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By Dorothy E. Zemach, Lisa A. Rumisek

University Writing: Teacher's e-book

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16. Η struggle Hero and villain join in direct combat. 17. J I branding Hero is branded. 18. victory Villain is defeated. 19. Κ liquidation Initial misfortune or lack is liquidated. 20. 1 return Hero returns. 21. ΡΓ pursuit, chase Hero is pursued. 22. Rs rescue Hero is rescued from pursuit. 23. Ο unrecognized arrival Hero, unrecognized, arrives home or elsewhere. 24. L unfounded claims False hero presents unfounded claims. 25. Μ difficult task Difficult task is proposed to hero. 26. Ν solution Task is resolved.

Aristotle distinguishes between simple plots and complex plots. Simple plots involve changes of fortune without reversals or recognition by the major characters as to what has happened. Complex plots involve changes of fortune with reversals or recognitions, or both. By "recognition," Aristotle means "a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune" (p. 39). The best plots have both reversals and recognition and involve changes of fortune from good to bad that arouse both fear and pity.

There is a ladder of abstraction involved in this analysis. On the bottom level we have all the texts (all the comic books, novels, television shows, films, and so on) that are found in the world. On the next higher level, we find genres—our classification system for texts. And on the highest level we have narrative theory, which covers everything below it. 1. Let's take television, for example, as the source of narrative texts. We find a huge number of different genres in this medium, including commercials, news shows, documentaries, situation comedies, action-adventure shows, science-fiction programs, soap operas, talk shows, detective stories, hospital shows, religious programs, and sporting events.

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