Table of contents 1. Introduction………………………………………………………………...................2 2. Analysis of narrative form………………………………………………………...…3 3. Narrative form in Margaret Laurence’s A Bird in the House………………….…4 4. Vanessa’s growing awareness………………………………………………………..7 1. Vanessa’s stories and their contribution to her growing awareness……….….9 2. Vanessa’s growing awareness illustrated in selected scenes ………………….10 5. Conclusion……………………………………………………………………….…
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In 1986‚ Susan S. Lanser published “Toward a Feminist Narratology” on “style”-a journal in U.S.A. and used the concept of feminist narratology for the first time. In this influential article‚ she argued that the texts which push classical narratology are all written by male writers. Therefore‚ if the texts of female writers and the experiences of female readers were put into consideration‚ narratology‚ and even the entire literary history will be rewritten. She thought most of the abstract concept
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Porter Institute for Poetics and Semiotics Analysis and Interpretation of the Realist Text: A Pluralistic Approach to Ernest Hemingway’s "Cat in the Rain" Author(s): David Lodge Source: Poetics Today‚ Vol. 1‚ No. 4‚ Narratology II: The Fictional Text and the Reader (Summer‚ 1980)‚ pp. 5-22 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/1771885 . Accessed: 14/03/2011 05:14 Your use of the JSTOR archive indicates your acceptance of JSTOR’s Terms and Conditions of Use‚
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Narrators in Film and Novel In this chapter‚ Stam introduces the different styles of narrators in Novel. According to him‚ they vary from the first-person report-narrator to the multiple letter writers of epistolary novels‚ to outside-observer narrators of reflexive novels like Don Quixote and Tom Jones‚ to the once intimate and impersonal narrator of Madame Bovary‚ to the “stream-of-consciousness” narrators‚ on to the intensely objective/subjective obsessional narrators of Robbe-Grillet. What
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FIRSTPHE?SSN Design Game as Narrative Architecture Henry Jenkins The relationship betweengamesand story remainsa divisivequestionamong game fans‚designers‚ and alike. a recentacademic scholars At GamesStudies conference‚ example‚ blood feud threatenedto for a erupt betweent}e self-proclaimed ludologists‚ who wanted to seethe focus shift onto the mechanics of game play‚and the narratologists‚ who were interested in studyinggamesalongside other storytellingmedia.r Considersomerecentstatementsmadeon
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Toni Morrison’s A Mercy Toni Morrison’s A Mercy: Critical Approaches Edited by Shirley A. Stave and Justine Tally Toni Morrison’s A Mercy: Critical Approaches‚ Edited by Shirley A. Stave and Justine Tally This book first published 2011 Cambridge Scholars Publishing 12 Back Chapman Street‚ Newcastle upon Tyne‚ NE6 2XX‚ UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2011 by Shirley A. Stave and
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What do you learn about the narrator? The narrator is a young primary school boy named Ort. Ort lacks knowledge and education‚ as we can identify through the colloquial language of the text with phrases such as ‘orrright’ and ‘seeyaz’. Ort’s choice of words and behavior towards his mother as she tells him to hop on inside’ contrasts his childhood innocence‚ although a slight level of maturity is released when Ort quotes “stubbed toes are something you have to live with in this life” which are
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and Interactivity Met with Cinema "The movie‚ by sheer speeding up the mechanical‚ carried us from the world of sequence and connections into the world of creative configuration and structure. The message of the movie medium is that of transition from linear connections to configurations." (McLuhan‚ 1994‚ p.12) On August 19‚ 1839‚ Louis Daguerre‚ who was already known for his diorama‚ introduced the new process of "daguerreotype". With this process‚ some lucky amateurs‚ for the first time became
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The Bias of Roots and Culture Discussing roots and culture is often a very subjective topic. Quite often‚ the same story is interpreted entirely differently‚ depending on who is telling the story. This principle is also true in fictional works. A narrator will bring his/her own perspective and biases into the events that he or she is telling about. In Raymond Carver’s Cathedral‚ the first-person narrator has several biases that are used to reveal character. This first-person narrator has both
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How does Coleridge begin telling the story in Part 1? In the first line of this poem‚ we meet the protagonist‚ “The Ancient Mariner”‚ who manages to get hold of one of the guests to the wedding that he is attending in order to tell him the story of his journey on a “bright” and “cold” day. Against the will of the wedding guest‚ the Ancient Mariner spends the remainder of Part 1 describing his tale in detail; which eventually leads to the shooting of a magnificent and supposedly good omen of an
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