story; delivery is personal. (Page 37)
    • Third Person
    • Narrator is not part of the story; based on what the narrator sees and observes; Limited. (Page 38)
    • Omniscient
    • The writer-narrator sees all; can see into the minds of the characters and report innermost thoughts. (Page 39)

Conflict

  • The opposition of forces that may set forth the problems, issues and challenges of various forms. (Page 40)
  • Types:
    • MAN VS. MAN
    • MAN VS. HIMSELF
    • MAN VS. SOCIETY AND CULTURE
    • MAN VS. NATURE (Page 41)

SYMBOLS

  • Symbols: Objects used to represent ideas aside from literal meanings. (Page 42)

THEME

  • Theme: The significant truth about life which a story attempts to communicate to its readers.
  • Pertains to ideas, realizations, reflection, or simply the lesson. (Page 43)

Connections to course structure and foundational principles

  • The material emphasizes that fiction is a crafted construction of imagined events rather than direct reportage.
  • Freytag’s pyramid links to classical dramatic theory attributed to Aristotle and extended by Gustav Freytag; demonstrates a universal narrative arc recognizable across cultures. (Pages 25-27)
  • The range of narrative techniques (en medias res, analepsis, prolepsis, foreshadowing, frame stories) shows how writers manipulate time and perspective to shape meaning and reader engagement. (Pages 29-34)
  • Point-of-view variations (first person, limited third, omniscient) illustrate how narrator reliability and access to characters’ minds influence interpretation of events. (Pages 35-39)
  • Conflict types map to how characters relate to others, themselves, their culture, and the natural world, highlighting ethical and practical choices in narrative plots. (Page 40-41)

Practical implications for writing and analysis

  • When composing fiction, consider where your story begins (exposition) and how quickly it escalates (rising action) to reach a satisfying climax and resolution (denouement).
  • Use frame stories to add layers of meaning or to juxtapose multiple perspectives.
  • Apply varied points of view to reveal or conceal information for effect and to shape reader empathy.
  • Utilize symbols to convey layered meanings that enrich the theme without overexplanation.
  • Recognize and plan for potential ethical implications in character actions, especially with antiheroes or morally ambiguous protagonists.

Quick reference formulas and terms

  • Probability reference in Page 5 scenario: Regardless of translational pathway, the ruminant would select the same pathway with probability
    • P=1P = 1
  • Freytag’s pyramid components and order (as in the lecture):
    • Exposition → Rising Action → Climax → Falling Action → Denouement
    • Denouement is the final resolution; end of story ("the end").

Miscellaneous course elements

  • Page 2: Introductory activity “Guess the characters in the story.”
  • Page 6: Section title “Reading and Exploring Fictional Works.”
  • Page 7: Definitions of FICTION reiterating imaginary nature.
  • Page 22: Quirky interlude line: "HI I'M THE PROBLEM IT'S ME! 1830 IT'S ME! YEYO" (noted as included for completeness of the slide set).
  • Page 23: Plot (as a concept) definition follows with Freytag’s pyramid elaboration on narrative flow.
  • Page 28: Title slide for "Plot Patterns and Techniques".