According to Vladamir Propp, which "sphere of action" (which 'change' agent in the story) restores narrative equilibrium?

•  A. the helper
•  B. the donor
•  C. the villain
•  D. the hero

Catharsis is defined as "The expression and release of emotions by audiences at the beginning of a story"

•  A. True
•  B. False

Which one of the following is NOT one of the 7 "rhetoric's" of play?

•  A. Progress
•  B. Frivolity
•  C. Power
•  D. Identity
•  E. Gamification

According to the textbook, which stage of the hero's journey is NOT a part of the "Initiation" section?

•  A. The ultimate boon
•  B. The meeting with the goddess
•  C. The magic flight
•  D. The road of trials

Stories with a focus on the hero support a typical American ideology of collective power, rather than acknowledging the importance of the individual.

•  A. False
•  B. True

 

I mentioned that recognizing the power of stories to communicate is to suggest that our emotions and passions are the pathway to persuasion. This highlights which artistic proof when it comes to the rhetorical impact of stories?

•  A. Logos
•  B. Ethos
•  C. Mythos
•  D. Pathos

 

 

Which of the following terms refers to the study of structures (as in "story structures")?

•  A. Metonymy
•  B. Monomyth
•  C. Mythos
•  D. Morphology

When discussing "story appeal" and advertisements, I mentioned the ongoing importance of which rhetorical device, useful for forging a connection with the audience and requiring the audience to engage with the story and seek out more information?

•  A. Self-persuasion
•  B. Intensification
•  C. Peripheral route of information processing
•  D. Enthymemes

Media narratives can be seen as forms of contemporary myths.

•  A. True
•  B. False

According to the textbook, which of the following statements is true?

•  A. Stories construct human value systems (ideologies).
•  B. Human value systems (ideologies) construct stories.

 

 

Which of the following is NOT a required element of transmedia content in a "new media" environment?

•  A. the re-molding and re-contextualizing of texts, users, and practices as they circulate across media
•  B. the generation of digital data, which is strategically deployed by the industry to reproduce and lubricate the process of transmedia circulation
•  C. the dissemination of important elements of a fictional narrative through various media to promote a unified and coordinated entertainment experience across all these channels
•  D. texts, users, and their practices moving across multiple media devices and platforms

 

 

Which one of the following responses to a fictional text is understood as having a strong or enduring impact?

•  A. Plaisir
•  B. jouissance
•  C. scopophilia
•  D. puissance