In the first chapter of The Bedford Reader, the techniques of narration and specific narratives are assessed. To begin, a definition of a narrative is clarified, “a narrative may be short or long, factual or imagined, as artless as a tale told in a locker room or as artful as a novel by Henry James” (40). The passages go in-depth into the process of storytelling, picking apart the importance of each piece, and allowing the reader to understand the simplicity of an essay, or in this case, a narrative. The passage evaluates a method of a summary with an analogy, “A summary is to a scene, then, as a simple stick figure is to a portrait in oils” (44). Simply stated, this means that a summary is as effective as a story written in complete and prolific detail. The Bedford Reader supplies the reader with examples and lectures to portray exactly what the detail of the narrative should include, and the purpose of the piece.…
• Takes into account both the sources of the documents and the authors’ points of view.…
|This module requires students to explore and analyse texts used in a | |affect the language and structure of texts. |…
To take things one aspect at a time, and to begin with the narrative structure. Whilst not exactly a key issue' of the story, the narrative structure can often inŸuence how those issues are revealed and detailed to readers, so still holds some relevance to the essay title. Chapter Six' overall structure is very similar to that of the story as a whole. It begins quietly, after the climax at the end of the previous chapter (as with the main part of The Turn of the Screw after the prologue, which creates a great deal of anticipation) and begins to increase in tension slowly throughout, with a slight lull in the middle, where the narrative becomes very reŸective and introspective, with the Governess writing her thoughts seemingly as they enter her head, creating a somewhat rambling, dense prose. Finally, when readers are least expecting it, the plot suddenly leaps into view once again, creating an exciting žnale ("Then I again shifted my eyes - I faced what I had to face.•) which leaves many plot threads open to interpretation (as with the žnal words of the žnal chapter, "Œand his little heart, dispossessed, had stopped.•) - Chapter Six is something of a microcosm of the rest of the story, at least in terms of the narrative structure.…
The text is about a man who describes the loss of a ship and its crew and his own discoveries. So the subject matter is the cognition of life and death. The story begins with the exposition. In this part of the text the narrator tries to persuade the reader that the story he is going to tell is true, and for this purpose the following stylistic devises are used.…
The first aspect I will talk about is fragmented or nonsense narrative. To me these terms are pretty self explanatory. Fragment narrative is a narrative given in bits and pieces, as opposed to a straightforward linear narrative. It also uses fragment and run on sentences, or to put it another way, tends to disregard a lot of syntactical and grammatical rules. Nonsense narrative most of the time falls under fragmented narrative too, it is a narrative that has no clear meaning, yet can have shades of meaning and ambiguous meaning. Nonsense narrative (and fragment narrative) is also characterized by a lack of coherence relative to writing in the modern period. The first example of the story I will use is in the very beginning. Directly under the title there is a small "paragraph" of fragment or nonsense narrative. I don't even really know what to call it and due to the capitalization of most of the words it seems to be an extended secondary title. It says, "Notes for an Essay for an English Class at Baldwin Country Day School; Poking Around in Debris; Disgust and Curiosity; A Revelation of the Meaning of Life; A Happy Ending (pg 522)." The reader is not sure what to make of this; it is in fragment form and at first glance may appear to have no meaning. As I read the story through again I began to think that this was the author talking about how she had found an essay in the trash at a school and she was basing this story on it. Later when I came…
[Sal89] G. Salton. Automatic Text Processing: The Transformation, Analysis, and Retrieval of Information by Computer. Addison-Wesley, Reading, MA, 1989.…
ENGLISH A1 – HIGHER LEVEL – PAPER 2 ANGLAIS A1 – NIVEAU SUPÉRIEUR – ÉPREUVE 2 INGLÉS A1 – NIVEL SUPERIOR – PRUEBA 2 Monday 14 November 2005 (morning) Lundi 14 novembre 2005 (matin) Lunes 14 de noviembre de 2005 (mañana) 2 hours / 2 heures / 2 horas INSTRUCTIONS TO CANDIDATES Do not open this examination paper until instructed to do so. Answer one essay question only. You must base your answer on at least two of the Part 3 works you have studied. You may include in your answer a discussion of a Part 2 work of the same genre if relevant. Answers which are not based on a discussion of at least two Part 3 works will not score high marks. INSTRUCTIONS DESTINÉES AUX CANDIDATS N’ouvrez pas cette épreuve avant d’y être autorisé(e). Traitez un seul sujet de composition. Vous devez baser votre réponse sur au moins deux des œuvres de la 3e partie que vous avez étudiées. Le cas échéant, vous pouvez inclure dans votre réponse une discussion sur une œuvre du même genre littéraire étudiée dans la 2e partie du programme. Les réponses qui ne sont pas basées sur au moins deux des œuvres de la 3e partie n’obtiendront pas une note élevée. INSTRUCCIONES PARA LOS ALUMNOS No abra esta prueba hasta que se lo autoricen. Elija un tema de redacción. Su respuesta deberá basarse en al menos dos de las obras estudiadas en la Parte 3. Se podrán hacer comentarios sobre una obra de la Parte 2 del mismo género, si fuera necesario. Las respuestas que no incluyan una discusión sobre al menos dos obras de la Parte 3 no recibirán notas altas.…
This text is written in a form of play. The style is informal, with elements of formal. There are such bookish words as “affrighted”, “unvoluntarily”, “reproof”, “enraptured”, “tranquil”, “confronting” and so on. Such words as “lad”, “shew”, “Aha!”, “eh” are informal. Also Author uses present tenses, all that to make us feel that we are the members of this conversation.…
This approach to text interpretation stems from the works of Russian linguists at the beginning of the XXth century L.V.Scherba (with his "explication du texte"), V.V.Vinogradov, M.M.Bakhtin, B.A.Larin.…
Nord, C. (1991). Text analysis in translation: Theory, methodology and didactic application of a model for translation-oriented text analysis.…
The linear organization of the text mentally prepares the reader for the consequential and logical development of ideas. The normal arrangement of the text both in form and content is based on its predictability which means that the appearance of any element in the text is prepared by the preceding arrangement and choice of elements, e. g. the subject of the sentence will normally be followed by the predicate.…
The story is told by a third person limited narrator, as it is only Ian’s thought that appears in the text. So reading this story Ian is our eyes and ears. Every description is given to us by his point of view, which means that the impression of the characters that we get is affected by what Ian’s thoughts of these people. The fact that the narrator is a limited narrator, also has the effect that Ian can only be described by his thoughts and the few dialogues that he has. The story is told in present tense and its progress is chronological. The language consists of a few comparisons as like a newborn child. The story is a short story which is also confirmed when reading it as it has a lot of the novel genre’s characteristics – there’s only four important persons in the story, there’s no long descriptions and flashbacks either. The story only covers a couple of hours. And as in fairytales it the short story has a frame. The story starts with Ian being home and having his wife Karen living at her mother’s house and his life is being all messed up, but then Michael comes knocking on his door and he brings him through a mental journey – Michael teaches him something. And in the end Ian is back and suddenly he has a brighter future – He is home, goes out and ends up home again but as a different guy.…
textual analysis shows the outline for the thesis. In this thesis you will be able to find out…
The main character, Lucy, tells the story, which means it’s a 1st person narrator. That means, that she can only see things from her own point of view, and can therefore only observe the other characters from the outside. At page 9 in the top, is an example: “Next day after school I went around the back of the supermarket and searched for a box in the yard.” In the sentence appears “I” and she explains about her own action. The narrator is very describing about every action she goes through, for example at page 9: “I was reaching over a clump of blackjacks to cut off their flowers and they’d scattered their tiny black spikes on my T-shirt and shorts when I spotted my first fame lily, its wavy sweptback petals bright red at the top and yellow at he bottom exactly as if it was on fire.”…