List of story structures - Knowledge (XXG)

304:, in relation to governmental ideals. Test takers could not write in innovative or creative ways, but needed to conform to the standards of the eight-legged essay. Various skills were examined, including the ability to write coherently and to display basic logic. In certain times, the candidates were expected to spontaneously compose poetry upon a set theme, whose value was also sometimes questioned, or eliminated as part of the test material. This was a major argument in favor of the eight-legged essay, arguing that it were better to eliminate creative art in favor of prosaic literacy. In the history of Chinese literature, the eight-legged essay is often said to have caused China's "cultural stagnation and economic backwardness" in the 19th century. 1495:"This U-shaped pattern . . . recurs in literature as the standard shape of comedy, where a series of misfortunes and misunderstandings brings the action to a threateningly low point, after which some fortunate twist in the plot sends the conclusion up to a happy ending." A U-shaped plot begins at the top of the U with a state of equilibrium, a state of prosperity or happiness, which is disrupted by disequilibrium or disaster. At the bottom of the U, the direction is reversed by a fortunate twist, divine deliverance, an awakening of the protagonist to his or her tragic circumstances, or some other action or event that results in an upward turn of the plot. Aristotle referred to the reversal of direction as 661:

happens as a natural result. An end on the contrary is that which is inevitably or, as a rule, the natural result of something else but from which nothing else follows; a middle follows something else and something follows from it. Well constructed plots must not therefore begin and end at random, but must embody the formulae we have stated." (1450b27). He split the play into two acts: δέσις (desis) and λύσις (lysis) which roughly translates to binding and unbinding, though contemporary translation is "complication" and "dénouement". He mainly used Sophocles to make his argument about the proper dramatic structure of a play.

1259: 1223:" somewhat in his work, "The reader of a novel—by which I mean the critical reader—is himself a novelist; he is the maker of a book which may or may not please his taste when it is finished, but of a book for which he must take his own share of the responsibility. The author does his part, but he cannot transfer his book like a bubble into the brain of the critic; he cannot make sure that the critic will possess his work. The reader must therefore become, for his part, a novelist, never permitting himself to suppose that the creation of the book is solely the affair of the author." 1055: 901: 960:. Freytag extends the five parts with three moments or crises: the exciting force, the tragic force, and the force of the final suspense. The exciting force leads to the rise, the tragic force leads to the return or fall, and the force of the final suspense leads to the catastrophe. Freytag considers the exciting force to be necessary but the tragic force and the force of the final suspense are optional. Together, they make the eight component parts of the drama. 848:, in which he used Shakespeare as an example. There are no writings from Shakespeare on how he intended his plays to be. There is some thought that people imposed the act structure after his death. During his lifetime, the four-act structure was also popular and used in plays such as Fortunae Ludibrium sive Bellisarius. Freytag made claims in his book that Shakespeare should have used his 5 act structure, but it did not exist at the time period of Shakespeare. 1092:

conclusion. He does not make an accompanying diagram with any of these elements, but does argue that the line of emotion is important to stories on page 198. He also lists types of plots on page 76 as: Surprise, Problem, Mystery, Mood or Emotion or Sentiment, Contrast and Symbolism. He does not argue one to be superior to the other. He cautions multiple times in his text that his prescriptions are only for short stories such as pages 30–32.

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hopes that flourish and wane and reappear in other lives, age that sinks and hands on the torch to youth again—such is the substance of the drama. The book, I take it, begins to grow out of the thought of the processional march of the generations, always changing, always renewed; its figures are sought and chosen for the clarity with which the drama is embodied in them." He directly mentions conflict when referring to the plot of

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shape is unimportant; and the two will continue their controversy till an onlooker, pardonably bewildered, may begin to suppose that "form" in fiction is something to be put in or left out of a novel according to the taste of the author. But though the discussion is indeed confusingly worded at times, it is clear that there is agreement on this article at least—that a book is a thing to which a shape is ascribable, good or bad."

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having one man as its subject.” He was against episodic plots. He held that discovery should be the high point of the play and that the action should teach a moral that is reinforced by pity, fear and suffering. The spectacle, not the characters themselves would give rise to the emotions. The stage should also be split into “Prologue, Episode, Exode, and a choral portion, distinguished into Parode and Stasimon...“

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always along emotional lines on page 187 stating, "The big thing--at once the basic and the climacteric thing--in the short story is human interest, and there can be no sustained human interest without emotion. The whole creation is a field for its display, and since fiction assumes to be a microcosm, fiction, short and long must deal intimately with emotion, from its gentler to its extreme manifestations."

1197:. The confessions don't really have to be valid, though an account of someone's life needs to be included. Such confessions magazines were chiefly aimed at an audience of working-class women. Their formula has been characterized as "sin-suffer-repent": The heroine violates standards of behavior, suffers as a consequence, learns her lesson, and resolves to live in light of it, not embittered by her pain. 1503:—a change from "ignorance to knowledge" involving "matters which bear on prosperity or adversity". The protagonist recognizes something of great importance that was previously hidden or unrecognized. The reversal occurs at the bottom of the U and moves the plot upward to a new stable condition marked by prosperity, success, or happiness. At the top of the U, equilibrium is restored. 1070:

the author or the reader experiences that emotion. Nor does a mere discussion of emotion, whether by the author or a character such as one should notice in the study of subject-matter, belong to the line of emotion." He argued that this line of emotion should be calculated for the reader. He draws a diagram for Silas Marner Chapter XIII to illustrate his point.

64:. There are different kinds of narrative structures worldwide, which have been hypothesized by critics, writers, and scholars over time. This article covers the range of dramatic structures from around the world: how the acts are structured and what the center of the story is supposed to be about widely varies by region and time period. 1532:). The protagonist reaches up but falls and succumbs to doubts, fears, and limitations. The negative climax occurs when the protagonist has an epiphany and encounters the greatest fear possible or loses something important, giving the protagonist the courage to take on another obstacle. This confrontation becomes the classic climax. 740:"It should favour the good, and give friendly advice, Guide those who are angered, encourage those fearful Of sinning: praise the humble table's food, sound laws And justice, and peace with her wide-open gates: It should hide secrets, and pray and entreat the gods That the proud lose their luck, and the wretched regain it." 1510:

in Luke 15:11–24. The parable opens at the top of the U with a stable condition but turns downward after the son asks the father for his inheritance and sets out for a "distant country" (Luke 15:13). Disaster strikes: the son squanders his inheritance and famine in the land increases his dissolution

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The aim of Lubbock is to give a shape or a formula to books, because he states: "We hear the phrase on all sides, an unending argument is waged over it. One critic condemns a novel as 'shapeless,' meaning that its shape is objectionable; another retorts that if the novel has other fine qualities, its

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He expounds this idea on Page 39 with "The Line of Emotion" where he proposes how one feels about emotion can be drawn graphically. However, he makes a careful distinction between author, character and reader. "The fact that the author presents a character moved by fear does not necessarily mean that

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The climax is the turning point, which changes the protagonist's fate. If things were going well for the protagonist, the plot will turn against them, often revealing the protagonist's hidden weaknesses. If the story is a comedy, the opposite state of affairs will ensue, with things going from bad to

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He ranked the order of importance of the play to be: Chorus, Events, Diction, Character, Spectacle. And that all plays should be able to be performed from memory, long and easy to understand. He was against character-centric plots stating “The Unity of a Plot does not consist, as some suppose, in its

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Ta'zieh, primarily known from the Persian tradition, is a shi'ite Muslim ritual that reenacts the death of Hussein (the Islamic prophet Muhammad's grandson) and his male children and companions in a brutal massacre on the plains of Karbala, Iraq in the year 680 AD. His death was the result of a power

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The book was wildly, popular, but Virginia Woolf privately wrote of the work that, "This is my prime discovery so far; & the fact that I've been so long finding it, proves, I think, how false Percy Lubbock's doctrine is--that you can do this sort of thing consciously." in November 1923. She went

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in 1909 published, "Writing the short-story; a practical handbook on the rise, structure, writing, and sale of the modern short-story." In it he outlines the following plot elements and ties it to a drawing, following Whitcomb's prescriptions: Incident, emotion, crisis, suspense, climax, dénouement,

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Overall, Freytag argued the center of a play is emotionality and the best way to get that emotionality is to put contrasting emotions back to back. He laid some of the foundations for centering the hero, unlike Aristotle. He is popularly attributed to have stated conflict at the center of his plays,

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For example for Terence's play Adelphoe he comments, "in hac prologus aliquanto lenior inducitur; magis etiam in se purgando quam in aduersariis laedendis est occupatus. πρότασις turbulenta est, ἐπίτασις clamosa, καταστροφή lenior. quarum partium rationem diligentius in principio proposuimus, cum de

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philosopher Aristotle put forth the idea the play should imitate a single whole action and does not skip around (such as flashbacks). "A whole is what has a beginning and middle and end. A beginning is that which is not a necessary consequent of anything else but after which something else exists or

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Harawi is an ancient traditional genre of Andean music and also indigenous lyric poetry. Harawi was widespread in the Inca Empire and now is especially common in countries that were part of it, mainly: Peru, Ecuador, Bolivia. Typically, harawi is a moody, soulful slow and melodic song or tune played

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Despite this being his ideal shape for a play, he suggests that this can be modified to include more complications on the Rising action or the Falling action. He further suggests that the play structure doesn't need a conclusion. However, if there is a conclusion, he suggests making it shorter than

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He is also far more interested in looking at character creating conflict and events, than events shaping characters. He states this by arguing for different kinds of conflict: Static, jump and rise. These in turn can also be an attack or counterattack. He argues that Rising conflict is the best at

1161:(1918), stated that a proper plot outline is, "A plot, therefore, in its general aspects, may be figured as a complication followed by an explication, a tying followed by an untying, or (to say the same thing in French words which are perhaps more connotative) a nouement followed by a dénouement." 1095:

Chapter X, Part 5. Climax he defines here as, "the apex of interest and emotion; it is the point of the story." when quoting "Short Story Writing 1898, Charles Raymond Barrett, p 171" but further expounds here as, "rise of interest and in power to its highest point." He argues the highest point is

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An exciting force begins immediately after the exposition (introduction), building the rise in one or several stages toward the point of greatest interest. These events are generally the most important parts of the story since the entire plot depends on them to set up the climax and ultimately the

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He argues that for a proper tragedy the plot should be simple: a man moving from prosperity to tragedy and not the reverse. It should excite pity or fear, to shock the viewer. He also states that the man needs to be well-known to the audience. The tragedy should come about because of a flaw in the

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He is the first to make a concentrated effort at looking at conflict as the center of "drama" and therefore stories, "What is the story? There is first of all a succession of phases in the lives of certain generations; youth that passes out into maturity, fortunes that meet and clash and re-form,

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The complication is what Lajos Egri later called the premise and it was later pushed to be part of the inciting incident. The explication was put first and then explained to be the introduction in the contemporary vocabulary. The dénouement would be split later into falling action and conclusion.

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in the original) is when the hero meets his logical destruction. Freytag warns the writer not to spare the life of the hero. Despite dénouement being attested as first appearing in 1752, it was not used to refer to dramatic structure until the 19th century and not specifically used by Freytag for

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During the Return, the hostility of the counter-party beats upon the soul of the hero. Freytag lays out two rules for this stage: the number of characters be limited as much as possible, and the number of scenes through which the hero falls should be fewer than in the rise. The return or fall may

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However, he also argues that Latins have a five act chorus, which distinguishes Latins from Greeks, "hoc etiam ut cetera huiusmodi poemata quinque actus habaeat necesse est choris diusos a Graecis poetis." which roughly translates to, "In order to have other poems of this kind, it is necessary to

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He further adds that Hecyra, "in hac prologus est et multiplex et rhectoricus nimis, propterea quod saepe exclusa haec comoedia diligentissima defensione indigebat. atque in hac πρότασις turbulenta est, ἐπίτασις mollior, lenis καταστροφή." which roughly translate to, "In this the prologue is both

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The Kwik Kwak (also called as crick crack) structure involves three elements: the narrator, the protagonist, and the audience. The story itself is considered a performance so there is a synergy among the aforementioned elements. In the story, the narrator may draw attention to the narrative or to

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He acknowledges other people have used climax, but does not cite who, but objects to the term "climax" because, "Climax is misleading because it might with equal fitness be applied to the resolution. Climax applied to the turning point suggests increasing tension up to that point, and relaxation

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It is argued by Richard Levin that during the Renaissance, multiple plots became far more popular, deviating from Aristotle's singular linear plot model. Robert Coltrane further argues that the plot structure of the time period was done in foils, with often comedies with a serious plot and then

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This is a story type that starts with a dream. It was invented in the Ming Dynasty and exported to Korea. The structure deals mainly with a character either reflecting on their life or telling another dead character about their life. It often reflects regret from the characters about their life

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The inverted U begins with the protagonist's rise to a position of prominence and well-being. At the top of the inverted U, the character enjoys good fortune and well-being. But a crisis or a turning point occurs, which marks the reversal of the protagonist's fortunes and begins the descent to

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The setting is fixed in a particular place and time, the mood is set, and characters are introduced. A backstory may be alluded to. Introduction can be conveyed through dialogues, flashbacks, characters' asides, background details, in-universe media, or the narrator telling a back-story.

737:: "Neue minor neu sit quinto productior actu fabula" (lines 189–190) ("A play should not be shorter or longer than five acts"). He also argued for a Chorus, "The Chorus should play an actor’s part, energetically," and the center of the play should be morality as Aristotle did. 820:

Born in Spain in the 16th century, the picaresque novel is a type of narrative told in the first person by a lowborn protagonist ("pícaro") in a realistic setting, often with a satiric tone. Plot and character development is limited. Famous examples are

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court music, specifically in the ways in which elements of the music could be distinguished and described. Though eventually incorporated into a number of disciplines, it was most famously adapted, and thoroughly analysed and discussed by the great

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The body/expository section - narration of the tale, setting up the characters and the events, defining the conflict, with storyteller singing, dancing, shouting and inviting the audience to join. The storyteller uses a language full of images and

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He argued for tension created through contrasting emotions, but didn't actively argue for conflict. He argued that character comes first in plays. He also sets up the groundwork for what would later in history be called the inciting incident.

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Conclusion, always a short argument between Karagöz and Hacivat, always ending with Hacivat yelling at Karagöz that he has "ruined" whatever matter was at hand and has "brought the curtain down," and Karagöz replying "May my transgressions be

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novelist and writing teacher Jane Alison criticized the conflict-climax-resolution structure of narrative as "masculo-sexual," and instead argues that narratives should form around various types patterns, for example found in nature.

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choices and helps them to either move on or accept their reality. It was never imported into Japan because Japan had an anti-Chinese sentiment in the Tokugawa era starting in the 1600s and the collapse of the Ming empire was in 1618.

1066:, and suggested that graphical representation of a novel was possible. "The general epistolary structure may be partially represented by a graphic design." For which he posts a proposed design for Miss. Burney Evelina on page 21. 133:

The central driver of the story is memory. The griot or the storyteller relies on collective knowledge and can perform several functions such as educator, counselor, negotiator, entertainer and custodian of the collective memory.

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Dream record or Dream diaries (夢記ゆめのき) is separate from the Dream record above and was started by Buddhist monks in 13th-century Japan, who recorded their dreams in diaries. These dreams were often recorded, shared and viewed.

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The plot requires a young or innocent protagonist who goes on to learn about the world, and learns how to enter it. The central goal is maturity of the protagonist which may be done through discovery, conflict or other means.

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He does not state the center of stories is conflict, but rather on page 3 that, "The purpose of fiction is to embody certain truths of human life in a series of imagined facts." and centers on the debate of the time between

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Schoenbaum, S. (1973). Richard Levin. The Multiple Plot in English Renaissance Drama. Chicago and London: University of Chicago Press, 1971. xiv 277 pp. $ 9.50. Renaissance Quarterly, 26(2), 224-228. doi:10.2307/2858756

1417:. Esslin says that their plays have a common denominator — the "absurd", a word that Esslin defines with a quotation from Ionesco: "absurd is that which has not purpose, or goal, or objective." The French philosopher 1286:

following it. What actually happens is that the tension continues to increase in a well con-structured play from the turning point to the resolution, but is given a new direction and impetus at the turning point."

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disaster. Sometimes a recognition scene occurs where the protagonist sees something of great importance that was previously unrecognized. The final state is disaster and adversity, the bottom of the inverted U.

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have five acts of choruses, distinguished from the Greek poets." making it fairly clear that though he used the Greek for these divisions of play, he did not think of them as part of the overall act structure.

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multiple and overly rhetorical, because oftentimes this comedy is excluded because it needs a very careful defense. And in this the protasis is turbulent, the milder the epithasis, the softer the catastropha."

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The Exposition: This part tells what has happened before the stage action begins. The audience is made acquainted with the setting of the play, its atmosphere, the characters, and their social positions.

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analyzes the narratives of the Bible in terms of two dramatic structures: (1) a U-shaped pattern, which is the shape of a comedy, and (2) an inverted U-shaped pattern, which is the shape of a tragedy.

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was plagiarized later by Kenneth Rowe, though he drew other diagrams for other novels and forms, such as Pride and Prejudice on page 58, the Epistolary Form p 21, Simple narratives p 56, and so on.

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is a story form that originates from Nicaragua. It’s named after Robert Robleto, though the structure is much older than him and discovered by Cheryl Diermyer, an outsider, in 2010 It is made of:

336:. Roughly translated to "beginning, break, rapid", it essentially means that all actions or efforts should begin slowly, speed up, and then end swiftly. This concept is applied to elements of the 920:, a definitive study of the five-act dramatic structure, in which he laid out what has come to be known as Freytag's pyramid. Under Freytag's pyramid, the plot of a story consists of five parts: 1450:. Prior to that, episodes could be shifted in order without audience confusion. Multiple-episode story arcs took off in the 1990s, with many of the popular television shows employing them. 234:

This dramatic structure started out as a Chinese poetry style called qǐ chéng zhuǎn hé (起承转合) and then was exported to Korea as gi seung jeon gyeol (Hangul: 기승전결; Hanja: 起承轉結) and Japan as

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Freytag's Technique of the Drama, An Exposition of Dramatic Composition and Art by Dr. Gustav Freytag: An Authorized Translation From the Sixth German Edition by Elias J. MacEwan, M.A.

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Unlike later, he held that the morality was the center of the play and what made it great. Unlike popular belief, he did not come up with the three act structure popularly known.

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on the quena (flute). The words of harawi speak of love (often unrequited), plight of ordinary peasant, privations of orphans, etc. Melodies are mainly in minor pentatonic scale.

1511:(Luke 15:13–16). This is the bottom of the U. A recognition scene (Luke 15:17) and a peripety move the plot upward to its dénouement, a new stable condition at the top of the U. 2402: 1076:

His work was then used in Joseph Berg Esenwein to describe short stories for the line of emotion, though his name is misspelled in Esenwein's work. His diagram specifically for

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Act III contains the resolution. This is the final quarter of the screenplay. This answers the question as to whether or not the main character succeeded in his or her goal.

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dynasties in China. The eight-legged essay was needed for those test takers in these civil service tests to show their merits for government service, often focusing on

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Plot-wise it often undercuts the conflict in the story and mocks the human condition. It often lacks any formal plot structure. Often nothing really gets resolved.

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is somewhat milder; he is more engaged in clearing himself than in injuring his opponents. Protasis is turbulent. The epitasis is loud and gentler catastropha."

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He outlined in the 2005 edition of his book Foundations of a Screenplay, that he wanted to give a more set structure to the work that Lajos Egri had laid out.

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in which he outlined what he thought of his ideal play structure. He did not cite any sources, though there looks to be some influence from Freytag's Pyramid.

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Coltrane, Robert. “Cowley’s Revisions in ‘Cutter of Coleman Street.’” Restoration: Studies in English Literary Culture, 1660-1700 13, no. 2 (1989): 68–75.

1282:. The resolution as a turning point was also taken out. The center of the play should be, according to him, conflict as this will excite the most emotion. 1073:

He does not prescribe a certain formula for the structure, but instead introduces various kinds of vocabulary for various points along the emotional line.

787:. He often uses the original Greek letters, but does not define these as specific acts, but as parts of the play as having different emotional qualities. 707:

It is still used today, but fell out of popular favor for films around the late 1930s to 1940s, when the runtime for an average film became longer. (See

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The Decisive Point of Action. Something takes place which makes it impossible for the "rising action" to go further. Affairs must take a new direction.

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Act I contains the setup. It is approximately the first quarter of a screenplay, and reveals the main character, premise, and situation of the story.

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In making his argument, he attempts to retcon much of the Greeks and Shakespeare by making opinions of what they meant, but didn't actually say.

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Act II contains the confrontation. It lasts for the next two quarters of the screenplay, and clearly defines the main goal of the protagonist.

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Freytag is indifferent as to which of the contending parties justice favors; in both groups, good and evil, power and weakness, are mingled.

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A Palestinian form of literature which includes 1001 Arabian Nights. This structure also includes are many religious works, including the

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The parts are: introduction, attack, rising action, crisis, falling action, resolution, conclusion. The attack would be relabeled the "

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This is the first time that Catastrophe and Dénouement are called the same thing. No references to other works are given in the essay.

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The Turn of the Play: The action of one or more of the characters which sets the course of events moving towards the crisis or climax.

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The definitions he used would later influence the vocabulary for the Hollywood Formula. Early Hollywood films were short. For example

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and other martial arts, to dramatic structure in the traditional theatre, and to the traditional collaborative linked verse forms

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or peripety, which depends frequently on a recognition or discovery by the protagonist. Aristotle called this discovery an

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folktales. This storytelling type had influence on later African American, Creole, and Caribbean African diaspora stories.

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argued for more look inside of character's minds and that character generates conflict, which generates events. He cites

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in the book Aeli Donati qvod fertvr Commentvm Terenti: Accendvnt Evgravphi Volume 2 and in his review of Terence's Play

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Depending on the region, time, occasion, religion, etc. the word can signify different cultural meanings and practices:

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Making Homes in the West/Indies: Constructions of Subjectivity in the Writings of Michelle Cliff and Jamaica Kincaid

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Rev. J.K. Brennan wrote his essay "The General Design of Plays for the book 'The Delphian Course'" (1912) for the

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inspired by a historical and religious event, the tragic death of Hussein, symbolizing epic spirit and resistance.

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Writing the short-story; a practical handbook on the rise, structure, writing, and sale of the modern short-story

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Contemporary dramas increasingly use the fall to increase the relative height of the climax and dramatic impact (

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Sprung originally from Christianity, it is often an account of a person's life that was first secularized by

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coined the term in his 1960 essay "The Theatre of the Absurd", which begins by focusing on the playwrights

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Opening formula-includes jokes and riddles to engage audience participation. Then a solemn beginning.

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period and then spread to most nation states of the Ottoman Empire. It is most prominent in Turkey,

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had been telling serialized stories since the 1950s, television multiple-episode story arcs in

6061: 5690: 5516: 5359: 5314: 5289: 5232: 5119: 5005: 4923: 4889: 4813: 4783: 4748: 4718: 4463: 4421: 4416: 4346: 4341: 4313: 4279: 4244: 3954: 3832: 3816: 3734: 3615: 3572: 3531: 3056: 3036: 2904: 1881: 1837: 1716: 1661: 1622: 1597: 1446: 1414: 1369: 1271: 440:(shortened in time from "Hacı İvaz" meaning "İvaz the Pilgrim", and also sometimes written as 3525: 2042: 1927: 1658:

African Traditional And Oral Literature As Pedagogical Tools In Content Area Classrooms: K-12

1010:

good for the protagonist, often requiring the protagonist to draw on hidden inner strengths.

6179: 5779: 5764: 5729: 5437: 5410: 5385: 5344: 5334: 5284: 5059: 4901: 4803: 4778: 4768: 4763: 4738: 4642: 4458: 4448: 4406: 4196: 4161: 4150: 4080: 4048: 3964: 3939: 3911: 3564: 3245: 3202: 3159: 3116: 3073: 1998: 1873: 1569: 1114: 867: 815: 560: 333: 235: 229: 3742: 370:, who viewed it as a universal concept applying to the patterns of movement of all things. 6121: 5936: 5931: 5911: 5759: 5698: 5642: 5511: 5400: 5104: 5054: 5044: 4911: 4867: 4850: 4758: 4101: 4028: 4013: 3959: 2831: 2658: 2639: 2557: 1464: 1333:. Unlike previous works he cites from, he emphasized the importance of premise to a play. 768: 589: 552: 32: 5744: 2880: 2616: 2506: 5980: 5573: 5541: 5452: 5309: 5279: 5274: 5092: 5071: 4857: 4845: 4713: 4684: 4436: 4274: 4191: 4176: 3934: 3861: 3812: 3804: 3415: 2612: 2429: 1864:

Teele, Roy E.; Shou-Yi, Ch'ên (1962). "Chinese Literature: A Historical Introduction".

1406: 1387:

He was the first to really coin the Three Act model as a formal model for screenplays.

913: 845: 752: 691: 657: 452: 186: 57: 2958: 1127:

The Steps of Action, leading to climax (sometimes called Rising Action): A. B. C. etc.

6173: 6158: 6056: 5921: 5916: 5886: 5871: 5754: 5599: 5551: 5354: 5339: 5259: 5153: 5018: 4906: 4862: 4808: 4728: 4698: 4637: 4595: 4378: 4356: 4303: 4143: 4122: 4117: 3969: 3949: 3929: 3866: 2011: 1908: 1483: 1410: 1402: 1340:

He also examines character through the lens of physiology, sociology and psychology.

1205: 1020: 861: 568: 389:

A kind of structure found in the Torah, Bible and Quran using a form of repetition.

6148: 5749: 5578: 5521: 5395: 5390: 5299: 5254: 5158: 5023: 4396: 4132: 4073: 4018: 3991: 1744: 1418: 1357: 1077: 724: 681: 598: 293: 289: 2083:. Vol. 23. Translated by W.H. Fyfe. Cambridge, MA: Harvard University Press. 313: 2930: 1136:

The Final Lift, something which checks the downward action; a new problem arises.

6138: 5926: 5876: 5859: 5724: 5680: 5536: 5349: 5163: 5129: 5124: 4733: 4723: 4669: 4647: 4481: 4368: 4181: 4166: 4137: 4090: 4033: 4008: 3996: 3638: 2849: 1549: 1500: 1437: 1343:

His work influenced Syd Field, who went on to make the 3-act Hollywood formula.

1166: 467:(autonomous republic of Georgia). In Greece, Karagöz is known by his local name 448: 2366: 2351: 2308: 2275: 2141: 1058:

A diagram of Silas Marner on page 58 of Selden Whitcomb's The Study of a Novel.

5957: 5881: 5670: 5604: 5242: 5013: 4918: 4610: 4526: 4521: 4201: 4171: 3919: 2242: 2209: 1784: 1496: 1441: 1314: 694:, it wasn't wildly popular until the late 19th century with the rise of film. 606: 527: 468: 3576: 3053:

Creating Rosie the Riveter: Class, Gender and Propaganda during World War II

3033:

Creating Rosie the Riveter: Class, Gender and Propaganda during World War II

1885: 1293:

This story structure, as suggested, had a strong influence on Arthur Miller (

870:, but the birth of the Bildungsroman is normally dated to the publication of 5906: 5854: 5734: 5675: 5563: 5364: 5319: 5304: 5294: 5179: 4973: 4940: 4703: 4625: 4426: 4326: 4249: 4206: 4156: 4068: 4003: 3944: 3924: 3903: 2975:"Episcopal Diocese of Northern Indiana Archives: Rev. Jesse Ketchum Brennan" 2621:. Translated by Elias J. MacEwan (Third ed.). Chicago: Scott, Foresman. 2072: 1529: 1365: 1279: 687: 640: 623: 610: 297: 111:, who tell their stories orally. Famous stories from this tradition include 4085: 2677: 948:

A drama is then divided into five parts, or acts, which some refer to as a

238:(起承転結). Each country has adapted their own take on the original structure. 3619: 844:

did not invent the five-act structure. The five-act structure was made by

17: 6126: 6012: 5836: 5808: 5739: 5665: 5650: 5558: 5141: 4948: 4632: 4600: 4512: 4507: 4386: 4331: 4264: 4221: 3986: 3975: 792: 780: 776: 772: 760: 341: 3756:"The Deeply Wacky Pleasures of Jane Alison's "Meander, Spiral, Explode"" 1893: 622:

struggle in the decision of control of the Muslim community (called the

577:) means comfort, condolence or expression of grief. It comes from roots 6051: 6025: 5769: 5594: 5568: 5432: 5076: 4840: 4708: 4664: 4659: 4589: 4411: 4401: 4216: 4038: 3584: 3552: 2550: 1789: 909: 791:

comoedia quaedam diceremus." which roughly translates to, "In this the

756: 5774: 5660: 5655: 5546: 5329: 5264: 5080: 4830: 4615: 4391: 4298: 4057: 2618:

Technique of the Drama: an Exposition of Dramatic Composition and Art

2435:

Aeli Donati quod fertur Commentum Terenti: Accedunt Eugraphi Volume 2

1877: 1019:

contain a moment of final suspense: Although the catastrophe must be

764: 728: 464: 456: 445: 357: 332:

is a concept of modulation and movement applied in a wide variety of

265: 112: 3568: 3527:

The Nutshell Technique: Crack the Secret of Successful Screenwriting

83:

himself as storyteller. The structure often includes the following:

806:

No definitive translation of this work has been made into English.

5866: 5847: 5324: 5087: 4654: 4605: 4583: 4336: 4321: 1444:

were not popular in the U.S. until 1981, with the introduction of

1257: 1053: 899: 493:("Oh, for some amusement"). Karagöz enters from the opposite side. 412: 408: 404: 367: 349: 345: 281: 108: 49: 6133: 6000: 4825: 4620: 3981: 61: 53: 5183: 3876: 1682:"09.01.08: Keeping the Tradition of African Storytelling Alive" 639:

Many scholars have analyzed dramatic structure, beginning with

3820: 1290:

the Introduction and it can either be flat or acute in angle.

363: 3872: 1425:", describes the human situation as meaningless and absurd. 129:

The conclusive formula - closure of the story and the moral.

3829:

Apprenticeships: The Bildungsroman from Goethe to Santayana

2399:"Are new movies longer than they were 10, 20, 50 year ago?" 471:; in Bosnia and Herzegovina, he is known by his local name 3504: 3502: 1537:

Meander, Spiral, Explode: Design and Pattern in Narrative

1506:

A classic example of a U-shaped plot in the Bible is the

1993:

Ersin Alok, "Karagöz-Hacivat: The Turkish Shadow Play",

1372:. He outlined that the structure of the play should be: 1262:

Kenneth Rowe's Basic Dramatic Structure from page 60 of

107:

A story structure commonly found in West Africa told by

2650:

University of Illinois: Department of English (2006).

1643:"The African story-telling tradition in the Caribbean" 2457:(database query result). University of Pennsylvania. 138:

Indigenous peoples of North America and Latin America

3513:(2005 ed.). Dell Publishing Company. p. 1. 971:

but he argues actively against continuing conflict.

90:

Audience becomes a chorus and comments on the story.

6070: 5993: 5945: 5895: 5792: 5717: 5689: 5641: 5632: 5587: 5504: 5461: 5419: 5373: 5225: 5218: 5032: 5004: 4939: 4683: 4574: 4472: 4377: 4312: 4235: 4047: 3910: 3743:

lectures at Johannes-Gutenberg-University in German

3420:. New York: Funk and Wagnalls. p. dust jacket. 2595: 2593: 2591: 1361:

A visual representation of the three-act structure.

27:

Structure of a dramatic work such as a play or film

3635:"THE THEATRE OF THE ABSURD: THE WEST AND THE EAST" 2585:. Princeton: Princeton University Press, 1978. 38. 956:: introduction, rise, climax, return or fall, and 2952: 2950: 2924: 2922: 2920: 2481:"Shakespeare Sunday – Hamlet: Of Acts and Scenes" 771:in P. Terentii Afri comoediae sex used the terms 2424: 2422: 2420: 1965:"Hakawati: the ancient Arab art of storytelling" 1836:. Berkshire Publishing Group. pp. 695–989. 1656:Asimeng-Boahene, Lewis; Baffoe, Michael (2013). 1239:back and forth on the work throughout her life. 852:several comedic and outlandish plots around it. 701:Be Natural: The Untold Story of Alice Guy-Blaché 2043:"Time Out of Memory: Ta'ziyeh, the Total Drama" 1191:and then popularized in 1919 with the magazine 3511:Screenwriting: The Foundations of a Screenplay 3403:. Funk & Wagnalls Company. pp. 60–61. 3291:(First ed.). Harcourt Brace. p. 272. 2583:The German Bildungsroman from Wieland to Hesse 2350:. Translated by Ingram Bywater. Archived from 325: 5505:Cinema / television / video 5195: 3888: 3679:"15 Surprising Facts About Hill Street Blues" 2001:inflight magazine), February 1996, pp. 66–69. 1759:"Korean literature – Early Chosŏn: 1392–1598" 1594:L'ecrivain Caribéen, Guerrier de L'imaginaire 1592:Gyssels, Kathleen; Ledent, Bénédicte (2008). 995:satisfactory resolution of the story itself. 743:He did not specify the contents of the acts. 444:) are the lead characters of the traditional 8: 6039:Palimpsests: Literature in the Second Degree 2909:: CS1 maint: multiple names: authors list ( 1743:. Using Narrative Structures. Archived from 1370:Screenplay: The Foundations of Screenwriting 1278:" and the conclusion as the "dénouement" by 1133:The Falling Action, leading from the climax. 478:Karagöz plays are structured in four parts: 3009:. New York: Doubleday, Page & Company. 2998: 2996: 1963:Chaudhary, Suchitra Bajpai (5 April 2014). 1906:Zeami. "Teachings on Style and the Flower ( 1274:" later and the crisis would be relabeled " 1062:In 1905, Selden Lincoln Whitcomb published 698:made a comment about it in the documentary 275: 5638: 5425: 5222: 5202: 5188: 5180: 3895: 3881: 3873: 3653:"8 gritty facts about 'Hill Street Blues'" 3386:. Funk & Wagnalls Company. p. 60. 3369:. Funk & Wagnalls Company. p. 61. 3352:. Funk & Wagnalls Company. p. 54. 3335:. Funk & Wagnalls Company. p. 28. 3272:: CS1 maint: location missing publisher ( 3229:: CS1 maint: location missing publisher ( 3186:: CS1 maint: location missing publisher ( 3143:: CS1 maint: location missing publisher ( 3100:: CS1 maint: location missing publisher ( 1482:The Canadian literary critic and theorist 573: 280:'eight bone text') was a style of 3858:What's Right With The Three Act Structure 3530:. University of Texas Press. p. 24. 2012:"Parts of Turkish shadow theatre Karagoz" 1142:The End, or the result of the catastrophe 1820: 1818: 1816: 1814: 1812: 1356: 425:Karagöz and Hacivat § Karagöz plays 3637:. University of Glasgow. Archived from 2812: 2791: 2779: 2767: 2755: 2698: 2599: 2569: 2135: 2133: 1581: 4566:Types of fiction with multiple endings 3265: 3222: 3179: 3136: 3093: 2902: 2891:from the original on 28 September 2021 2860:from the original on 28 September 2021 1105:published in 1910 is 17 minutes long. 399:Palestinian literature § Hakawati 3591:from the original on 12 December 2021 3310:from the original on 30 December 2021 3289:he Diary of Virginia Woolf Volume Two 3254:from the original on 30 December 2021 3211:from the original on 30 December 2021 3168:from the original on 30 December 2021 3125:from the original on 30 December 2021 3082:from the original on 30 December 2021 2879:Stanhope, Philip, Lord Chesterfield. 2631:University of South Carolina (2006). 2367:"12 (Aristotle on the Art of Poetry)" 2309:"11 (Aristotle on the Art of Poetry)" 2276:"10 (Aristotle on the Art of Poetry)" 2142:"18 (Aristotle on the Art of Poetry)" 2126:– via Kata Biblon Wiki Lexicon. 2053:from the original on 12 November 2017 1853:from the original on 12 October 2021. 1713:African Film Studies: An Introduction 7: 3685:from the original on 31 January 2022 3659:from the original on 31 January 2022 3013:from the original on 28 October 2021 2981:from the original on 2 February 2023 2710:Freytag. pp. 25, 41, 75, 98, 188–189 2551:http://www.jstor.org/stable/43292524 2461:from the original on 25 January 2023 2405:from the original on 30 January 2022 2255:from the original on 27 January 2021 2243:"8 (Aristotle on the Art of Poetry)" 2210:"7 (Aristotle on the Art of Poetry)" 2189:from the original on 30 October 2021 2106:Liddell; Scott; Jones, eds. (1940). 2022:from the original on 25 January 2023 1975:from the original on 18 October 2021 1944:from the original on 18 October 2021 1797:from the original on 6 February 2022 1621:. New York: Routledge. p. 175. 1587: 1585: 751:The fourth-century Roman grammarian 581:(عزو and عزى) which means mourning. 499:dialogue between Karagöz and Hacivat 2881:"Chesterfield's Letters to His Son" 2077:"Aristotle, Poetics, section 1450b" 1660:. Charlotte, NC: IAP. p. 240. 1046:this section of the act structure. 866:The term was coined in the 1819 by 731:advocated a 5-act structure in his 572: 564: 556: 118:The story structure is as follows: 3853:Another view on dramatic structure 2222:from the original on 16 April 2021 2095:– via www.perseus.tufts.edu. 2087:from the original on 22 April 2008 1617:Macdonald-Smythe, Antonia (2010). 1596:. Amsterdam: Rodopi. p. 309. 1478:Northrop Frye's dramatic structure 1477: 94:Usually there is a ritual ending. 87:Tell riddles to test the audience. 25: 4969:Third-person omniscient narrative 3766:from the original on 19 June 2021 3731:The Grammar of Entertainment Film 3524:Jill Chamberlain (1 March 2016). 2513:from the original on 24 July 2021 2487:from the original on 24 July 2021 2379:from the original on 24 July 2021 2321:from the original on 24 July 2021 2288:from the original on 24 July 2021 2154:from the original on 24 July 2021 1765:from the original on 24 July 2021 1692:from the original on 24 July 2021 3789:. New York: Catapult. p. 9. 3480:. Touchstone. pp. 148, 169. 2438:. B.G. Tevbner. pp. 4, 189. 2375:. Translated by Ingram Bywater. 2317:. Translated by Ingram Bywater. 2284:. Translated by Ingram Bywater. 2251:. Translated by Ingram Bywater. 2218:. Translated by Ingram Bywater. 2150:. Translated by Ingram Bywater. 2118:from the original on 2 June 2022 1459:Hercules: The Legendary Journeys 927:(originally called introduction) 873:Wilhelm Meister's Apprenticeship 656:, a theory about tragedies, the 630:Europe and the European diaspora 485:: Introduction. Hacivat sings a 3450:. Touchstone. pp. 173–174. 3207:. London. pp. 32, 41, 57. 2185:. Translated by S. H. Butcher. 1912:)." from Rimer & Yamazaki. 1834:Berkshire Encyclopedia of China 1785:"Objects We Love: Dream Record" 1741:University of Wisconsin Madison 1212:, which was published in 1921. 1139:The Catastrophe, or Dénouement. 837:Shakespeare and the Renaissance 626:) after the death of Muhammad. 592:reference it is categorized as 4357:Conflict between good and evil 3754:Waldman, Katy (2 April 2019). 2963:. Hinds, Noble & Eldredge. 2957:Esenwein, Joseph Berg (1909). 2329:– via www.authorama.com. 2296:– via www.authorama.com. 2263:– via www.authorama.com. 2230:– via www.authorama.com. 2197:– via Project Gutenberg. 2162:– via www.authorama.com. 1515:An inverted U-shaped structure 1159:A Manual of The Art of Fiction 880:in 1795–96, or, sometimes, to 613:it refers specifically to the 270: 261: 1: 5968:Pierre Menard, Author of the 5814:Archetypal literary criticism 5374:Literature / theatre 3495:. Touchstone. pp. 35–37. 2432:(1905) . Paul Wessner (ed.). 2112:Perseus Greek–English Lexicon 300:thought and knowledge of the 5780:Source criticism in the arts 5448:Readymades of Marcel Duchamp 3435:. Touchstone. pp. 1–31. 2929:Whitcomb, Selden L. (1905). 2449:John Mark Ockerbloom (ed.). 302:Four Books and Five Classics 5981:Reality Hunger: A Manifesto 3827:Jeffers, Thomas L. (2005). 3813:Scott, Foresman and Company 3553:"The Theatre of the Absurd" 3493:The Art of Dramatic Writing 3478:The Art of Dramatic Writing 3463:The Art of Dramatic Writing 3448:The Art of Dramatic Writing 3433:The Art of Dramatic Writing 2676:(in German). Archived from 1825:Elman, Benjamin A. (2009). 1508:Parable of the Prodigal Son 1471:Batman: The Animated Series 1311:The Art of Dramatic Writing 68:Africa and African diaspora 6206: 6087:Appropriation in sociology 3465:. Touchstone. p. 171. 3003:Hamilton, Clayton (1918). 2041:Chelkowski, Peter (2003). 1914:On the Art of the Nō Drama 1832:. In Cheng, Linsun (ed.). 1711:Sawadogo, Boukary (2018). 1394: 1350: 1323:The Science of Playwriting 1180: 1109:Rev. Jesse Ketchum Brennan 1034: 1002: 978: 878:Johann Wolfgang von Goethe 859: 813: 679: 525: 422: 396: 382: 355:The concept originated in 311: 245: 227: 184: 6092:Articulation in sociology 5615:Revivalism (architecture) 5428: 4996:Stream of unconsciousness 4527:Falling action/Catastasis 3811:(3rd ed.), Chicago: 3729:Teruaki Georges Sumioka: 3612:The Theatre of the Absurd 2638:October 23, 2007, at the 1023:so as not to appear as a 451:, popularized during the 334:traditional Japanese arts 326: 5804:Aesthetic interpretation 4364:Self-fulfilling prophecy 3287:Woolf, Virginia (1980). 2670:Freytag, Gustav (1863). 1560:Narrative transportation 912:playwright and novelist 882:Christoph Martin Wieland 718: 686:Said to be innovated by 634: 48:) is the structure of a 6046:The Pictures Generation 5825:The Death of the Author 4991:Stream of consciousness 4454:Suspension of disbelief 3610:Esslin, Martin (1961). 3557:The Tulane Drama Review 3551:Esslin, Martin (1960). 3244:Lubbock, Percy (1921). 3201:Lubbock, Percy (1921). 3158:Lubbock, Percy (1921). 3115:Lubbock, Percy (1921). 3072:Lubbock, Percy (1921). 2830:23 October 2017 at the 2556:1 February 2023 at the 2081:Aristotle in 23 Volumes 1565:Rule of three (writing) 1050:Selden Lincoln Whitcomb 895: 46:dramaturgical structure 6117:Copyright infringement 6097:Cultural appropriation 4532:Denouement/Catastrophe 4513:Rising action/Epitasis 3831:. New York: Palgrave. 3787:Meander Spiral Explode 3414:Rowe, Kenneth (1939). 3397:Rowe, Kenneth (1939). 3380:Rowe, Kenneth (1939). 3363:Rowe, Kenneth (1939). 3346:Rowe, Kenneth (1939). 3329:Rowe, Kenneth (1939). 3304:"The Craft of Fiction" 3250:. London. p. 81. 3164:. London. p. 29. 3121:. London. p. 18. 3078:. London. p. 14. 2935:. University of Kansas 2673:Die Technik des Dramas 2657:July 16, 2006, at the 2108:"λύσις - release (n.)" 1453:Xena: Warrior Princess 1362: 1319:Moses Louis Malevinsky 1267: 1059: 981:Exposition (narrative) 918:Die Technik des Dramas 905: 886:Geschichte des Agathon 491:"Yar bana bir eğlence" 461:Bosnia and Herzegovina 6144:Participatory culture 6112:Intellectual property 4878:Utopian and dystopian 3785:Alison, Jane (2019). 3302:Bronstein, Michaela. 2885:The Gutenberg Project 2455:The Online Books Page 1432:Television Story Arcs 1421:, in his 1942 essay " 1397:Theatre of the Absurd 1391:Theatre of the Absurd 1360: 1337:revealing character. 1327:The Theory of Theater 1261: 1189:Jean Jacques Rousseau 1057: 903: 338:Japanese tea ceremony 286:imperial examinations 5819:Artistic inspiration 5643:Intertextual figures 5610:Parody advertisement 4432:Narrative techniques 4212:Story within a story 4024:Supporting character 3491:Egri, Lajos (1946). 3476:Egri, Lajos (1946). 3461:Egri, Lajos (1946). 3446:Egri, Lajos (1946). 3431:Egri, Lajos (1946). 3247:The Craft of Fiction 3204:The Craft of Fiction 3161:The Craft of Fiction 3118:The Craft of Fiction 3075:The Craft of Fiction 2932:The Study of a Novel 2837:Cambridge Dictionary 2401:. 28 December 2018. 2173:Aristotle (2008) . " 1827:"Eight-Legged Essay" 1474:all had story arcs. 1219:He also argued for " 1210:The Craft of Fiction 1183:Confessional writing 1177:Confessional writing 1089:Joseph Berg Esenwein 1084:Joseph Berg Esenwein 1064:The Study of a Novel 755:in his criticism of 635:Aristotle's analysis 615:Miniature Mausoleums 215:Dream record (Japan) 6154:Recontextualisation 6107:Information society 6102:History of printing 6082:Academic dishonesty 5843:Genius (literature) 5532:Literal music video 5443:Photographic mosaic 5238:Chopped and screwed 5137:Political narrative 4979:Unreliable narrator 4836:Speculative fiction 4544:Nonlinear narrative 4492:Three-act structure 4352:Deal with the Devil 3681:. 15 January 2018. 3633:Culík, Jan (2000). 3509:Field, Syd (1979). 2815:, pp. 137–140) 2794:, pp. 133–135) 2782:, pp. 128–130) 2770:, pp. 125–128) 2758:, pp. 115–121) 2701:, pp. 104–105) 2182:Aristotle's Poetics 2016:Karagoz and Hacivat 1747:on 16 October 2014. 1715:. Oxon: Routledge. 1555:Narrative structure 1353:Three-act structure 1299:Death of a Salesman 1249:Kenneth Thorpe Rowe 1243:Kenneth Thorpe Rowe 1221:Death of the Author 1037:Catastrophe (drama) 842:William Shakespeare 830:Guzmán de Alfarache 827:and Mateo Alemán's 824:Lazarillo de Tormes 352:(haikai no renga). 38:narrative structure 5831:Divine inspiration 5620:Video game modding 5462:By source material 5115:Narrative paradigm 5110:Narrative identity 5040:Dominant narrative 4986:Multiple narrators 4270:Fictional location 4113:Dramatic structure 3641:on 23 August 2009. 3006:The Art of Fiction 2737:Freytag. pp. 94–95 2719:Freytag. pp. 80–81 2680:on 16 January 2009 2652:Freytag's Triangle 1491:A U-shaped pattern 1368:in 1979 published 1363: 1313:, published 1946, 1268: 1060: 1005:Climax (narrative) 906: 594:Condolence Theatre 521: 385:Chiastic structure 379:Chiastic structure 254:eight-legged essay 248:Eight-legged essay 242:Eight-legged essay 159:Line of Repetition 109:Griot storytellers 42:dramatic structure 6167: 6166: 6074:artistic concepts 6062:Russian formalism 5788: 5787: 5628: 5627: 5517:Anime music video 5500: 5499: 5492:Statue of Liberty 5290:Musical quotation 5233:Bootleg recording 5177: 5176: 5120:Narrative therapy 4554:television series 4499:Freytag's Pyramid 4342:Moral development 4245:Alternate history 3955:False protagonist 3739:978-4-8459-0574-4 3537:978-1-4773-0866-0 1722:978-0-429-66858-6 1686:teachers.yale.edu 1667:978-1-62396-538-9 1645:. 16 August 2009. 1628:978-0-8153-4037-9 1603:978-90-420-2553-0 1535:In her 2019 book 1447:Hill Street Blues 1272:inciting incident 1102:In Old California 1041:The catastrophe ( 904:Freytag's pyramid 896:Freytag's pyramid 719:Horace's analysis 518: 278: 44:(also known as a 16:(Redirected from 6197: 6185:Plot (narrative) 5986: 5976: 5963: 5794:Related artistic 5760:Imitation in art 5730:Assemblage (art) 5639: 5438:Combine painting 5426: 5411:Verbatim theatre 5386:Cut-up technique 5285:Music plagiarism 5223: 5204: 5197: 5190: 5181: 5100:Literary science 4643:Narrative poetry 4539:Linear narrative 4449:Stylistic device 4444:Show, don't tell 4407:Figure of speech 4197:Shaggy dog story 3940:Characterization 3897: 3890: 3883: 3874: 3842: 3823: 3791: 3790: 3782: 3776: 3775: 3773: 3771: 3751: 3745: 3727: 3721: 3714: 3708: 3701: 3695: 3694: 3692: 3690: 3675: 3669: 3668: 3666: 3664: 3649: 3643: 3642: 3630: 3624: 3623: 3607: 3601: 3600: 3598: 3596: 3548: 3542: 3541: 3521: 3515: 3514: 3506: 3497: 3496: 3488: 3482: 3481: 3473: 3467: 3466: 3458: 3452: 3451: 3443: 3437: 3436: 3428: 3422: 3421: 3411: 3405: 3404: 3394: 3388: 3387: 3377: 3371: 3370: 3360: 3354: 3353: 3343: 3337: 3336: 3326: 3320: 3319: 3317: 3315: 3299: 3293: 3292: 3284: 3278: 3277: 3271: 3263: 3261: 3259: 3241: 3235: 3234: 3228: 3220: 3218: 3216: 3198: 3192: 3191: 3185: 3177: 3175: 3173: 3155: 3149: 3148: 3142: 3134: 3132: 3130: 3112: 3106: 3105: 3099: 3091: 3089: 3087: 3069: 3063: 3049: 3043: 3029: 3023: 3022: 3020: 3018: 3000: 2991: 2990: 2988: 2986: 2971: 2965: 2964: 2954: 2945: 2944: 2942: 2940: 2926: 2915: 2914: 2908: 2900: 2898: 2896: 2876: 2870: 2869: 2867: 2865: 2846: 2840: 2822: 2816: 2810: 2804: 2801: 2795: 2789: 2783: 2777: 2771: 2765: 2759: 2753: 2747: 2744: 2738: 2735: 2729: 2726: 2720: 2717: 2711: 2708: 2702: 2696: 2690: 2689: 2687: 2685: 2667: 2661: 2648: 2642: 2629: 2623: 2622: 2609: 2603: 2597: 2586: 2581:Swales, Martin. 2579: 2573: 2567: 2561: 2547: 2541: 2538: 2532: 2529: 2523: 2522: 2520: 2518: 2503: 2497: 2496: 2494: 2492: 2477: 2471: 2470: 2468: 2466: 2451:"Aelius Donatus" 2446: 2440: 2439: 2426: 2415: 2414: 2412: 2410: 2395: 2389: 2388: 2386: 2384: 2362: 2356: 2355: 2337: 2331: 2330: 2328: 2326: 2304: 2298: 2297: 2295: 2293: 2271: 2265: 2264: 2262: 2260: 2238: 2232: 2231: 2229: 2227: 2205: 2199: 2198: 2196: 2194: 2178: 2177: 2170: 2164: 2163: 2161: 2159: 2137: 2128: 2127: 2125: 2123: 2114:(9th ed.). 2103: 2097: 2096: 2094: 2092: 2069: 2063: 2062: 2060: 2058: 2038: 2032: 2031: 2029: 2027: 2008: 2002: 1999:Turkish Airlines 1991: 1985: 1984: 1982: 1980: 1960: 1954: 1953: 1951: 1949: 1943: 1932: 1923: 1917: 1904: 1898: 1897: 1878:10.2307/40117286 1861: 1855: 1854: 1852: 1831: 1822: 1807: 1806: 1804: 1802: 1781: 1775: 1774: 1772: 1770: 1755: 1749: 1748: 1733: 1727: 1726: 1708: 1702: 1701: 1699: 1697: 1678: 1672: 1671: 1653: 1647: 1646: 1639: 1633: 1632: 1614: 1608: 1607: 1589: 1570:Scene and sequel 1423:Myth of Sisyphus 1331:Clayton Hamilton 1155:Clayton Hamilton 1150:Clayton Hamilton 1115:Delphian Society 954: 953: 868:Karl Morgenstern 816:Picaresque novel 810:Picaresque novel 696:Alice Guy-Blaché 590:Persian cultural 576: 575: 566: 558: 516: 436:in Turkish) and 331: 329: 328: 279: 276: 272: 263: 224:East Asian 4-act 21: 6205: 6204: 6200: 6199: 6198: 6196: 6195: 6194: 6170: 6169: 6168: 6163: 6149:Pirate politics 6122:Derivative work 6075: 6073: 6066: 5989: 5984: 5974: 5961: 5950: 5948: 5941: 5937:Story structure 5932:Stock character 5912:Formula fiction 5900: 5898: 5897:Standard blocks 5891: 5797: 5795: 5784: 5713: 5685: 5634: 5624: 5583: 5512:Abridged series 5496: 5484:Michelangelo's 5476:Michelangelo's 5457: 5422: 5415: 5401:Jukebox musical 5369: 5214: 5208: 5178: 5173: 5105:Literary theory 5045:Fiction writing 5028: 5000: 4935: 4687: 4679: 4570: 4468: 4373: 4308: 4231: 4102:Deus ex machina 4043: 4029:Title character 4014:Stock character 3960:Focal character 3906: 3901: 3849: 3839: 3826: 3805:Freytag, Gustav 3803: 3800: 3795: 3794: 3784: 3783: 3779: 3769: 3767: 3753: 3752: 3748: 3728: 3724: 3715: 3711: 3702: 3698: 3688: 3686: 3677: 3676: 3672: 3662: 3660: 3651: 3650: 3646: 3632: 3631: 3627: 3609: 3608: 3604: 3594: 3592: 3569:10.2307/1124873 3550: 3549: 3545: 3538: 3523: 3522: 3518: 3508: 3507: 3500: 3490: 3489: 3485: 3475: 3474: 3470: 3460: 3459: 3455: 3445: 3444: 3440: 3430: 3429: 3425: 3417:Write That Play 3413: 3412: 3408: 3400:Write that Play 3396: 3395: 3391: 3383:Write that Play 3379: 3378: 3374: 3366:Write that Play 3362: 3361: 3357: 3349:Write that Play 3345: 3344: 3340: 3332:Write that Play 3328: 3327: 3323: 3313: 3311: 3301: 3300: 3296: 3286: 3285: 3281: 3264: 3257: 3255: 3243: 3242: 3238: 3221: 3214: 3212: 3200: 3199: 3195: 3178: 3171: 3169: 3157: 3156: 3152: 3135: 3128: 3126: 3114: 3113: 3109: 3092: 3085: 3083: 3071: 3070: 3066: 3051:Maureen Honey, 3050: 3046: 3031:Maureen Honey, 3030: 3026: 3016: 3014: 3002: 3001: 2994: 2984: 2982: 2973: 2972: 2968: 2956: 2955: 2948: 2938: 2936: 2928: 2927: 2918: 2901: 2894: 2892: 2878: 2877: 2873: 2863: 2861: 2848: 2847: 2843: 2832:Wayback Machine 2823: 2819: 2811: 2807: 2802: 2798: 2790: 2786: 2778: 2774: 2766: 2762: 2754: 2750: 2745: 2741: 2736: 2732: 2727: 2723: 2718: 2714: 2709: 2705: 2697: 2693: 2683: 2681: 2669: 2668: 2664: 2659:Wayback Machine 2649: 2645: 2640:Wayback Machine 2633:The Big Picture 2630: 2626: 2613:Freytag, Gustav 2611: 2610: 2606: 2598: 2589: 2580: 2576: 2568: 2564: 2558:Wayback Machine 2548: 2544: 2539: 2535: 2530: 2526: 2516: 2514: 2505: 2504: 2500: 2490: 2488: 2479: 2478: 2474: 2464: 2462: 2448: 2447: 2443: 2430:Donatus, Aelius 2428: 2427: 2418: 2408: 2406: 2397: 2396: 2392: 2382: 2380: 2364: 2363: 2359: 2354:on 18 May 2021. 2339: 2338: 2334: 2324: 2322: 2306: 2305: 2301: 2291: 2289: 2273: 2272: 2268: 2258: 2256: 2240: 2239: 2235: 2225: 2223: 2207: 2206: 2202: 2192: 2190: 2175: 2174: 2172: 2171: 2167: 2157: 2155: 2139: 2138: 2131: 2121: 2119: 2105: 2104: 2100: 2090: 2088: 2071: 2070: 2066: 2056: 2054: 2040: 2039: 2035: 2025: 2023: 2018:. 21 May 2015. 2010: 2009: 2005: 1995:Skylife - Şubat 1992: 1988: 1978: 1976: 1962: 1961: 1957: 1947: 1945: 1941: 1930: 1926:Saleem, Sobia. 1925: 1924: 1920: 1905: 1901: 1863: 1862: 1858: 1850: 1844: 1829: 1824: 1823: 1810: 1800: 1798: 1783: 1782: 1778: 1768: 1766: 1757: 1756: 1752: 1735: 1734: 1730: 1723: 1710: 1709: 1705: 1695: 1693: 1680: 1679: 1675: 1668: 1655: 1654: 1650: 1641: 1640: 1636: 1629: 1616: 1615: 1611: 1604: 1591: 1590: 1583: 1578: 1546: 1526: 1517: 1493: 1480: 1465:Boy Meets World 1434: 1399: 1393: 1355: 1349: 1307: 1264:Write That Play 1253:Write That Play 1245: 1231:with analyzing 1203: 1185: 1179: 1152: 1111: 1086: 1052: 1039: 1033: 1016: 1007: 1001: 992: 983: 977: 951: 950: 898: 864: 858: 839: 818: 812: 749: 741: 721: 684: 678: 637: 632: 530: 524: 427: 421: 401: 395: 387: 381: 376: 323: 316: 310: 250: 244: 232: 226: 217: 208: 203: 198: 189: 183: 178: 150: 145: 143:Central America 140: 105: 100: 80: 75: 70: 52:work such as a 33:story structure 28: 23: 22: 15: 12: 11: 5: 6203: 6201: 6193: 6192: 6187: 6182: 6172: 6171: 6165: 6164: 6162: 6161: 6156: 6151: 6146: 6141: 6136: 6131: 6130: 6129: 6124: 6119: 6109: 6104: 6099: 6094: 6089: 6084: 6078: 6076: 6071: 6068: 6067: 6065: 6064: 6059: 6054: 6049: 6042: 6035: 6028: 6023: 6015: 6010: 6007:De Copia Rerum 6003: 5997: 5995: 5991: 5990: 5988: 5987: 5977: 5964: 5953: 5951: 5946: 5943: 5942: 5940: 5939: 5934: 5929: 5924: 5919: 5914: 5909: 5903: 5901: 5896: 5893: 5892: 5890: 5889: 5884: 5879: 5874: 5869: 5864: 5863: 5862: 5852: 5851: 5850: 5845: 5840: 5828: 5821: 5816: 5811: 5806: 5800: 5798: 5793: 5790: 5789: 5786: 5785: 5783: 5782: 5777: 5772: 5767: 5762: 5757: 5752: 5747: 5742: 5737: 5732: 5727: 5721: 5719: 5718:Other concepts 5715: 5714: 5712: 5711: 5706: 5701: 5695: 5693: 5687: 5686: 5684: 5683: 5678: 5673: 5668: 5663: 5658: 5653: 5647: 5645: 5636: 5630: 5629: 5626: 5625: 5623: 5622: 5617: 5612: 5607: 5602: 5597: 5591: 5589: 5585: 5584: 5582: 5581: 5576: 5571: 5566: 5561: 5556: 5555: 5554: 5544: 5542:Re-cut trailer 5539: 5534: 5529: 5524: 5519: 5514: 5508: 5506: 5502: 5501: 5498: 5497: 5495: 5494: 5489: 5481: 5473: 5465: 5463: 5459: 5458: 5456: 5455: 5450: 5445: 5440: 5435: 5429: 5423: 5420: 5417: 5416: 5414: 5413: 5408: 5403: 5398: 5393: 5388: 5383: 5377: 5375: 5371: 5370: 5368: 5367: 5362: 5357: 5352: 5347: 5342: 5337: 5332: 5327: 5322: 5317: 5312: 5310:Plunderphonics 5307: 5302: 5297: 5292: 5287: 5282: 5277: 5272: 5267: 5262: 5257: 5252: 5251: 5250: 5240: 5235: 5229: 5227: 5220: 5216: 5215: 5209: 5207: 5206: 5199: 5192: 5184: 5175: 5174: 5172: 5171: 5169:Verisimilitude 5166: 5161: 5156: 5151: 5150: 5149: 5139: 5134: 5133: 5132: 5122: 5117: 5112: 5107: 5102: 5097: 5096: 5095: 5085: 5084: 5083: 5074: 5072:Parallel novel 5069: 5068: 5067: 5062: 5057: 5042: 5036: 5034: 5030: 5029: 5027: 5026: 5021: 5016: 5010: 5008: 5002: 5001: 4999: 4998: 4993: 4988: 4983: 4982: 4981: 4976: 4971: 4961: 4956: 4951: 4945: 4943: 4937: 4936: 4934: 4933: 4932: 4931: 4926: 4916: 4915: 4914: 4909: 4904: 4899: 4894: 4893: 4892: 4887: 4886: 4885: 4880: 4875: 4865: 4860: 4855: 4854: 4853: 4843: 4833: 4828: 4823: 4822: 4821: 4816: 4806: 4801: 4796: 4791: 4786: 4781: 4776: 4771: 4766: 4761: 4756: 4751: 4746: 4741: 4736: 4731: 4726: 4721: 4716: 4714:Action fiction 4706: 4701: 4695: 4693: 4681: 4680: 4678: 4677: 4672: 4667: 4662: 4657: 4652: 4651: 4650: 4640: 4635: 4630: 4629: 4628: 4623: 4618: 4613: 4608: 4598: 4593: 4586: 4580: 4578: 4572: 4571: 4569: 4568: 4563: 4558: 4557: 4556: 4551: 4541: 4536: 4535: 4534: 4529: 4524: 4515: 4510: 4496: 4495: 4494: 4489: 4478: 4476: 4470: 4469: 4467: 4466: 4461: 4456: 4451: 4446: 4441: 4440: 4439: 4429: 4424: 4419: 4414: 4409: 4404: 4399: 4394: 4389: 4383: 4381: 4375: 4374: 4372: 4371: 4366: 4361: 4360: 4359: 4354: 4344: 4339: 4334: 4329: 4324: 4318: 4316: 4310: 4309: 4307: 4306: 4301: 4296: 4295: 4294: 4293: 4292: 4282: 4277: 4267: 4262: 4257: 4252: 4247: 4241: 4239: 4233: 4232: 4230: 4229: 4224: 4219: 4214: 4209: 4204: 4199: 4194: 4192:Self-insertion 4189: 4184: 4179: 4177:Poetic justice 4174: 4169: 4164: 4159: 4154: 4147: 4140: 4135: 4130: 4125: 4120: 4115: 4110: 4105: 4098: 4093: 4088: 4083: 4078: 4077: 4076: 4066: 4061: 4053: 4051: 4045: 4044: 4042: 4041: 4036: 4031: 4026: 4021: 4016: 4011: 4006: 4001: 4000: 3999: 3994: 3989: 3979: 3972: 3967: 3962: 3957: 3952: 3947: 3942: 3937: 3935:Character flaw 3932: 3927: 3922: 3916: 3914: 3908: 3907: 3902: 3900: 3899: 3892: 3885: 3877: 3871: 3870: 3862:Yves Lavandier 3855: 3848: 3847:External links 3845: 3844: 3843: 3837: 3824: 3799: 3796: 3793: 3792: 3777: 3760:The New Yorker 3746: 3722: 3709: 3696: 3670: 3644: 3625: 3602: 3543: 3536: 3516: 3498: 3483: 3468: 3453: 3438: 3423: 3406: 3389: 3372: 3355: 3338: 3321: 3294: 3279: 3236: 3193: 3150: 3107: 3064: 3044: 3024: 2992: 2966: 2946: 2916: 2871: 2841: 2817: 2805: 2803:Freytag. p 137 2796: 2784: 2772: 2760: 2748: 2739: 2730: 2728:Freytag. p. 90 2721: 2712: 2703: 2691: 2662: 2643: 2624: 2604: 2602:, p. 115) 2587: 2574: 2562: 2542: 2533: 2524: 2498: 2472: 2441: 2416: 2390: 2357: 2332: 2299: 2266: 2233: 2200: 2165: 2129: 2098: 2064: 2033: 2003: 1986: 1955: 1918: 1899: 1856: 1842: 1808: 1776: 1750: 1728: 1721: 1703: 1673: 1666: 1648: 1634: 1627: 1609: 1602: 1580: 1579: 1577: 1574: 1573: 1572: 1567: 1562: 1557: 1552: 1545: 1542: 1525: 1522: 1516: 1513: 1492: 1489: 1479: 1476: 1433: 1430: 1415:Eugène Ionesco 1407:Samuel Beckett 1395:Main article: 1392: 1389: 1351:Main article: 1348: 1345: 1306: 1303: 1244: 1241: 1202: 1199: 1181:Main article: 1178: 1175: 1151: 1148: 1144: 1143: 1140: 1137: 1134: 1131: 1128: 1125: 1122: 1110: 1107: 1085: 1082: 1051: 1048: 1035:Main article: 1032: 1029: 1015: 1014:Return or Fall 1012: 1003:Main article: 1000: 997: 991: 988: 979:Main article: 976: 973: 946: 945: 939: 938:Return or Fall 936: 931: 928: 914:Gustav Freytag 897: 894: 860:Main article: 857: 854: 846:Gustav Freytag 838: 835: 814:Main article: 811: 808: 753:Aelius Donatus 748: 747:Aelius Donatus 745: 739: 720: 717: 680:Main article: 677: 674: 649:(c. 335 BCE). 636: 633: 631: 628: 619: 618: 603: 526:Main article: 523: 520: 514: 513: 506: 500: 494: 423:Main article: 420: 417: 397:Main article: 394: 391: 383:Main article: 380: 377: 375: 372: 312:Main article: 309: 306: 246:Main article: 243: 240: 228:Main article: 225: 222: 216: 213: 207: 204: 202: 199: 197: 194: 187:Harawi (genre) 185:Main article: 182: 179: 177: 174: 173: 172: 169: 166: 163: 160: 149: 146: 144: 141: 139: 136: 131: 130: 127: 123: 104: 101: 99: 96: 92: 91: 88: 79: 76: 74: 71: 69: 66: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6202: 6191: 6188: 6186: 6183: 6181: 6178: 6177: 6175: 6160: 6159:Remix culture 6157: 6155: 6152: 6150: 6147: 6145: 6142: 6140: 6137: 6135: 6132: 6128: 6125: 6123: 6120: 6118: 6115: 6114: 6113: 6110: 6108: 6105: 6103: 6100: 6098: 6095: 6093: 6090: 6088: 6085: 6083: 6080: 6079: 6077: 6069: 6063: 6060: 6058: 6057:Postmodernism 6055: 6053: 6050: 6048: 6047: 6043: 6041: 6040: 6036: 6034: 6033: 6029: 6027: 6024: 6022: 6021: 6016: 6014: 6011: 6009: 6008: 6004: 6002: 5999: 5998: 5996: 5992: 5983: 5982: 5978: 5972: 5971: 5965: 5960: 5959: 5955: 5954: 5952: 5947:Epoch-marking 5944: 5938: 5935: 5933: 5930: 5928: 5925: 5923: 5922:Jazz standard 5920: 5918: 5917:Genre fiction 5915: 5913: 5910: 5908: 5905: 5904: 5902: 5894: 5888: 5887:Western canon 5885: 5883: 5880: 5878: 5875: 5873: 5872:Genre studies 5870: 5868: 5865: 5861: 5858: 5857: 5856: 5853: 5849: 5846: 5844: 5841: 5839: 5838: 5834: 5833: 5832: 5829: 5826: 5822: 5820: 5817: 5815: 5812: 5810: 5807: 5805: 5802: 5801: 5799: 5791: 5781: 5778: 5776: 5773: 5771: 5768: 5766: 5763: 5761: 5758: 5756: 5753: 5751: 5748: 5746: 5743: 5741: 5738: 5736: 5733: 5731: 5728: 5726: 5723: 5722: 5720: 5716: 5710: 5707: 5705: 5702: 5700: 5697: 5696: 5694: 5692: 5688: 5682: 5679: 5677: 5674: 5672: 5669: 5667: 5664: 5662: 5659: 5657: 5654: 5652: 5649: 5648: 5646: 5644: 5640: 5637: 5631: 5621: 5618: 5616: 5613: 5611: 5608: 5606: 5603: 5601: 5600:Internet meme 5598: 5596: 5593: 5592: 5590: 5586: 5580: 5577: 5575: 5572: 5570: 5567: 5565: 5562: 5560: 5557: 5553: 5552:Shot-for-shot 5550: 5549: 5548: 5545: 5543: 5540: 5538: 5535: 5533: 5530: 5528: 5527:Found footage 5525: 5523: 5520: 5518: 5515: 5513: 5510: 5509: 5507: 5503: 5493: 5490: 5488: 5487: 5482: 5480: 5479: 5474: 5472: 5471: 5467: 5466: 5464: 5460: 5454: 5451: 5449: 5446: 5444: 5441: 5439: 5436: 5434: 5431: 5430: 5427: 5424: 5418: 5412: 5409: 5407: 5404: 5402: 5399: 5397: 5394: 5392: 5389: 5387: 5384: 5382: 5379: 5378: 5376: 5372: 5366: 5363: 5361: 5358: 5356: 5353: 5351: 5348: 5346: 5343: 5341: 5340:Sound collage 5338: 5336: 5333: 5331: 5328: 5326: 5323: 5321: 5318: 5316: 5313: 5311: 5308: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5286: 5283: 5281: 5278: 5276: 5273: 5271: 5270:Interpolation 5268: 5266: 5263: 5261: 5260:Cover version 5258: 5256: 5253: 5249: 5246: 5245: 5244: 5241: 5239: 5236: 5234: 5231: 5230: 5228: 5224: 5221: 5217: 5212: 5211:Appropriation 5205: 5200: 5198: 5193: 5191: 5186: 5185: 5182: 5170: 5167: 5165: 5162: 5160: 5157: 5155: 5154:Screenwriting 5152: 5148: 5145: 5144: 5143: 5140: 5138: 5135: 5131: 5128: 5127: 5126: 5123: 5121: 5118: 5116: 5113: 5111: 5108: 5106: 5103: 5101: 5098: 5094: 5091: 5090: 5089: 5086: 5082: 5078: 5075: 5073: 5070: 5066: 5063: 5061: 5058: 5056: 5053: 5052: 5051: 5048: 5047: 5046: 5043: 5041: 5038: 5037: 5035: 5031: 5025: 5022: 5020: 5017: 5015: 5012: 5011: 5009: 5007: 5003: 4997: 4994: 4992: 4989: 4987: 4984: 4980: 4977: 4975: 4972: 4970: 4967: 4966: 4965: 4962: 4960: 4959:Second-person 4957: 4955: 4952: 4950: 4947: 4946: 4944: 4942: 4938: 4930: 4927: 4925: 4922: 4921: 4920: 4917: 4913: 4910: 4908: 4905: 4903: 4900: 4898: 4895: 4891: 4888: 4884: 4881: 4879: 4876: 4874: 4871: 4870: 4869: 4866: 4864: 4863:Magic realism 4861: 4859: 4856: 4852: 4849: 4848: 4847: 4844: 4842: 4839: 4838: 4837: 4834: 4832: 4829: 4827: 4824: 4820: 4817: 4815: 4812: 4811: 4810: 4807: 4805: 4802: 4800: 4797: 4795: 4794:Psychological 4792: 4790: 4787: 4785: 4782: 4780: 4777: 4775: 4774:Philosophical 4772: 4770: 4767: 4765: 4762: 4760: 4757: 4755: 4752: 4750: 4747: 4745: 4742: 4740: 4737: 4735: 4732: 4730: 4727: 4725: 4722: 4720: 4717: 4715: 4712: 4711: 4710: 4707: 4705: 4702: 4700: 4699:Autobiography 4697: 4696: 4694: 4691: 4686: 4682: 4676: 4673: 4671: 4668: 4666: 4663: 4661: 4658: 4656: 4653: 4649: 4646: 4645: 4644: 4641: 4639: 4638:Narrative art 4636: 4634: 4631: 4627: 4624: 4622: 4619: 4617: 4614: 4612: 4609: 4607: 4604: 4603: 4602: 4599: 4597: 4596:Flash fiction 4594: 4592: 4591: 4587: 4585: 4582: 4581: 4579: 4577: 4573: 4567: 4564: 4562: 4559: 4555: 4552: 4550: 4547: 4546: 4545: 4542: 4540: 4537: 4533: 4530: 4528: 4525: 4523: 4519: 4516: 4514: 4511: 4509: 4505: 4502: 4501: 4500: 4497: 4493: 4490: 4488: 4487:Act structure 4485: 4484: 4483: 4480: 4479: 4477: 4475: 4471: 4465: 4462: 4460: 4457: 4455: 4452: 4450: 4447: 4445: 4442: 4438: 4435: 4434: 4433: 4430: 4428: 4425: 4423: 4420: 4418: 4415: 4413: 4410: 4408: 4405: 4403: 4400: 4398: 4395: 4393: 4390: 4388: 4385: 4384: 4382: 4380: 4376: 4370: 4367: 4365: 4362: 4358: 4355: 4353: 4350: 4349: 4348: 4345: 4343: 4340: 4338: 4335: 4333: 4330: 4328: 4325: 4323: 4320: 4319: 4317: 4315: 4311: 4305: 4304:Worldbuilding 4302: 4300: 4297: 4291: 4288: 4287: 4286: 4283: 4281: 4278: 4276: 4273: 4272: 4271: 4268: 4266: 4263: 4261: 4258: 4256: 4253: 4251: 4248: 4246: 4243: 4242: 4240: 4238: 4234: 4228: 4225: 4223: 4220: 4218: 4215: 4213: 4210: 4208: 4205: 4203: 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4175: 4173: 4170: 4168: 4165: 4163: 4160: 4158: 4155: 4153: 4152: 4151:Kishōtenketsu 4148: 4146: 4145: 4144:In medias res 4141: 4139: 4136: 4134: 4131: 4129: 4126: 4124: 4123:Foreshadowing 4121: 4119: 4118:Eucatastrophe 4116: 4114: 4111: 4109: 4106: 4104: 4103: 4099: 4097: 4094: 4092: 4089: 4087: 4084: 4082: 4081:Chekhov's gun 4079: 4075: 4072: 4071: 4070: 4067: 4065: 4062: 4060: 4059: 4055: 4054: 4052: 4050: 4046: 4040: 4037: 4035: 4032: 4030: 4027: 4025: 4022: 4020: 4017: 4015: 4012: 4010: 4007: 4005: 4002: 3998: 3995: 3993: 3990: 3988: 3985: 3984: 3983: 3980: 3978: 3977: 3973: 3971: 3970:Gothic double 3968: 3966: 3963: 3961: 3958: 3956: 3953: 3951: 3950:Deuteragonist 3948: 3946: 3943: 3941: 3938: 3936: 3933: 3931: 3930:Character arc 3928: 3926: 3923: 3921: 3918: 3917: 3915: 3913: 3909: 3905: 3898: 3893: 3891: 3886: 3884: 3879: 3878: 3875: 3869: 3868: 3867:Writing Drama 3863: 3859: 3856: 3854: 3851: 3850: 3846: 3840: 3838:1-4039-6607-9 3834: 3830: 3825: 3822: 3818: 3814: 3810: 3806: 3802: 3801: 3797: 3788: 3781: 3778: 3765: 3761: 3757: 3750: 3747: 3744: 3740: 3736: 3732: 3726: 3723: 3719: 3713: 3710: 3706: 3700: 3697: 3684: 3680: 3674: 3671: 3658: 3654: 3648: 3645: 3640: 3636: 3629: 3626: 3621: 3617: 3613: 3606: 3603: 3590: 3586: 3582: 3578: 3574: 3570: 3566: 3562: 3558: 3554: 3547: 3544: 3539: 3533: 3529: 3528: 3520: 3517: 3512: 3505: 3503: 3499: 3494: 3487: 3484: 3479: 3472: 3469: 3464: 3457: 3454: 3449: 3442: 3439: 3434: 3427: 3424: 3419: 3418: 3410: 3407: 3402: 3401: 3393: 3390: 3385: 3384: 3376: 3373: 3368: 3367: 3359: 3356: 3351: 3350: 3342: 3339: 3334: 3333: 3325: 3322: 3309: 3305: 3298: 3295: 3290: 3283: 3280: 3275: 3269: 3253: 3249: 3248: 3240: 3237: 3232: 3226: 3210: 3206: 3205: 3197: 3194: 3189: 3183: 3167: 3163: 3162: 3154: 3151: 3146: 3140: 3124: 3120: 3119: 3111: 3108: 3103: 3097: 3081: 3077: 3076: 3068: 3065: 3062: 3061:0-87023-443-9 3058: 3055:, p. 141-43, 3054: 3048: 3045: 3042: 3041:0-87023-443-9 3038: 3034: 3028: 3025: 3012: 3008: 3007: 2999: 2997: 2993: 2980: 2976: 2970: 2967: 2962: 2961: 2953: 2951: 2947: 2934: 2933: 2925: 2923: 2921: 2917: 2912: 2906: 2890: 2886: 2882: 2875: 2872: 2859: 2855: 2851: 2845: 2842: 2839: 2838: 2833: 2829: 2826: 2821: 2818: 2814: 2813:Freytag (1900 2809: 2806: 2800: 2797: 2793: 2792:Freytag (1900 2788: 2785: 2781: 2780:Freytag (1900 2776: 2773: 2769: 2768:Freytag (1900 2764: 2761: 2757: 2756:Freytag (1900 2752: 2749: 2746:Freytag p. 29 2743: 2740: 2734: 2731: 2725: 2722: 2716: 2713: 2707: 2704: 2700: 2699:Freytag (1900 2695: 2692: 2679: 2675: 2674: 2666: 2663: 2660: 2656: 2653: 2647: 2644: 2641: 2637: 2634: 2628: 2625: 2620: 2619: 2614: 2608: 2605: 2601: 2600:Freytag (1900 2596: 2594: 2592: 2588: 2584: 2578: 2575: 2572:, p. 49. 2571: 2566: 2563: 2559: 2555: 2552: 2546: 2543: 2537: 2534: 2528: 2525: 2512: 2508: 2502: 2499: 2486: 2482: 2476: 2473: 2460: 2456: 2452: 2445: 2442: 2437: 2436: 2431: 2425: 2423: 2421: 2417: 2404: 2400: 2394: 2391: 2378: 2374: 2373: 2368: 2361: 2358: 2353: 2349: 2348: 2343: 2336: 2333: 2320: 2316: 2315: 2310: 2303: 2300: 2287: 2283: 2282: 2277: 2270: 2267: 2254: 2250: 2249: 2244: 2237: 2234: 2221: 2217: 2216: 2211: 2204: 2201: 2188: 2184: 2183: 2169: 2166: 2153: 2149: 2148: 2143: 2136: 2134: 2130: 2117: 2113: 2109: 2102: 2099: 2086: 2082: 2078: 2074: 2068: 2065: 2052: 2048: 2044: 2037: 2034: 2021: 2017: 2013: 2007: 2004: 2000: 1996: 1990: 1987: 1974: 1970: 1966: 1959: 1956: 1940: 1936: 1935:UC Santa Cruz 1929: 1922: 1919: 1915: 1911: 1910: 1903: 1900: 1895: 1891: 1887: 1883: 1879: 1875: 1871: 1867: 1860: 1857: 1849: 1845: 1843:9780190622671 1839: 1835: 1828: 1821: 1819: 1817: 1815: 1813: 1809: 1796: 1792: 1791: 1786: 1780: 1777: 1764: 1760: 1754: 1751: 1746: 1742: 1738: 1732: 1729: 1724: 1718: 1714: 1707: 1704: 1691: 1687: 1683: 1677: 1674: 1669: 1663: 1659: 1652: 1649: 1644: 1638: 1635: 1630: 1624: 1620: 1613: 1610: 1605: 1599: 1595: 1588: 1586: 1582: 1575: 1571: 1568: 1566: 1563: 1561: 1558: 1556: 1553: 1551: 1548: 1547: 1543: 1541: 1538: 1533: 1531: 1523: 1521: 1514: 1512: 1509: 1504: 1502: 1498: 1490: 1488: 1485: 1484:Northrop Frye 1475: 1473: 1472: 1467: 1466: 1461: 1460: 1455: 1454: 1449: 1448: 1443: 1439: 1431: 1429: 1426: 1424: 1420: 1416: 1412: 1411:Arthur Adamov 1408: 1404: 1403:Martin Esslin 1398: 1390: 1388: 1385: 1382: 1379: 1376: 1373: 1371: 1367: 1359: 1354: 1346: 1344: 1341: 1338: 1334: 1332: 1328: 1324: 1320: 1316: 1312: 1304: 1302: 1300: 1296: 1291: 1287: 1283: 1281: 1277: 1273: 1265: 1260: 1256: 1254: 1250: 1242: 1240: 1236: 1234: 1233:Madame Bovary 1230: 1229:War and Peace 1224: 1222: 1217: 1213: 1211: 1207: 1206:Percy Lubbock 1201:Percy Lubbock 1200: 1198: 1196: 1195: 1190: 1184: 1176: 1174: 1170: 1169:and realism. 1168: 1162: 1160: 1156: 1149: 1147: 1141: 1138: 1135: 1132: 1129: 1126: 1123: 1120: 1119: 1118: 1116: 1108: 1106: 1104: 1103: 1097: 1093: 1090: 1083: 1081: 1079: 1074: 1071: 1067: 1065: 1056: 1049: 1047: 1044: 1038: 1030: 1028: 1026: 1022: 1013: 1011: 1006: 998: 996: 989: 987: 982: 974: 972: 968: 964: 961: 959: 955: 943: 940: 937: 935: 932: 929: 926: 923: 922: 921: 919: 915: 911: 902: 893: 889: 887: 883: 879: 875: 874: 869: 863: 862:Bildungsroman 856:Bildungsroman 855: 853: 849: 847: 843: 836: 834: 832: 831: 826: 825: 817: 809: 807: 804: 800: 796: 794: 788: 786: 782: 778: 774: 770: 766: 762: 758: 754: 746: 744: 738: 736: 735: 730: 727:drama critic 726: 716: 714: 710: 705: 703: 702: 697: 693: 690:for his play 689: 683: 675: 673: 670: 666: 662: 659: 655: 650: 648: 647: 642: 629: 627: 625: 616: 612: 608: 604: 601: 600: 595: 591: 587: 586: 585: 582: 580: 570: 562: 554: 550: 546: 542: 538: 534: 529: 519: 510: 507: 504: 501: 498: 495: 492: 488: 484: 481: 480: 479: 476: 474: 470: 466: 462: 458: 454: 450: 447: 443: 439: 435: 431: 426: 418: 416: 414: 410: 406: 400: 392: 390: 386: 378: 373: 371: 369: 365: 360: 359: 353: 351: 347: 343: 339: 335: 322: 321: 315: 307: 305: 303: 299: 295: 291: 287: 283: 273: 267: 259: 255: 249: 241: 239: 237: 236:kishōtenketsu 231: 230:Kishōtenketsu 223: 221: 214: 212: 205: 200: 195: 193: 188: 180: 176:South America 175: 170: 167: 164: 161: 158: 157: 156: 154: 147: 142: 137: 135: 128: 124: 121: 120: 119: 116: 114: 110: 102: 97: 95: 89: 86: 85: 84: 77: 72: 67: 65: 63: 59: 55: 51: 47: 43: 39: 35: 34: 19: 6072:Related non- 6044: 6037: 6030: 6019: 6005: 5994:Theorization 5979: 5969: 5956: 5835: 5750:Found object 5745:Détournement 5579:YouTube poop 5574:Video mashup 5522:Collage film 5485: 5477: 5468: 5396:Found poetry 5391:Flarf poetry 5300:Parody music 5280:Music mashup 5255:Contrafactum 5159:Storytelling 4974:Subjectivity 4964:Third-person 4954:First-person 4588: 4397:Comic relief 4149: 4142: 4133:Flashforward 4100: 4074:Origin story 4056: 4019:Straight man 3974: 3865: 3864:, author of 3828: 3808: 3786: 3780: 3768:. Retrieved 3759: 3749: 3730: 3725: 3717: 3712: 3704: 3699: 3687:. Retrieved 3673: 3661:. Retrieved 3647: 3639:the original 3628: 3611: 3605: 3593:. Retrieved 3560: 3556: 3546: 3526: 3519: 3510: 3492: 3486: 3477: 3471: 3462: 3456: 3447: 3441: 3432: 3426: 3416: 3409: 3399: 3392: 3382: 3375: 3365: 3358: 3348: 3341: 3331: 3324: 3312:. Retrieved 3297: 3288: 3282: 3256:. Retrieved 3246: 3239: 3213:. Retrieved 3203: 3196: 3170:. Retrieved 3160: 3153: 3127:. Retrieved 3117: 3110: 3084:. Retrieved 3074: 3067: 3052: 3047: 3032: 3027: 3015:. Retrieved 3005: 2983:. Retrieved 2969: 2959: 2937:. Retrieved 2931: 2895:28 September 2893:. Retrieved 2884: 2874: 2864:28 September 2862:. Retrieved 2853: 2850:"Denouement" 2844: 2835: 2825:"dénouement" 2820: 2808: 2799: 2787: 2775: 2763: 2751: 2742: 2733: 2724: 2715: 2706: 2694: 2682:. Retrieved 2678:the original 2672: 2665: 2646: 2627: 2617: 2607: 2582: 2577: 2570:Jeffers 2005 2565: 2545: 2536: 2531:Freytag p 41 2527: 2515:. Retrieved 2501: 2489:. 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Retrieved 1685: 1676: 1657: 1651: 1637: 1618: 1612: 1593: 1536: 1534: 1527: 1524:Contemporary 1518: 1505: 1494: 1481: 1469: 1463: 1457: 1451: 1445: 1435: 1427: 1419:Albert Camus 1400: 1386: 1383: 1380: 1377: 1374: 1364: 1342: 1339: 1335: 1326: 1322: 1310: 1309:In his book 1308: 1298: 1294: 1292: 1288: 1284: 1269: 1263: 1252: 1246: 1237: 1232: 1228: 1225: 1218: 1214: 1209: 1204: 1192: 1186: 1171: 1163: 1158: 1153: 1145: 1112: 1100: 1098: 1094: 1087: 1078:Silas Marner 1075: 1072: 1068: 1063: 1061: 1042: 1040: 1025:non sequitur 1021:foreshadowed 1017: 1008: 993: 984: 975:Introduction 969: 965: 962: 952:dramatic arc 949: 947: 917: 907: 890: 885: 871: 865: 850: 840: 828: 822: 819: 805: 801: 797: 789: 775:(prologus), 750: 742: 733: 722: 709:Kenneth Rowe 706: 699: 685: 682:One-act play 676:One-Act Play 671: 667: 663: 653: 651: 644: 638: 620: 614: 599:Passion Play 597: 593: 583: 578: 548: 544: 540: 536: 532: 531: 515: 508: 502: 496: 490: 486: 482: 477: 472: 441: 437: 433: 429: 428: 402: 388: 356: 354: 319: 318: 317: 269: 253: 251: 233: 218: 209: 206:Dream record 190: 162:Introduction 152: 151: 132: 117: 106: 93: 81: 45: 41: 37: 31: 29: 6190:Narratology 6139:Open source 5927:Plot device 5877:Originality 5860:Fan fiction 5725:After (art) 5681:Translation 5537:Parody film 5421:Visual arts 5350:Tribute act 5213:in the arts 5164:Tellability 5130:Metafiction 5125:Narratology 4897:Theological 4789:Pop culture 4670:Short story 4648:Epic poetry 4369:Time travel 4182:Red herring 4167:Plot device 4138:Frame story 4091:Cliffhanger 4034:Tritagonist 4009:Protagonist 3716:Aristotle, 3595:21 December 3563:(4): 3–15. 3314:30 December 3258:30 December 3215:30 December 3172:30 December 3129:30 December 3086:30 December 2939:22 December 2372:The Poetics 2365:Aristotle. 2347:The Poetics 2340:Aristotle. 2314:The Poetics 2307:Aristotle. 2281:The Poetics 2274:Aristotle. 2248:The Poetics 2241:Aristotle. 2215:The Poetics 2208:Aristotle. 2147:The Poetics 2140:Aristotle. 2057:11 November 1550:Frame story 1501:anagnorisis 1438:soap operas 1295:All My Sons 1235:and so on. 1167:romanticism 1043:Katastrophe 1031:Catastrophe 958:catastrophe 942:Catastrophe 785:catastropha 734:Ars Poetica 665:character. 609:and in the 449:shadow play 432:(literally 366:playwright 288:during the 98:West Africa 6174:Categories 6032:Nachahmung 6018:Dionysian 5958:L.H.O.O.Q. 5882:Simulacrum 5691:Adaptation 5671:Plagiarism 5605:Joke theft 5588:Other arts 5381:Assemblage 5243:Contrafact 5050:Continuity 4919:Nonfiction 4883:Underwater 4779:Picaresque 4754:Historical 4739:Epistolary 4611:Fairy tale 4522:Peripeteia 4504:Exposition 4260:Dreamworld 4202:Stereotype 4172:Plot twist 3920:Antagonist 3798:References 3770:29 January 3705:Great Code 3689:31 January 3663:31 January 3035:, p. 139, 3017:13 October 2985:2 February 2684:20 January 2465:25 January 2409:30 January 2325:25 January 2292:25 January 2259:25 January 2226:25 January 2193:30 October 2158:25 January 2122:30 October 2091:25 January 2026:25 January 1979:18 October 1948:18 October 1909:Fūshikaden 1872:(4): 452. 1801:6 February 1497:peripeteia 1442:prime time 1315:Lajos Egri 1305:Lajos Egri 1251:published 1194:True Story 925:Exposition 713:Lajos Egri 607:South Asia 512:forgiven." 469:Karagiozis 126:symbolism. 18:Denouement 5907:Archetype 5899:and forms 5855:Fan labor 5735:Bricolage 5676:Quotation 5564:TV format 5470:Mona Lisa 5365:Vaporwave 5360:Variation 5320:Quodlibet 5315:Potpourri 5305:Pasticcio 5295:Nightcore 4941:Narration 4890:Superhero 4814:Chivalric 4799:Religious 4784:Political 4719:Adventure 4704:Biography 4626:Tall tale 4474:Structure 4459:Symbolism 4427:Narration 4327:Leitmotif 4255:Crossover 4250:Backstory 4207:Story arc 4157:MacGuffin 4128:Flashback 4069:Backstory 3945:Confidant 3925:Archenemy 3912:Character 3904:Narrative 3807:(1900) , 3577:0886-800X 3268:cite book 3225:cite book 3182:cite book 3139:cite book 3096:cite book 2075:(1932) . 2073:Aristotle 1969:Gulf News 1886:0006-7431 1737:"Robleto" 1530:melodrama 1436:Although 1366:Syd Field 1347:Syd Field 1280:Syd Field 1247:In 1939, 888:of 1767. 759:'s plays 688:Euripides 641:Aristotle 611:Caribbean 505:main plot 497:Muhavere: 483:Mukaddime 374:West Asia 320:Jo-ha-kyū 314:Jo-ha-kyū 308:Jo-ha-kyū 298:Confucian 201:East Asia 78:Kwik Kwak 73:Caribbean 6127:Fair use 6020:imitatio 6013:Diegesis 5837:Afflatus 5809:Anti-art 5796:concepts 5740:Citation 5704:Literary 5666:Pastiche 5651:Allusion 5635:concepts 5633:General 5559:Supercut 5345:Standard 5335:Sampling 5219:By field 5147:Glossary 5142:Rhetoric 4949:Diegesis 4929:Creative 4902:Thriller 4851:Southern 4769:Paranoid 4764:Nautical 4675:Vignette 4633:Gamebook 4601:Folklore 4508:Protasis 4387:Allegory 4332:Metaphor 4290:parallel 4285:universe 4265:Dystopia 4222:Suspense 4108:Dialogue 4096:Conflict 4004:Narrator 3976:Hamartia 3764:Archived 3733:, 2005, 3683:Archived 3657:Archived 3589:Archived 3308:Archived 3306:. 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