The rhetorical components of the gaze may then be the fundamentals of narrative discourse like abstract, orientation, complicating action, evaluation, resolution and coda of the six abstract determiners the category of event or situation constituting a focusing procedure. As a result, an audience’s interest is stimulated and the tool of gaze evokes either implicitly or explicitly a sense of reciprocity. Orientation can be better named as ‘eventuality’whereby the characters involved in the story are vividly projected on the fictive screen as thinking and feeling subjects or objects. Complicating action propels the character to move on with a belief that his life was all sunny in days to come. Evaluation foregrounds an action or events that the events or the subjects may be dangerous, weird, wild, crazy or amusing with …show more content…
Results or resolution posits the fact that people in situations of unusual conflicts and stress intend to move out of the unexpected, uncertain and unintelligible aspects of life. In doing so coda surfaces as tellability index or a measure by which the ‘degree’of such unusual situation may be gauged. It also constitutes the overall efficacy of the narrative and the appropriateness of the techniques employed. It is through this that both the teller and receiver make a grasp of tellability. Gaze can be a reflecting mirror for both the perceiving and the narrating agents. The so called point of view tradition mixes the figure of one who perceives with one who narrates. Norman Fragment popularized these terms often used outside the discipline of narratology such as omniscient narrator and eye-witness. The eye-witness
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
This photograph, taken in 1967 in the heart of the Vietnam War Protests, depicts different ideologies about how problems can be solved. In the picture, which narrowly missed winning the Pulitzer Prize, a teen is seen poking carnations into the barrels of guns held by members of the US National Guard. This moment, captured by photographer Bernie Boston symbolizes the flower power movement. Flower power is a phrase that referred to the hippie notion of “make love not war”, and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars. The photograph can be analyzed through the elements of image as defined by ‘The Little Brown Handbook’ on page 86. There are a total of nine elements that contribute to the communicative quality of an image. The message that this particular image tries to convey is the strong sense of way that conflict should be handled; by way of guns or by way of flowers. The ‘way of guns’ is violence and excessive force which heavily contradicts the ‘way of flowers’ which is a more peaceful and diplomatic way of handling conflict or disagreement. This photograph depicts these ideologies through its use of emphasis, narration,point of view, arrangement, color, characterization, context and tension.
In contrast, syntax provides a new perspective to the narrator s behavior as sentence structure draws attention to her erratic behavior. By her last entry, the narrator s sentences have become short and simple. Paragraphs 227 through 238 contain few adjectives resulting in limited descriptions yet her short sentences emphasize her actions providing plenty of imagery. The syntax quickly pulls the reader through the end as the narrator reaches an end to her madness.
The objective point of view is extremely difficult to write in because the narrator is only allowed to say what is seen and heard. The narrator is prohibited from commenting, interpreting, or entering a character's
Staring involves an interesting conflict. It is an impulse giving us all the potential to be the starers as well as the starees and it is a natural response to our own curiosity bridging a communicative gap. Staring can be a very pleasurable experience as well as a demeaning experience depending on which side of the staring you are faced with. Similar to other bodily impulses, like eating or sex, staring and the way people stare is excessively regulated by the social world. The conflict with staring is between our urge to do it and the social constrains saying we shouldn’t that makes it such an important and intense provocative social exchange. Our society has adapted and has given us different opportunities to come in contact with people from all walks of life. When we simply stroll around the city or turn on any form of media, we see people that are different from us and we are given the opportunity to learn from them. The opportunity that often is not taken. A group of people who were excluded from the public world, were people with disabilities always being the staree and often not the starer. Through Rosemarie Garland-Thomsen’s reading, I will evaluate the roles of the starer and the staree and their impact to the communication of both parties as well as apply these roles to the film, What’s Eating Gilbert Grape and the staring roles within that media.
The novel, presented as a series of disjointed, possibly problematic, narrative frames, attempts to draw attention to this fact. "...no word exists alone, and the reason for choosing each word had to be explained with a stor...
Throughout this paper I will explore the power of storytelling using the course lexicon and I will examine it in the context of two course texts. One of the texts that I will be referring to is by Doxtator, excerpts from Fluffs and Feathers and the second text I will be referring to is by Griffin, excerpts from Woman and Nature. The power of storytelling is a part of the mimetic world and because stories have so much power they can be used to help bring about dominant fantasies. Stories are told over and over again until they are reinforced and in this essay I will argue that the power of storytelling is a form of social control.
Last but not least, O’Connor confirms that even a short story is a multi-layer compound that on the surface may deter even the most enthusiastic reader, but when handled with more care, it conveys universal truths by means of straightforward or violent situations. She herself wished her message to appeal to the readers who, if careful enough, “(…)will come to see it as something more than an account of a family murdered on the way to Florida.”
What makes reader to see an feel that ? The literary elements used by author to describe and coll or this main character through his journey to find the answer to all of the question arisen in a upcoming situations.
Diction plays a critical role in the development of the tone in a story. The type of words the author uses directly leads to the tone of the entire literary work. If ...
fantasies and Face and Lovewit address the audience directly Subtle and Dol are treated as little more than the machinery necessary to sustain the narrative.
Point of View: The point of view moves drastically between diverse perspectives. In a few parts, the storyteller depicts occasions comprehensively, condensing the encounters of an extensive number of individuals and giving authentic investigation. Regularly, in the same sections, the storyteller expect the voice of a commonplace individual, for example, an uprooted rancher or an abnormal utilized auto businessperson, communicating that 's individual concerns.
Effectively using these elements in a piece of literature enhances the reader’s curiosity. One prime example of such usage of these elements is seen in Kate Chopin's writing. Her use of foreshadowing and use of emotional conflicts put into few words in the short piece "The Storm" adds an element that is alluring, holding the reader's interest. In this short piece of literature, a father and son, Bobinot and Bibi, are forced to remain in a store where they were shopping before the storm, waiting for the storm to pass over them. In the meantime, the wife and mother, Calixta, whom is still at home, receives an unexpected visit from a former lover named Alicee. The two have an affair and the story starts to come together. The story shows us how we tend to want what we beli...
In the process of human infants’ development, infants start to learn how to communicate with the others at the surprising early age, for example: Newborns can follow objects to make saccades to peripheral targets (Farroni et al., 2004);Infants’ responding eye gaze behaviour increase constantly since two months old (Scaife & Bruner, 1975); Cooper and Aslin pointed out that this preference showed up as early as the infants were one month old in 1990. Infants not only can respond to eye contact, vocal cues also are used for gaining more reference information during a communication, particularly when the speech is conducted forward to the infants. It had been reported in many studies that infants show more preference to infant-directed communication
Reading comes alive as the reader falls into the author’s voice and connects to the protagonist. When individuals read they involuntarily relate themselves to the protagonist. Therefore, a slightly different meanings of the story is created based on the individual’s personal experiences and beliefs. For instance, a novel could be considered a humorous parody of chivalric romance, but another individual could view the work as containing a serious philosophical message. This is a common scenario for Miguel de Cervantes’ Don Quixote in which individuals can conclude many different meaning, and character analysis. Miguel de Cervantes constructed a complex character, who over time has been regarded as a madman, dreamer, or a man in the midst of