8.6 KiB
#hs/lit
Relation Tree
stateDiagram-v2
direction LR
classDef category fill:blue,color:white
state "Literary Devices" as s1
s1 --> Character
s1 --> Setting
plot: Plot/Strucutre
s1 --> plot
s1 --> Narration
state "Figurative Elements" as s2
s1 --> s2
%% Character
Character --> Emotive
Character --> Characterization
state "Character Types" as s3
Character --> s3
s3 --> Foil Character
s3 --> Round Character
s3 --> Flat Character
s3 --> Static Character
s3 --> Dynamic Character
%% Setting
s6: Temporal Setting
Setting --> s6
s5: Social/Cultural Setting
Setting --> s5
s4: Physical Setting
Setting --> s4
%% Plot/Structure
s11: In Medias Res
plot --> s11
s7: Frame Story
plot --> s7
s8: Anti-climax
Structure --> s8
plot --> Flashback
plot --> Foreshadowing
plot --> Resolution/Denouement
Structure --> Nonlinear
plot --> Conflict
s10: Internal Conflict
Conflict --> s10
s9: External Conflict
Conflict --> s9
Structure --> Linear
plot --> Structure
%% Narration
s12: Narrative Diction
Narration --> s12
s13: Narrative Perspective
Narration --> s13
s14: Narrative Voice
Narration --> s14
s15: Narrator
Narration --> s15
s16: Narrative Point of View
Narration --> s16
s17: Omniscient
s15 --> s17
s18: Third-person Limited
s16 --> s18
s19: Objective/Neutral
s15 --> s19
s20: First-person
s16 --> s20
s21: Epistolary
Narration --> s21
%% Figurative elements
s2 --> Irony
s22: Verbal Irony
Irony --> s22
s24: Dramatic Irony
Irony --> s24
s23: Situational Irony
Irony --> s23
s2 --> Colloquial
s2 --> Digression
s2 --> Allusion
s2 --> Connotation
s2 --> Ambiguity
s2 --> Tone
s26: Figurative Language
s2 --> s26
s26 --> Imagery
s26 --> Symbolism
s25: Extended Metaphor
s26 --> s25
s2 --> Juxtaposition
class s1, Character, Setting, plot, Narration, s2, s3, Structure, Irony category
Devices to Focus On
(not necessarily in order)
- Emotive
- Expressing feeling or emotion, relating to emotion.
- Temporal Setting
- This is the time in which something takes place as opposed to physical setting.
- Social/Cultural Setting
- Context relating to cultural norms, ideas
- Narrative Diction
- Linguistic choices made by the author to develop a narrative throughout a novel.
- Verbal Irony
- When a speaker says one thing but really means the opposite to indicate humor, sarcasm, or persuasion.
- Colloquial
- Language used in regular conversation, not formal or literary.
- Digression
- A short departure from the main topic of the story or writing.
- Foreshadowing
- Describing or alluding to events in the future that have not occurred yet.
Devices
Temporal Setting
Claim
Gabriel Garcia Marquez intentionally creates ambiguity in the temporal setting of One Hundred Years of Solitude in order to enhance the magical tone and feel of the novel and convey the complicated nature of historical records.
Quotes
"When the pirate Sir Francis Drake attacked Riohacha in sixteenth century, Ursula Iguaran's great-great-grandmother became so frightened with the ringing of alarm bells" (pg. 21)
"Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice." (pg. 1)
"Many years later Colonel Aureliano Buendia crossed the region again, when it was already a regular mail route, and the only part of the ship he found was its burned-out frame in the midst of a field of poppies. Only then, convinced that the story had not been some product of his father's imagination, did he wonder how the galleon had been able to get inland to that spot." (pg. 13)
Social/Cultural Setting
Claim
Gabriel Garcia Marquez contrasts the cultural setting of the value of community in certain parts of the novel with the lack of in other parts to reveal the impacts of innovation and progress on family and community.
Quotes
"Ursula admitted him grudgingly, conquered once more by the obstinacy of her husband, who could not tolerate the idea that an offshoot of his blood should be adrift" (pg. 42)
"The gypsy was inclined to stay in the town. He really had been through death, but he had returned because he could not bear the solitude." (pg. 54)
"Several months later saw the return of Francisco the Man, an ancient vagabond who was almost two hundred years old and who frequently passed through Macondo distributing songs that he composed himself." (pg. 55)
"In this town we do not give orders with pieces of paper,' he said without losing his calm. 'And so that you know it once and for all, we don't need any judges here because there's nothing that needs judging." (pg. 61)
"Jose Arcadio Buendia, who was the most enterprising man ever to be seen in the village, had set up the placement of the houses in such a way that from all of them one could reach the river and draw water with the same effort, and he had lined up the streets with such good sense that no house got more sun than another during the hot time of day." (pg. 9)
"Aureliano Segundo had come across him by chance as he protested in broken Spanish because there were no rooms at the Hotel Jacob, and as he frequently did with strangers, he took him home." (pg. 243)
Narrative Diction
Claim
Gabriel Garcia Marquez uses intentionally mysterious language when describing certain concepts such as death or relationships in On Hundred Years of Solitude to emphasize to the reader their complexity and ambiguity within the novel.
Quotes
"She had found peace in that house where memories materialized through the strength of implacable evocation and walked like human beings through the cloistered rooms." (pg. 172)
"Fernanda, on the other hand, looked for it in vain along the paths of her everyday itinerary without knowing that the search for lost things is hindered by routine habits and that is why it is so difficult to find them. (pg. 265)
Verbal Irony
Claim
Verbal irony in One Hundred Years of Solitude is used to give depth to the characters in the Buendia family and develop the relationships they have with each other.
Quotes
"That's all we need,' he muttered. 'A Pope!" (pg. 271)
Colloquial
Claim
Gabriel Garcia Marquez often uses colloquial language to describe events in One Hundred Years of Solitude to emphasize the ordinary nature of the Buendia family even within a narrative of extraordinary events.
Quotes
"But the lucidity of her old age allowed her to see, and she said so many times, that the cries of children in their mothers' wombs are not announcements of ventriloquism or a faculty for prophecy but an unmistakable sign of an incapacity for love." (pg. 267)
Digression
Claim
In the book One Hundred Years of Solitude, digressions are used to provide important context to the reader and reveal the cyclical, branching and complicated nature of the Buendia family line.
Quotes
"Only after the death of Amaranta, when the family shut itself up again in a period of mourning, was Meme able to lock the clavichord and forget the key in some dresser drawer without Fernanda's being annoyed on finding out when and through whose fault it had been lost." (pg 290)
Emotive
Claim
Gabriel Garcia Marquez uses emotive language when describing the actions of characters in One Hundred Years of Solitude to emphasize the similarities they share by being Buendias as well as what makes them unique.
Quotes
"Every time they passed the run-down house she would tell her about an unpleasant incident, a tale of hate, trying in that way to make her extended rancor be shared by her niece and consequently prolonged beyond death" (pg. 236)
"Ursula felt tormented by grave doubts concerning the effectiveness of the methods with which she had molded the spirit of the languid apprentice Supreme Pontiff" (pg. 263)
"in the depths of her withered heart a clean rancor flourished, purified by time" (pg. 195)
Foreshadowing
Claim
Gabriel Garcia Marquez extensively uses foreshadowing to emphasize the complicated nature of the Buendia family timeline and extensively connect different characters and events within this novel across temporal setting.
Quotes
"Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice." (pg. 1)
"The only thing that she did not keep in mind in her fearsome plan was that in spite of her pleas to God she might die before Rebeca. That was, in fact, what happened." (pg. 299)