ALICE MUNRO’S THE ALBANIAN VIRGIN IN OPEN SECRETS EXEMPLIES HER CHARACTERISTIC APPROACH To try to trace Alice Munro’s narrative techniques to any particular development in the short story The Albanian Virgin would be difficult. This could be because it is simply written from careful observations as are many of her other short stories. In her short stories‚ it is as though she tries to transform a common‚ ordinary world into something that is unsettling and mysterious as was seen in Vandals
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(in Lahiri and/or Chehade); the role of trauma in the immigrant narratives (in Lahiri and/or Chehade); the place of literature in the immigrant narrative (in Lahiri; Ashoke’s obsession with Nikolai Gogol); intersections between Gogol’s The Overcoat and Lahiri’s The Namesake (common themes‚ the question of “finding oneself‚” finding one’s subjectivity); the construction of the immigrant‚ racial “Other” in the immigrant narratives (in Lahiri and/or Chehade); the problem of naming in Lahiri’s
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the narrative‚ procedural‚ behavioral‚ and expository discourse types‚ The Velveteen Rabbit is undeniably a narrative discourse in surface and notional structure. The plot or notional structure of the story provides insights into what one would imagine is a toy’s ultimate dream of being loved and becoming real. The story begins with the phrase‚ "There was once a velveteen rabbit‚ and in the beginning he was really splendid." This sentence is an example of a formulaic aperture. This narrative discourse
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and situations. -More than biography and autobiography‚ a social and historical study‚ or even a sequence of narratives. Feathers from a Thousand Li Away - The story of the swan introduces the tone of regret which underlies the several stories of dispossession and failure of belonging both culturally and in relationships. -Irony to the title too - there is little joy in these narratives and much depends on fate which is more than not unlucky in its effects on humans - The old woman’s desire to
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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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