1.4 Werlich’s textual typology……………………………………….….... 1.5 Biber’s text type………………………………………………………. Chapter 2.Text Forms………………………………………………………….... 2.1 The descriptive text form…………………………………………….... 2.2 The narrative text form………………………………………………… 2.3 The expository text form………………………………………...…….. 2.4 The argumentative text form…………………………………………… 2.5 The instructive text form …………………………………………….… Chapter 3.The directive-instructive text-type………………………………
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TYPE OF TEXT: Prose Fiction TITLE: The Story of Tom Brennan AUTHOR: J C Burke COURSE: Standard MODULE: Module C: Texts and Society Module C: Texts and Society This module requires students to explore and analyse texts used in a specific situation. It assists students’ understanding of the ways that texts communicate information‚ ideas‚ bodies of knowledge‚ attitudes and belief systems in ways particular to specific areas of society. Electives in this module are designed around a specific
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COM 3703 MEDIA STUDIES: MEDIA CONTENT AND MEDIA AUDIENCES SEMESTER 2‚ 2013 PORTFOLIO TABLE OF CONTENTS PAGE 1. INTRODUCTION 3 2. COMMUNICATION AND MEDIA SEMIOTICS 3 3. TEXTUAL ANALYSIS 3 4. NARRATIVE ANALYSIS 5 5. MEDIA AND VISUAL LITERACY 7 6. MEDIA‚LANGUAGE AND DISCOURSE 8 7. CONCLUSION 10 8. SOURCES CONSULTED 10 9. SELF ASSESSMENT 10 10. ADDEDUM A 11. ADDENDUM B 12. ADDENDUM C 13. ADDENDUM D 14. ADDENDUM E 1. INTRODUCTION
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Julie Selbo has described the importance of narrative to the screenwriter‚ film executives and the audience. However‚ if a genre does not follow the expected formula this can be stimulating for the audience. Though for the change to be interesting‚ the audience first needs to know the conventions of the genre that have been transformed. Mixing genres gives the screenwriter the opportunity to vary the narrative in‚ for example‚ surprising or novel ways. There is also the choice for the screenwriter
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story and how they became ultimately formed by Miss Brodie’s ‘elusive’ (11) prime in The Prime of Miss Jean Brodie (1961). Also‚ the other necessary decision for the novelist to make is the one of characterisation because characters are what fuel a narrative and using a certain character can be a way for an author to comment upon the problems of the world. For instance‚ the prominent characters of The Great Gatsby (1925) revolve around the ‘gorgeous’ (Fitzgerald 8) Jay Gatsby‚ and the ‘flower-like’ (26)
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account of her life‚ from her journey to Russia to just before the death of Empress Elizabeth. It would be easy to have reservations about Catherine’s account of events because it would necessarily be biased in her favor‚ but I sympathize with her narrative more than I see reason to doubt its overall validity. I believe her because I do not think it would be in her nature to ask for pity‚ or to do something like construct a story of fictitious enemies in the Russian court and a false atrocious personality
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Theme Of The Traitor And The Hero "That history should have imitated history was already sufficiently astonishing; that history should imitate literature is inconceivable. . . ." Plot Summary & Historical Background: Settings - The Narrative is set in Ireland in 1824. However Borges is only using this as an example. He says " The action takes place in a oppressed and tenacious country: Poland‚ Ireland‚ The Venetian Republic‚ some South American or Balkan state". This universalises the story of
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self-awareness also shows that he is caught between two worlds—between childhood and adulthood‚ and between the lawful‚ rational world and the lawless pirate world. Jim’s story is therefore not merely a fanciful adventure tale but also a narrative about growing up. Jim’s narrative of his heroic acts is valuable because he records them modestly‚ giving us an insider view of heroism that is not very glamorous. Jim is not arrogant‚ but instead is humbled by his mistakes and successes. He takes full responsibility
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director’s extensive use of reminiscences and his drastic manipulation of plot time‚ although regarded as ordinary now‚ were considered almost “traumatic” for the age‚ since they disrupted the conventional linearity expected of classical Hollywood’s narratives. In order to accustom audiences to this new storytelling device‚ Welles introduced flashback sequences in the plot through well calibrated dissolve techniques and wipe transitions. It is also interesting to notice that‚ as Bordwell and Thompson
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................... 1 Shirley A. Stave and Justine Tally Part I: Racially Constructed Space in A Mercy Chapter I ...................................................................................................... 9 Eco-Critical Focal Points: Narrative Structure and Environmentalist Perspectives in Morrison’s A Mercy James Braxton Peterson Chapter II................................................................................................... 23 The Politics of “Home” in A Mercy Anissa Wardi
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