Q1. LISTS AND NARRATIVE
In order for a list to become a coherent narrative, each item, person, time or place on the list must connect to the item before and after in some way. The interactions can be in many different ways, such as a phone book is in alphabetical order, however without a meaning behind the list, there is no text or context to the narrative. Without a context a text will always be just a list and not a narrative. However by giving more details about the list and giving the readers cues to connect the items or events can change a text list into a narrative.
Poststructuralism stresses that the meaning found in text is different for everybody as everyone brings their previous readings and understandings to the text. Under this
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Literary meaning in narrative, to me, can be anything in a text that moves the reader. Similar to Barthes punctum idea, that a small detail, can elicit an intense, sudden emotional response; a small change in the narrative could alter when a response is triggered, causing the reader to leave the text with a different understanding of the text and its meaning than previously read.
The meaning can be different depending on the time it’s read, who reads it, or even the place it’s read. Whether it’s the readers first time reading the narrative, their twentieth time, or they are the author coming back to revisit and edit before finishing the work; each reader when reading a narrative brings his or her own views and understandings to the text. Therefore texts develop intertextuality and can have a new and different meaning for each reader. Intertextuality also causes the meaning taken from a text to change when it is put into contact with other texts the reader has previously read and will eventually encounter. This also causes the texts meaning to constantly change as new texts are encountered. Along with intertextuality, hypertextuality can effect how meaning is found in a text. Hypertextuality refers to any relationship uniting a text to an earlier edition of that text. Because of this intertextuality and hypertextuality, even when an author or creator has finished the work to the best of their abilities, the work will never be “complete” as every new reader will bring a new point of view and ideas of what the meaning of the text truly
In every short story there is always a deeper meaning to the literature work, any author wants to communicate a multi-layered idea, to their readers, they wants their readers to connect to the short story that they are telling. The authors of these types of literature writings are able to take their readers on a journey within their writings. When a person reads these literary works, they begin to unravel and interpret the symbolic nature of the character’s journey throughout the short story. Also, the journey is
...s sometimes they have a very set meaning to what that story is supposed to be about and sometimes they don’t but in almost every case you can read further into what they are saying by just paying attention to how it makes you feel as you read it.
According to Laurence Perrine in his seventh edition of Literature: Structure, Sound and Sense he states the definition of interpretive literature is 'Literature written to deepen and broaden and sharpen our awareness of life.'; Interpretive literature is not candy coated. It allows its readers to experience the trials and tribulations of life. By using graphically realistic plots and endings, which are consistent to those in real life, interpretive literature achieves a higher literary value than escape literature. Interpretive literature allows its reader too step out of the fantasy world they might be living in and focus on what the world is really about. One might say an interpretive story provides insight to understanding. Not only understanding of ourselves, but our neighbors, friends, family or anyone else we might encounter.
The literary device, author’s voice, affects the meaning of a text in almost everything you read. This is especially true for the classic book Night as well as the short story “ A Spring Morning”. Some of the examples of when text is affected by the author’s voice include: when the author is foreshadowing, when the author is writing about someone is being told to obey what another person is saying, and when the author is writing about a loved one dying.
Through vivid yet subtle symbols, the author weaves a complex web with which to showcase the narrator's oppressive upbringing. Two literary critics whose methods/theories allow us to better comprehend Viramontes. message are Jonathan Culler and Stephen Greenblatt. Culler points out that we read literature differently than we read anything else. According to the intertextual theory of how people read literature, readers make assumptions (based on details) that they would not make in real life.
“There isn’t any particular relationship between all the messages, except that the author has chosen them carefully, so that,when seen all at once, they produce an image of life that is beautiful and suprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.”
1. Growing up we all heard stories. Different types of stories, some so realistic, we cling onto them farther into our lives. Stories let us see and even feel the world in different prespectives, and this is becuase of the writter or story teller. We learn, survive and entertain our selves using past experiences, which are in present shared as stories. This is why Roger Rosenblatt said, "We are a narrative species."
A narrative is specified to amuse, to attract, and grasp a reader’s attention. The types of narratives are fictitious, real or unification or both. However, they may consist of folk tale stories, mysteries, science fiction; romances, horror stories, adventure stories, fables, myths and legends, historical narratives, ballads, slice of life, and personal experience (“Narrative,” 2008). Therefore, narrative text has five shared elements. These are setting, characters, plot, theme, and vocabulary (“Narrative and Informational Text,” 2008). Narrative literature is originally written to communicate a story. Therefore, narrative literature that is written in an excellent way will have conflicts and can discuss shared aspects of human occurrence.
Classically, the literary canon has been exclusive to certain types of authors, while excluding female, South American, African, Asian, gay, Native American, and other non-white male groups. Also, due to cultural and moral values of certain time periods, some works weren't considered that possibly would today. Basically the literary canon is at best an incomplete list of remarkable literature, making it somewhat less valuable than it could be. The element that makes the literary canon useful is the same element that makes every other example of good writing useful: it exposes the reader to different styles, themes, techniques, and verbiage, thus enlarging the reader's literary
In conclusion, it is hard to grasp the true meaning of the story unless the story is read a second time because of the author's style of writing.
A successful descriptive narrative displays the necessary information for a reader to explain or develop speculations within the material. Narrating the text of a story, told through one or more narrators, allows the audience to connect with the feelings of the narrator. A description includes imagery for the audience’s recognition. Furthermore, descriptive narratives have a purpose and are there for a reason. “Shooting an Elephant” and “The Lottery” are both descriptive narratives. Descriptive narratives show a clearer understanding of the passage; therefore, the stronger text is “Shooting an Elephant” because of its detail and the plot’s conflict.
Since the beginning of time, stories have been told. Stories have been passed down from the beginning of time, told to younger generations by the old. Every story is based on one original story, however, the author has to create a new storyline with new character, sometimes adding a new, exciting aspect to the plot. There are only a limited number of stories that can be told, as there are only a limited number of messages, or key elements that a reader can take away from each story. After a while, a reader will begin to relate a book, movie, song, or some other kind of story, to a work that they have previously read.
One area in which the possibility of the existence of more than one meaning or interpretation creates tension is literature. "Intention, text, context, reader – what determines meaning? Now the very fact that arguments are made for all four factors shows that meaning is complex and elusive, not something once and f...
Songs, texts and games have obvious differences, all resulting from the distinctive nature of these mediums. The first is heard, the second read and the third is played. Different senses are used in absorbing these mediums which results in differing interpretations. A text only has the ability of describing a scenario or a view. There are immediate problems with this though as not all words and sentences are discerned similarly by everyone. This together with each readers own imagination results in a wide array of different constructions and interpretations of texts. A book forces the use of imagination in the construction of a scene no matter how descriptive it is, even a book like Brothers Karamazov where Dostoyevsky goes to great lengths in building up the scenes with detailed descriptions.
to the story as a whole. It has a lot of metaphors and similes that