...Using Narrative Text in the Secondary Classroom Once upon a time, in a school, very much like your own, American History and all its contents were studied alongside tales of triumph, and defeat. In this history class, the students supplemented curriculum delivered through lectures and textbooks, with materials from sources such as diary entries, editorials, and historical fiction. This is an example of how narrative text can coexist with expository information found in content area classrooms in today's high schools. While the need for expository text is vital to the success of a student to understand the content (i.e., Social Studies) curriculum, narrative literature and various other texts are a great way to supplement the learner with information from which they can draw a better understanding of the state standards. Explained below is a definition of narrative literature, advantages and disadvantages of using narrative text in the high school Social Studies classroom, and five possible uses for using narrative texts in the high school classroom. Narrative Literature Narrative literature can be both fiction such as novels, as well as non-fictional works such as memoirs (Burke). Often, narrative literature includes many of the following: a plot, character, problems, and themes. In fictional work, one generally finds a setting, with a beginning, a reaction, and an ending (Roe, Stoodt-Hill, & P. C. Burns, 2004). Narrative literature can, and does exist on its own in...
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...serial arts such as music, dance,& film ( Humanities) * Happens in time * In order to receive it, we must be aware of what is happening now,remember what happened before anticipate what is to come. * A Work of Literature * A construction of separable elements like a structure. * The details of the scene , character or event/group of symbols can be conceived of as the bricks in the wall of literary structure. * If we miss one detail of the story,it would be incomplete comprehension for the readers. * The most important reason why we study literature is not about “what” but “How”.(Literature statement should be beyond peripheral) * Theme * Main idea of literary work is usually a structural decision,comparable to an architectural decisions. * consistency of the chosen theme/ex:”Native”/Filipino * Literary Terms 1. Symbol 2. Simile 3.Metaphor 4.Images 5.Diction 6.Denotation/Connotation * Literary Genres * are determined by literary technique, tone content & by critics’ definitions of the genres * a category , type or class Literature 1. Allegory : A narrative w/c litetal meaning corresponds clearly &...
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...http://www.cpcug.org/user/houser/advancedwebdesign/Tips_on_Writing_the_Case_Study.html HOW TO WRITE A CASE STUDY by Charles Warner There are two types of case studies: (1) factual ones depicting real organizations, people, and situations and (2) fictional ones that, although usually based loosely on actual people and events, do not use real organization's or people's names. The advantages of factual case studies are that they can provide a wealth of detail, give credibility to situations and problems, and, most important, provide real outcomes. Actual results give those who analyze a case real-world solutions: How did the organization or manager solve the problems? Did the solutions work? Although factual cases furnish concrete, not theoretical, solutions, they also have some drawbacks. Often students or case discussants get hung up debating the details of the case as they may remember them. Some discussants claim inside information or refer to later outcomes that bring the organization's solutions into question. When discussing factual cases, analysts tend to focus on the accuracy of the details rather than on the appropriateness of the solutions. Factual cases tend to become outdated as organizations, strategies, problems, and people change over time. Also, if a factual case portrays real organizations or people in a negative way, questions of taste, fairness, and even libel can arise. Finally, in a factual case writers must obviously stick to the facts...
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...other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...things, people, or places. The observable or "physical" is usually described in concrete language. Allegory—A narrative or description having a second meaning beneath the surface one. A story, fictional or nonfictional, in which characters, things, and events represent qualities or concepts. The interaction of these characters, things, events is meant to reveal an abstraction or a truth. These characters, etc. may be symbolic of the ideas referred to. Alliteration—The repetition at close intervals of initial identical consonant sounds. Allusion—An indirect reference to something (usually a literary text) with which the reader is expected to be familiar. Allusions are usually literary, historical, Biblical, or mythological. Ambiguity—An event or situation that may be interpreted in more than one way. Also, the manner of expression of such an event or situation may be ambiguous. Artful language may be ambiguous. Unintentional ambiguity is usually vagueness. Anachronism—Assignment of something to a time when it was not in existence, e.g., the watch Merlyn wore in The Once and Future King. Analogy—An analogy is a comparison to a directly parallel case. When a writer uses an analogy, he or she argues that a claim reasonable for one case is reasonable for the analogous case. Anecdote—A brief recounting of a relevant episode. Anecdotes are often inserted into fictional or nonfictional texts as a way of developing a point or injecting humor. Angst—A term used in existential...
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...because these factors contribute and influence an author’s point of view as well as each author’s unique voice and message depending on the time period. Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, is a slave narrative. The literary conventions of the slave narrative define the work. Slave narratives echo biblical stories that often reflect persecuted groups attempting to escape to freedom. Jacobs’s piece details her struggle to escape her master from sexual abuse. Vivanco (2003), “The process from sin to rebirth in spiritual autobiographies is paralleled by the process from slavery to freedom in slave narratives. Slaves experience a change from chattel, enduring suffering, to man or woman living in the Promised Land, the North,” (para. 5). Further distinction of the slave narrative is how authors shape the story, often chronologically. Slave narratives illustrate an author’s personal experience though many share common themes of extreme violence/abuse and racial prejudice. Slave narratives are essentially autobiography, which offer an author’s own experience for readers to find meaning. Jacobs’s female voice sheds light on issues affecting slave women; sexual abuse and losing children to death or slave trade particularly. Jacobs’s narrative is a prime example of how different slave women were treated as opposed to men. Both...
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...Essay #3: Creative Memory Word Range: 800 -1000 words. Double-spaced, 12-point Font, Times New Roman or similar. Creative Narrative Writing: Today, you become a story teller, a fiction writer, an author. You are going to tell a story from your past, but you are going to make it better. Your goal will be to make your readers believe in the truth of the story through the careful interplay of real and the almost real. Your goal will be verisimilitude. Veri =truth Similitude = likeness All stories that are worth reading, seeing, or hearing have truth-likeness. And that is what you will be going for. But you will not be able to just tell it exactly like it happened; you must fictionalize it. “One of the dangers of writing about something that really happened is an urge to stay too close to the literal truth. Because you don’t quite trust your memory of it, you come up with thin narrative and little texture, or with details or events the reader may find unconvincing… a recital of just the facts rarely adds up to a satisfying fictional truth.” – What If, Bernays and Painter Assignment: Write a narrative story about an important event in your past, but you will have to pad it with “satisfying fictional truth.” You will add to it, crafting its verisimilitude. Here are prompts to help you find your story: 1. Narrate any incident from your life in which you were forced by a role to suppress your true feelings. Describe the effect this suppression...
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...tDiscuss the ways the different institutions deal with the controversial topic of terrorism the films and explain why they might have chosen these characters/narratives/representations. In the film 'World Trade Center' we see terrorist attacks from the view point of the victims. It follows the day of two policemen who get trapped under rubble inside the collapsing twin towers. The representations the institutions use in this film show the victims of the terrorist attacks to be innocent, guilt-free and unfortunate. These characters are chosen so the audience can get an insight of what it would be like to be involved in 9/11, and also add realism as the film is based on true events. The characters in this film are represented as brave, as they risk their own lives to save others. The characters seen jumping out of the windows add realism to connote that they had no chance of survival. 'World Trade Center' deals with the controversial topic of the terrorist attacks by showing emotion through characters, and also real footage to show the realism, and make viewers cast their minds back to the day of the attacks. The narrative in this film is effective because it goes through what certain people involved in the terrorist attacks were feeling at each certain time, for example the families crying when they did not know about safety of the family members, then tears of joy at the end when they knew about their survival. This deals with the controversial subject because it gives...
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...Fiction, Between Inner Life and Collective Memory. A Methodological Reflection. François-Xavier Lavenne, Virginie Renard, François Tollet1 Introduction In the writing of their fictional works, novelists often have to reflect on the functioning of memory, for memory lies at the heart both of inner life and of human experience in general. It is indeed in the works of writers such as Marcel Proust or Jorge Luis Borges that the best exemplifications of the subjective experience of memory are to be found. However, from a strictly mnemonic point of view, literature provides more than a means of reflecting on memory: it is also the site of the rebirth and construction of individual and collective memories, which can then serve as a foundation for the writing of fictional works. Creative writing has a meiotic function and is as such a powerful tool capable of rescuing memories from oblivion and bringing them back to life, thus reconciling the past with the present. The present article seeks to bring to bear new perspectives on the relationship between a novelist’s personal memories, collective memory, and the fictional narratives partially inspired by these two types of memory. In the first section we briefly examine the distinction traditionally made between individual memory and collective memory, which we then try to reconcile so as to arrive at an approach to the mnemonic phenomenon that best fits the needs of literary scholars. In the second section we challenge the conventional...
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...long prose narrative that describes fictional characters and events, usually in the form of a sequential story. The genre has historical roots in antiquity and the fields ofmedieval and early modern romance and in the tradition of the novella. The latter, an Italian word used to describe short stories, supplied the present generic English term in the 18th century. Further definition of the genre is historically difficult. The construction of the narrative, theplot, the relation to reality, the characterization, and the use of language are usually discussed to show a novel's artistic merits. Most of these requirements were introduced to literary prose in the 16th and 17th centuries, in order to give fiction a justification outside the field of factual history. ------------------------------------------------- Definition[edit] Gerard ter Borch, young man reading a book c.1680, the format is that of a French period novel. | Madame de Pompadourspending her afternoon with a book, 1756 – religious and scientific reading has a differenticonography. | The fictional narrative, the novel's distinct "literary" prose, specific media requirements (the use of paper and print), a characteristic subject matter that creates intimacy, and length can be seen as features that developed with the Western (and modern) market of fiction. The separation of the field of literary fiction from the field of historical narrative fueled the evolution of these features in the last 400 years. A fictional narrative[edit] ...
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...can be left behind or deemed as an outcast. Gender roles seem to be the most common. From the day a child is born societal norms are placed on them. For example a young boy’s room will be probably be blue and filled with sports items, while a young girls room will be pink and be filled with dolls and a play kitchen set. These small details, along with expectations, begin to shape their role in society. “Barbie Q” by Sandra Cisneros is a perfect example of societal expectations. In this short story Cisneros introduces two young girls who are playing with their Barbie dolls. The girls go into great detail when describing their dolls and the outfits the dolls are wearing. One can conclude that the girls are poor when the main character tells the reader that they only have one outfit for their dolls. They even had to make a dress from a sock because they could not afford other outfits. This is further illustrated when the girls begin describing how they will play with the dolls. Everyday the two girls play out the same story with the two Barbies fighting over an invisible Ken doll. One day when walking through a market, the young girls discover a set of dolls that have been damaged by a fire in the toy warehouse. Although the dolls are not clean and still smell of smoke, the girls do not mind. As long as they can dress their Barbies with the outfits and continue to play...
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...In the 2008 short film “Sommersonntag” directors Fred Breinersdofer and Siegfried portray the fictional narrative of Bruno Hansen (Axel Prahl) and the accidental death of his deaf son Micha (Janos Giuranna), at an elevator bridge in Hamburg, where the main character Bruno Hansen works as a bridge operator. The film portrays the son's death and the ultimate choice the father has to make between saving the lives of train passengers approaching the bridge and that of his own son, as he is playing under the elevator bridge. The cinematographic techniques used to portray this fictional narrative add to the films depiction through its suspenseful close-ups, and switching from differing characters/ objects point of view, as the train approaches the bridge and from the point of view of the father's narration of the event. The aspect ratio of the short film is rectangular filmed in a ratio of 2:3 and is filmed in normal (real time) speed. The onscreen and offscreen space is manipulated from the very beginning of the short film hiding the actual location of the father. The film opens with a close up of the father in a suit and tie, not revealing his location and going through the corse of events that led hid here to this point. It only reveals later through a widening of the shot that he is in a graveyard, recounting the way in which his son was killed. The film makes use of long shots through close ups to give the viewer a feeling of suspense, the scope/ mechanism of the machinery...
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...speak as humans; legendary, supernatural tale * Fairy tale – story about fairies or other magical creatures, usually for children * Fantasy – fiction with strange or other worldly settings or characters; fiction which invites suspension of reality * Fiction narrative – literary works whose content is produced by the imagination and is not necessarily based on fact * Fiction in verse – full-length novels with plot, subplot(s), theme(s), major and minor characters, in which the narrative is presented in (usually blank) verse form * Folklore – the songs, stories, myths, and proverbs of a people or "folk" as handed down by word of mouth * Historical fiction – story with fictional characters and events in a historical setting * Horror – fiction in which events evoke a feeling of dread and sometimes fear in both the characters and the reader * Humor – Usually a fiction full of fun, fancy, and excitement, meant to entertain and sometimes cause intended laughter; but can be contained in all genres * Legend – story, sometimes of a national or folk hero, that has a basis in fact but also includes imaginative material * Mystery – fiction dealing with the solution of a crime or the unraveling of secrets * Mythology – legend or traditional narrative, often based in part on historical events, that reveals human behavior and natural phenomena by its symbolism; often pertaining to the actions of the gods * Poetry – verse and rhythmic writing with...
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...interests were not of major importance to Rackham either, as Defoe states Rackham was quick to “make courtship to her (Anne Bonney) (165),” once he was able to woo her away from her husband. The lack of heartfelt relationships were clearly mutual in this matter as Bonney is later recorded as telling Rackham before his hanging “that she was sorry to see him there, but if he had fought like a man, he need not have been hang’d like a Dog (165).” While harsh, and short in nature, these love interests in Defoe’s historically accurate pirate narratives, stand out as the only examples of such romanticism in the entire text. Much of the rest of the pirate narratives, be it of Rackham or Blackbeard, are filled with tales of bloodshed and cruelness on the part of the buccaneers, creating characters who are hardly worth rooting for from the audiences standpoint. Conversely works ranging from the early 19th century poem The Corsair, to Captain Blood, the fictional pirates that emerged after the Golden age of piracy are richly involved with their love interests. In fact quite often these love interests are the defining principles of the pirate, which serve to create...
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...http://en.wikipedia.org/wiki/Novel A novel is a long narrative that is normally in prose, which describes fictional characters and events, usually in the form of a sequential story. While Ian Watt in The Rise of the Novel (1957) suggests that the novel came into being in the early 18th century, the genre has also been described as having "a continuous and comprehensive history of about two thousand years",[1] with historical roots in Classical Greece and Rome, medieval, early modern romance, and in the tradition of the novella. The latter, an Italian word used to describe short stories, supplied the present generic English term in the 18th century. Miguel de Cervantes, author of Don Quixote, is frequently cited as the first significant European novelist of the modern era; the first part of Don Quixote was published in 1605.[2] While a more precise definition of the genre is difficult, the main elements that critics discuss are: how the narrative, and especially the plot, is constructed, the themes, settings, and characterization, how language is used, and the way that plot, character, and setting relate to reality. The romance is a related long prose narrative. Walter Scott defined it as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents", whereas in the novel "the events are accommodated to the ordinary train of human events and the modern state of society".[3] However, many romances, including the historical...
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