Which Statement Best Describes How This Plot Event Shapes Claudius

Which Statement Best Describes How This Plot Event Shapes Claudius – In literature, film, or other narratives, a plot is a sequence of events in which each event affects the next through the principles of cause and effect. A scenario’s causal events can be thought of as a sequence of events linked by connectors “and others”. Plots can be simple (as in a traditional ballad) or they can form complex, interwoven structures, each of which is sometimes called a subplot or entanglement.

According to American science fiction author Anse Diebell, in narrative essays, the term emphasizes important ideas that have an impact on the story.

Which Statement Best Describes How This Plot Event Shapes Claudius

The word plot can also be used as a verb to refer to the author’s creation of the plot (creating and arranging the events of the story), or to the plan for the future actions of the characters in the story.

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However, the term “plot”, in common usage (e.g., “movie plot”), can mean a narrative outline or story outline rather than a specific causal sequence. It can broadly refer to the entire narrative.

British novelist E. M. Forster in the early 20th century described plot as the causal relationship between events in a story. According to Foster, “The king is dead, Que is dead, it’s a story, and the king is dead, Que is dead, it’s a conspiracy.”

CSULB’s Dr. Teri Shaffer Yamada agreed that memorable scenes that were not directly related to other events in the story but were “the main moving event in the narrative action” were not included in the plot.

For example, the scene in the 1997 film Titanic in which Rose climbs onto the railing in front of the ship and spreads her hands as if flying is memorable but does not directly affect other activities and is therefore not considered part of it. in the plot. Another memorable scene that wasn’t part of the plot took place in the 1980 film The Empire Strikes Back, in which Han Solo is frozen in carbonates.

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Early 20th-century Russian formalist literary theory divided narrative into two elements: fabula (фа́була) and syuzhet (сюже́т). A fabula is a chronology of a fictional world, while a syuzhet is a view or plot thread of events. Followers of formalism eventually translated fabula/syuzhet into the concept of story/plot. This definition is commonly used in narratology and is similar to Forster’s definition. A fabula (story) is something that happens in chronological order. In contrast, syuzhet (plot) means a unique sequence of discourses arranged by a (implied) author. That is, a syuzhet may include fabula evts in a non-chronological order; for example, a fabula is ⟨a1, a2, a3, a4, a5, …, an⟩ and a syuzhet is ⟨a5, a1, a3⟩.

The Russian formalist Viktor Shklovsky saw syuzhet as an alien fabula. Defamiliarization, or “becoming strange,” a term Shklovsky coined and popularized, enhances the familiar way a story is presented, slows down the reader’s perspective, and makes the story strange.

Sterne uses temporal dislocations, digressions, and causal interruptions (i.e., placing the effect before the cause) to slow down the reader’s ability to reassemble the (familiar) story. As a result, syuzhet made fabula “strange”.

The first event is causally related to the third event, while the second event, although descriptive, does not directly affect the outcome. Thus, according to Ans Dibell, the plot can be described as “the first event” and “the last event”, while the story can be described by all three events in sequence.

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According to fiction writing coach Steve Alcorn, major plot elements from the 1939 film The Wizard of Oz are easily recognizable, including:

Dramatic structure is the philosophy of story division and story conception. This may vary by race, region and time period. It can be used for books, games and movies. Philosophers/critics who have discussed story structure include Aristotle, Horace, Elius Donatus, Gustav Freytag, Neth Thorpe Rowe, La Jose Egri, Sid Field, etc. Some story structures are too old to find a founder, like Taz.

Often in order to sell a script, the structure of the plot is created in what is called a “treat”. This may vary by location, but for Europe and the European diaspora a three-act structure is often used. The building blocks of this structure are setup, confrontation, and resolution. The acts are connected by two plot points or transition points, the first transition point connecting act one to act two and act two connecting act two to act three. The idea of ​​the three-act structure is credited to the American screwball playwright Sid Field, who described the plot structure in this three-act fashion for the analysis of the film.

Also, for the purpose of selling a book in the US, UK, Canada, New Zealand, and Australia, the plot structure is often broken down into synopses. Likewise, the structure of the plot may vary with the structure or structure of the play used.

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The Greek philosopher Aristotle, in his theory of tragedy, The Poetics, advanced the idea that drama should imitate the whole action. “A whole is that which has a beginning, a middle, and a d” (1450b27).

Two types of scenes are particularly interesting: reversals, which take the action in a new direction; and recognitions, which signify that the main character has an important revelation.

Changes must occur as a necessary and probable cause of what happened before, which means changes must be set correctly.

He opposed character-centric projects, saying that “the unity of the project is not, as some people think, in the human theme.”

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He believed that discovery was the high point of the game, and that action should teach people to reinforce morality through compassion, fear, and pain.

The stage is also divided into “Prologue, Interlude, Exode and Chorus, unlike Parode and Stasimon…”

Unlike the latter, he sees ethics as characterizing the sport and what makes it great. Contrary to popular belief, he didn’t create the three-act structure many are familiar with.

The definitive study of the structure of a five-act play in which he presents Freytag’s now well-known pyramid.

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A play is divided into five parts or acts, which some call the dramatic arc: exposition, rising action, climax, falling action, and catastrophe. Freytag added five parts, three mothers or crises: the power of exhilaration, the power of sorrow, and finally the power of doubt. The power of excitement leads to action up, the power of tragedy leads to action down, and finally the power of suspense leads to disaster. Freytag argues that the power of stimulation is necessary, but the power of sadism and ultimately doubt is optional. Together, they produced the eight-part drama.

In making his argument, he revisits most of the Greeks and Shakespeare, offering his own views on what they mean, but never explicitly.

In general, Freitag believes that the character of drama is emotion, and the best way to get emotion is to bring back different emotions. Unlike Aristotle, he laid some groundwork for identifying heroes. He has been widely accused of expressing conflict in his plays, yet he actively opposes the conflict that persists.

The background is set at a specific place and time, the atmosphere is set, and the characters are introduced. A backstory can be told. Exposition can be explained through dialogue, flashbacks, characterization, background details, cosmic media, or a narrator telling a backstory.

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Ascent Immediately after the elaboration (introduction), an exciting force begins, building up developmental action in one or more stages to reach the point of greatest interest. These events are the most important part of the story because the plot wheel depends on them to set the climax and ultimately bring about a satisfying resolution to the story itself.

The climax is the turning point, it changes the fate of the protagonist. When things are going well for the protagonist, the plot turns against them, often exposing the protagonist’s hidden weaknesses.

If the story is comedy, the opposite state of affairs indicts, and things change from bad to good for the protagonist, often requiring the protagonist to use hidden inner strength.

An episode with an exciting climax is called a climax. Instead, disappointing scenes are known as anticlimactic.

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Return or Fall During Return, the wrath of an opponent attacks the hero’s soul. Freytag outlined two rules for this phase: the number of characters is limited as much as possible, and the number of scenes where heroes fall must be smaller than the increase in movement. The action of the Fall may have a final suspense: while the disaster must be covered up so as not to appear illogical, there is a hope of relief for the doomed hero, and the ultimate outcome is uncertain.

There the hero meets his logical doom. Freytag warns writers not to divulge his own life

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