DOCSLIB.ORG

Ap English Literature & Composition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ap English Literature & Composition AP ENGLISH LITERATURE & COMPOSITION Clary Carleton [email protected] Summer Assignment While The Things They Carried is a novel about the Vietnam War, it represents so much more. It is a short-story collection that reads like a memoir, challenging our ideas about truth and fiction. The novel is an example of “meta-fiction” and speaks to the role storytelling plays in our lives. The stories are connected in surprising ways such that multiple, close readings only enhance this literary experience. In AP Literature you are required to read “deliberately and thoroughly, taking time to understand a work’s complexity.” This will involve close reading, whereby you ANNOTATE a text AS YOU READ and REREAD. This is not a natural process for many readers, but it is a habit that strong readers practice. It should be a slow process, so give yourself plenty of time to complete this assignment. A well-annotated piece has margins full of comments, has the text marked up, words circled or boxed, and lines drawn to show connections. If you are borrowing a book from Open, use post-it notes to record your thinking. If you purchase your own book, make it yours by writing in the margins and having a conversation with the author and characters. Focus not just on the content (what is written) but the form (how it is written). To assist you in this process you will first read the article, “How To Mark a Book” and Billy Collins’ poem “Marginalia.” Consider all the ways that you can connect with what you are reading. A basic question to ask is just, “what do you notice?” Merely highlighting or underlining passages is not annotation. Instead consider doing the following: Common Annotation Techniques ● Ask questions when anything is unclear. ● Define unfamiliar words. ● Identify the narrator, the point of view, and the tone. ● Make inferences about characters and their motivation. ● Mark interesting uses of diction, syntax, figurative language, and imagery. ● Consider themes as they emerge. ● Explore the setting and its significance. ● Take note of the form/structure. Is the narrative linear or non-linear with flashbacks? ● Explore why the author used a particular word or phrase. ● Make connections to other parts of the text. ● Make connections to other texts you have read or seen. ● Rewrite, paraphrase, or summarize a particularly difficult passage. ● Identify punctuation marks in order “chuck” your reading and rereading. ● Make connections to your personal experiences. ● Explain the historical and/or social context. ● Offer an interpretation or claim. ● Draw a picture when a visual connection is appropriate or to understand imagery. ● Identify literary techniques and explain connection to meaning. 1 AP ENGLISH LITERATURE & COMPOSITION BACKGROUND TO VIETNAM WAR A long and unsuccessful effort by South Vietnam and the United States to prevent the Communists of North Vietnam from reuniting the country under their leadership. Watch the Ken Burns’ documentary here. Glossary of Common US Military Terms AO Area of Operation KIA Killed in Action LP Listening Patrol LSA cleaner and lubricant for weapons LZ Landing Zone M-60 machine gun M-16 standard military rifle PFC Private First Class RTO Radio and Telephone Operator PRC Portable Radio Communication PsyOps Psychological warfare (Ops = operations) R&R Rest and Relaxation RTO Radio Telephone Operator SOP Standard Operating Procedure USO United Service Organization (volunteer entertainment and morale) VC Viet Cong soldiers fighting the Americans SETTING Author Tim O’Brien was an infantryman (foot soldier) in Vietnam from 1968-1970 in 3rd Platoon, Company A (Alpha). Although O’Brien uses time shifts in the story, the tour of duty of the Alpha Company soldiers in The Things They Carried is thought to be from 1968-1969. Also, you will see that the physical setting of the novel shifts between Vietnam (mostly Quang Ngai province on the central coast) and the United States MAJOR CHARACTERS ● Jimmy Cross: a sensitive Lieutenant who must lead his men through Vietnam ● Kiowa: a devout Baptist, and an American Indian ● Norman Bowker: a quiet, polite soldier ● Rat Kiley: a 19 year old medic ● Tim O’Brien: the narrator and a fictional persona of O’Brien the writer MINOR CHARACTERS ● Martha: the girl Jimmy Cross loves ● Henry Dobbins: a kind, gentle soldier ● Ted Lavender: the first man to die in their company ● Dave Jensen: a young, naive and paranoid soldier ● Mitchell Sanders: a literate soldier with strong convictions ● Lee Strunk: a soldier who faces death ● Azar: a young soldier with no sense of the gravity of death ● Curt Lemon: a soldier and Rat Kiley’s best friend ● Kathleen: Tim’s young daughter ● Elroy Berdahl: owner of the Tip Top Lodge 2 AP ENGLISH LITERATURE & COMPOSITION ● Green Berets: soldiers who set themselves apart from others ● Mark Fossie: a young soldier who brings in girlfriend to Vietnam ● Mary Anne Bell: Mark Fossie’s girlfriend who travels to Vietnam ● Dead man: the man Tim killed--or didn’t kill ● Bobby Jorgenson: the medic who replaces Rat Kiley ● Linda: the first girl Tim ever loved NARRATIVE METHOD: One of the reasons this novel is such an essential text for AP Literature is its Post-Modern storytelling techniques and complex narration. In the title story, the third-person narrator is unidentified, but in other stories he is a fictional character named Tim O’Brien. He describes the soldiers and events in Quang Ngai province. This narrator is omniscient, since he is privy to the interior thoughts and feelings other characters, especially Lt. Jimmy Cross; yet, the narrator is a third-person limited omniscient narrator in that he only reveals partial, fragmented, or incomplete information about the characters and events of the story. However, you will see that in most of the stories, the point of view is first person. Besides O’Brien’s complex and shifting narrative point of view, you will see that the structure of the story is also complex: a fragmented and nonlinear narrative, moving within and between memory and present day. Tracing this unusual storytelling method and understanding why O’Brien chose it is one of the pleasures of studying this novel. LANGUAGE TECHNIQUES ● Figurative Language (simile, metaphor, hyperbole, personification, oxymoron, synecdoche) ● Imagery (visual, auditory, olfactory, tactile) ● Syntax (catalogue, repetition, anaphora, polysyndeton, asyndeton, parallelism, fragments) ● Irony (paradox, negation, antithesis, verbal/situational irony) NOVEL OPENING QUOTATION: After the book’s Contents, there is a quote from John Ransom’s Andersonville Diary. During the American Civil War (1861-1865), Ransom was a twenty-year-old Union soldier who was captured by the Confederate Army in Tennessee in 1863; the book is a first-hand account of his time in the Confederate prison camp where 13,000 prisoners died. ASSIGNMENT 1. Read and annotate the novel according to the guidelines, readings, and attached rubric. 2. In complete sentences, answer a minimum of 3 questions for each chapter that follows. These should be FULLY developed, addressing all parts of the question and providing clear examples from the text, with page numbers. Responses should be typed, single spaced, and proofread for errors. Be able to defend your answers orally in class. 3 AP ENGLISH LITERATURE & COMPOSITION THE STORIES "The Things They Carried" 1. In what sense does Jimmy love Martha? Why does he construct this elaborate (mostly fictional) relationship with her? What does he get out of it? 2. Why do the soldiers tell jokes about the war, about killing? 3. Discuss the role of shame, embarrassment, and fear in the story. 4. How has Jimmy changed by the end of the story? How will he be a different person from this point on? What has he learned about himself? Or to put it another way, what has he lost and what has he gained? 5. How does O’Brien structure the story about Ted Lavender? Why do you think he does this? 6. What is the point of view of the titular story? How does the affect the reading experience? 7. Select a passage that was especially memorable in terms of language use (e.g., diction, imagery, figurative language, etc.) Copy the passage in its entirety. Explain why you selected and what the effect is. "Love" 1. The first story in The Things They Carried was told in the third person, but now the point of view switches to first person. What effect does this have on you as a reader? 2. What is the setting of this chapter? 3. What does Jimmy Cross confess to Tim O’Brien when he comes to visit him after the war? What is O’Brien’s response? 4. What does the story show about the lives of war veterans? 5. O’Brien reveals that he has guilt that he cannot get over too, but he does not tell us what happened that makes him feel this way. How does this make you feel about O’Brien and his stories when he leaves you with unanswered questions? "Spin" 1. What is the point of view of the story “Spin”? How do you know? Write one line that shows the point of view. 2. Tim O’Brien shares several bad, peaceful, and happy stories in this chapter. Which war story leaves an impression on you? Explain why. 3. According to the narrator, how is a game of checkers different from war? 4. What happens to Kiowa? 5. What happens to Curt Lemon? 6. Why do you think Azar blows up Ted Lavender’s puppy? 7. Using specific details from the story, explain the title, “Spin.” "On the Rainy River" 1. When Tim O’Brien was drafted into the war, how did he feel about the American war in Vietnam? Why did he feel this way? Provide examples.
Load more

Recommended publications
  • Narrative Structure in Literature
    ELA Virtual Learning English II April 27, 2020 English II Lesson: April 27, 2020 Objective/Learning Target: ● I can analyze how an author’s choices in story structure impact the reader. BELL RINGER The night was calm, but a storm -- full of Timing is everything, especially when it rain and budding anger -- began to swell A in the distance. comes to writing and storytelling. But what if your timing is off? John felt excited. Afterall, it was his B sixteenth birthday. Take a look at the story details to the left. Place the lettered sections in order from Mrs. Peabody saw him snake through the lowest point of tension to the highest and yard from her kitchen window. And that’s answer the prompt below in a quick write: what she told police during the missing C ● Why does this order create the most amount person investigation. of tension? Explain. John was grounded, but snuck out the back door. The door’s creak seemed D louder than a siren. BELL RINGER ANSWER KEY (Answers will vary) John felt excited. Afterall, it was his Our story begins with a character, likely our protagonist, named sixteenth birthday. John. We learn it’s his 16th birthday, a milestone for many B teenagers but not a whole lot of tension so it may come first. John was grounded, but snuck out the Looks like John has gotten himself into trouble in the past and the back door. The door’s creak seemed tension rises a bit because he is breaking the rules. D louder than a siren.
    [Show full text]
  • AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
    Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques.
    [Show full text]
  • Alexis Wright's Carpentaria and the Swan Book
    Exchanges: The Interdisciplinary Research Journal Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book Chiara Xausa Department of Interpreting and Translation, University of Bologna, Italy Correspondence: [email protected] Peer review: This article has been subject to a Abstract double-blind peer review process This article analyses the representation of environmental crisis and climate crisis in Carpentaria (2006) and The Swan Book (2013) by Indigenous Australian writer Alexis Wright. Building upon the groundbreaking work of environmental humanities scholars such as Heise (2008), Clark (2015), Copyright notice: This Trexler (2015) and Ghosh (2016), who have emphasised the main article is issued under the challenges faced by authors of climate fiction, it considers the novels as an terms of the Creative Commons Attribution entry point to address the climate-related crisis of culture – while License, which permits acknowledging the problematic aspects of reading Indigenous texts as use and redistribution of antidotes to the 'great derangement’ – and the danger of a singular the work provided that the original author and Anthropocene narrative that silences the ‘unevenly universal’ (Nixon, 2011) source are credited. responsibilities and vulnerabilities to environmental harm. Exploring You must give themes such as environmental racism, ecological imperialism, and the slow appropriate credit violence of climate change, it suggests that Alexis Wright’s novels are of (author attribution), utmost importance for global conversations about the Anthropocene and provide a link to the license, and indicate if its literary representations, as they bring the unevenness of environmental changes were made. You and climate crisis to visibility.
    [Show full text]
  • Introducing I-Docs to Geography: Exploring Interactive Documentary’S Nonlinear Imaginaries
    1 Introducing i-Docs to Geography: Exploring interactive documentary’s nonlinear imaginaries Abstract This paper introduces interactive documentaries, or i-Docs, to Geography through an analysis of one i-Doc; Gaza Sderot. Interactive Documentary is an increasingly popular documentary form. I-Docs are defined by ‘nonlinear’ spatiotemporal organisation as their interactive capacities enable multiple pathways through documentary footage and materials. It is often argued that this nonlinearity is politicized by i-Docs to enable polyvocality and the destabilisation of dominant narratives. I argue that i-Docs deserve Geographical attention for two key reasons. Firstly, if Geographers have long explored articulations and reformulations of space-time through media then i-Docs offer an insight into contemporary constructions of nonlinear spatiotemporal imaginaries through interactive medium. Secondly, nonlinearity and its politics has also become foundational to Geography’s own approaches to space-time, making pertinent the explorations of nonlinearity and its socio-political implications that engagement with i-Docs enables. In this context, I analyse Gaza Sderot to explore its construction of a nonlinear spatiotemporal imaginary and question the political perspectives that imaginary generates for its subject of the Gaza conflict. In concluding, I also suggest that i-Docs could be a valuable methodological tool for Geographers. Key Words: Interactive Documentary, Nonlinearity, Space-time, Gaza Sderot, Imaginaries, Politics 2 Introduction Interactive documentary is a new form of documentary that is swiftly gaining prominence. I- Docs can take many digital forms but are defined by their ‘nonlinear’ spatiotemporal organisation and interactive capacities. Rather than presenting footage in a predetermined order, i-Docs offer collections of material such as video clips and still images which users can navigate in various ways.
    [Show full text]
  • E Shadows of Imberfewon a Study of Self-Reflexivitv Iman Rushdie's
    e Shadows of ImberfeWonem .* . œ A study of Self-reflexivitv 1n R. K. Npyan9sThe Taslima Nasrin's Lq~a.m. ad Sa Iman Rushdie's Midnipht 's Children Apma V. Zambare Thesis Submitted in partial hilfillment of the requirements for the Degree of Master of Atts (English) Acadia University Fall Convocation 1999 O by Apama Vasant Zambare, 1999 I, Aparna V. Zambare, grant permission to the University Librarian at Acadia University to reproduce, loan, or distrubute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. Signature of Author Date II Chapter I - Introduction ------------ 1 III Chapter II - A Precursor of Self-reflexivity: R. K. Narayan's The aide -------- 19 IV Chapter III - The Imitation of Non-Literary Discourse An Analysis of Taslima Nasrin's Laja ---- 42 V Chapter - N The Chutnification of Narrative Salrnan Rushdie's Midnight S Children ------ 66 VI Chapter - V Conclusion ------------ 93 This thesis aims at examinhg the complex narrative mode of self-reflexivity, ascertainhg how it senes the postcolonial agenda of destabilizing the power of Eurocentric lit- discourse, the discourse that marginalized Literary traditions of subject peoples. Denved fiom mcient literary traditions, self-reflexive narrative asserts the cul- identity of colonized societies. In particular, this thesis focuses on three self- reflexive novels fiom the indian subcontinent: R. K. Narayan's The Guide, Taslima Nasrin's LuJa, and Salman Rushdie's Midnight 's Children. The self-reflexive techniques employed in each of these narratives Vary a great deal. Narayan's nte Guide is modeled on various ancient patterns of storytelling and on mythic haditions.
    [Show full text]
  • Magic Realism
    Magic Realism Magic Realism is a literary movement associated MOVEMENT ORIGIN with a style of writing or technique that incorpo- rates magical or supernatural events into realistic c. 1940 narrative without questioning the improbability of these events. This fusion of fact and fantasy is meant to question the nature of reality as well as call attention to the act of creation. By making lived experience appear extraordinary, magical realist writers contribute to a re-envisioning of Latin-American culture as vibrant and complex. The movement originated in the fictional writing of Spanish American writers in the mid-twentieth century and is generally claimed to have begun in the 1940s with the publication of two important novels: Men of Maize by Guatemalan writer Miguel Angel Asturias and The Kingdom of This World by Cuban writer Alejo Carpentier. What is most striking about both of these novels is their ability to infuse their narratives with an atmos- phere steeped in the indigenous folklore, cultural beliefs, geography, and history of a particular geographic and political landscape. However, at the same time that their settings are historically correct, the events that occur may appear improb- able, even unimaginable. Characters change into animals, and slaves are aided by the dead; time reverses and moves backward, and other events occur simultaneously. Thus, magic realist works present the reader with a perception of the world where nothing is taken for granted and where anything can happen. 437 Magic Realism The fantastical qualities of this style of writ- ing were heavily influenced by the surrealist movement in Europe of the 1920s and literary avant-gardism as well as by the exotic natural surroundings, native and exiled cultures, and tumultuous political histories of Latin America.
    [Show full text]
  • The Handmaid's Tale
    Ashley Raker April 26, 2010 Professor Sha/ Professor Rubenstein Honors Capstone/ Literature Thesis Legacy, Identity and Time: Exploring Generational Feminism in Margaret Atwood’s The Handmaid’s Tale In this paper, I will explore how the form and character development of Margaret Atwood’s The Handmaid’s Tale can be used to examine the implications of the generational legacy of feminism on the future progress of women. By using Atwood’s novel as a way to explore the pitfalls of generational feminism and the opportunities provided by bringing new ideas to feminism through spontaneous generation, the reader can see how these new ideas are integral to reshaping society’s understanding of the role of feminism in society. In “Generational Difficulties; or The Fear of a Barren History,” Judith Roof defines the paradigms of generational legacy and spontaneous generation as metaphors for progress in order to better understand the history of consciousness-based feminism. 1 It can be difficult to completely separate these two opposing paradigms because they share the word “generation,” but it is important to remember that each paradigm uses the meaning of generation in different ways. Generation can be used to refer to a body of living beings born and living contemporaneously, but it can also be a form of “to generate” or the act of creating something new. According to Roof’s ideas, any feminist movement begins with a “spontaneous” generation in which a generation bases its actions on the oppressive conditions it faces or the need to redefine women’s history. After this initial “spontaneous” generation, the legacy of feminism demands that younger generations of feminists pay a social debt to their foremothers as they continue to work for female equality by pursuing the same goals and by using the same social methods.
    [Show full text]
  • The Unregulated Narrative Cinema and It’S Significance in Modern Society
    Gergel 1 Pennsylvania State University The Unregulated Narrative Cinema And it’s Significance in Modern Society Katie Gergel Comm 150H, Section 001: Cinema Art Prof. Hagopian 1 May 2017 Gergel 2 Most of the time when audience members go to see a film, they know exactly what they’re getting themselves into. The recipe for any typical movie is usually the same: a lead character who has a defined goal and who faces various trials and tribulations until the goal is finally – and inevitably – achieved. The events play out over the course of two hours or so, and while some movies have us laughing until our stomachs hurt and others have us on the edge of our seats, most of the time we can expect to leave the theater satisfied with an ending that neatly wraps up the predictable plot. However, while typical movie goers are often accustomed to films with a conventional narrative, “unregulated” storytelling is perhaps an even more important form because of its authenticity in representing the real- world lack of structured event progression and closure, its ability to create a more immersive experience, and its emphasis on lasting themes rather than goal-oriented action. Unregulated films do not follow the “classical” narrative style of displaying events with clarity, showing the motivation of characters and the cause and effect that leads to a resolution. Instead, events are portrayed in different ways, such as out of chronological order or within a dream sequence, giving the films a unique style. Movies obviously are not real life, but realistic films do try to emulate and dramatize events that are seen in the real world.
    [Show full text]
  • Choose a Narrative Structure
    Presentations need structure to hold a message and engage an audience Quinten Edward Williams Quinten Edward Williams [email protected] Narrative structure Linear and nonlinear narrative Aristotle’s Beginning, Middle, End Gustav Freytag’s Pyramid Freytag’s Pyramid and the Three Act Plot Christopher Brooker’s Meta Plot Visualizing narrative structure. (2018). Kensy Cooperrider. Retrieved 10 February 2019, from http://kensycooperrider.com/blog/visualizing-narrative-structure Narrative, Story, Plot, Narrative Structure Story = A series of events. The content. Conflicts. Characters. Settings. Plot = How the story is put together. It is a structure. How the series of events are set-up and resolved. Narrative = Story + Plot. It is a specific manifestation of a story. How audience receives the information. Narrative Structure = A structural framework that underlies the presentation of the narrative Poynzt, S. (2002). Visual storytelling and narrative structure. Vancouver, BC : Pacific Cinémathèque. Narrative Structure Categories Interactive Linear Nonlinear Narrative Plot follows Events are portrayed The user makes chronological order. are not in the original choices which affects Story is presented in chronological order. the plot direction. the order that events The plot does not Story elements are occurred. follow direct interactive. Immersed causality. in the story. https://www.interactivenarratives.org Mascolini, J. (2017) The Post Nonlinear Narrative Structure: Introduction. Medium. Retrieved 11 February 2019, from https://medium.com/@jacopomsn/the-post-nonlinear-narrative-structure-introduction-52f6dfe37377 Riedl, M., & Bulitko, V. (2012). Interactive Narrative: An Intelligent Systems Approach. AI Magazine, 34(1), 67. doi:10.1609/aimag.v34i1.2449 Aristotle: Beginning, Middle, End Plot with Unity of action “Tragedy is an imitation of an action that is complete, and whole, and of a certain magnitude.
    [Show full text]
  • A Heuristic Approach for Narrative- Driven Games
    nr ik v H e d a ap a l sk M a EFFECTS OF INTERACTIVITY ON NARRATIVE-DRIVEN GAMES: A Heuristic Approach For Narrative- Driven Games Master Degree Project in Informatics One year Level 22,5 ECTS Spring term 2021 Sara Nil Acarsoy Supervisor: Mikael Johannesson Examiner: Per Backlund 1 Abstract In narrative-driven games, the story is an essential part of the gameplay, and understanding the story is of great importance. Given that what separates this genre from other storytelling media is interactivity, this thesis focuses on the elements in narrative-driven video games that effects the players' perception of narrative through interactivity. Using players' likes and dislikes from their previous experiences in narrative-driven games, this thesis aims to develop a heuristic approach for interactive narrative elements that offer the narrative through players' input to the game's system and create an effective gameplay experience that delivers the story to the players. Keywords: Video game narrative, storytelling, interactivity, narrative-driven games, storygames 2 Table of Contents 1. Introduction .................................................................................................................1 1.1 Purpose .............................................................................................................3 1.1.1 Previous Research ......................................................................................5 1.2 Overview and Structure ...................................................................................9
    [Show full text]
  • Trauma and Narrative in the Uninvited
    ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 20, No. 3, 2020, pp. 79-83 www.cscanada.net DOI:10.3968/11705 www.cscanada.org Trauma and Narrative in The Uninvited LUO Xiaoxia[a],* [a]School of Foreign Languages, Shangqiu Normal University, Shangqiu, Trauma is defined as “an experience in which an Henan, China. individual is directly involved in or witnesses an event * Corresponding author. which evokes feelings of a loss of safety, helplessness, Received 7 April 2020; accepted 4 June 2020 intense fear, horror, and a threat of annihilation” (Herman Published online 26 June 2020 2001:1). In the treatment of trauma victims, one of the concerns is the function of narrative in the recovery Abstract of trauma victims. To heal trauma, the victims must Due to the incomprehensibility of trauma and its understand what really happened in the past, thus narrating consequent devastating results on trauma victims, there the trauma becomes essential for the trauma victims. But are debates on the possibility of narrating trauma. But for the trauma victims, trauma seems unrepresentable by fiction, what cannot be represented by conventional because a traumatic event such as the Holocaust is “an historical, cultural and autobiographical narrative can event that stretched the powers of the moral imagination be represented. This article approaches the film The beyond the potential for understanding, witnessing, Uninvited from the prospective of trauma and narrative and judging” (Ball, 2000, p.10). The same argument is studies. Taking the film, The Uninvited as a literary text, put forward by Cathy Caruth in her book Unclaimed this article examines how the film mirrors the mind Experience: Trauma, Narrative, and History, and Caruth of trauma victims and how the trauma narrative was explains “For the survivor of trauma, the truth of the event presented by literary devices such as internal focalization, may reside not only in its brutal facts, but also in the way intertextuality, ghost, flashbacks, etc.
    [Show full text]
  • Download Reverse Chronology: How & Why to Write Backwards As
    Reverse Chronology: how & why to write backwards by Chazda Albright - GreatStorybook.com - http://greatstorybook.com Reverse Chronology: how & why to write backwards by Chazda Albright - http://greatstorybook.com/reverse-chronology-write-backwards/ This entry is part 5 of 5 in the series PLOT writing PLOT writing How to begin a story to hook readers, editors and agents How to Write Rising Action in Act II How to Write a Great Ending Write an Awesome Inciting Incident: 3 things to do Reverse Chronology: how & why to write backwards Reverse Chronology is literally when a story is told backwards, against the linear grain. This is one of the most rare plot structures, but it’s been around at least since the 1st Century BC. Interesting, yes. But would you want to ever use this plot structure? YES! Playing around with plot structure is an inventive way to make the telling of a story more playful, or more impactful. I’ve been asked recently to give tips on playing with plot structure, so here we go! What you’ll get here: Comparison of a linear plot graph to a reverse chronology story. 3 things that distinguish a reverse chronology. How using a reverse chronology impacts your story and readers. Fantastic example of a reverse chronology storybook, with lesson plans. 3 things a reverse chronology isn’t. Chronology vs. Reverse Chronology You might wonder if reversing the plot order (where the first scene is The End and the last scene is how the whole thing started) alters the general plot – meaning, does the changed sequence of events also flip 1 / 4 Reverse Chronology: how & why to write backwards by Chazda Albright - GreatStorybook.com - http://greatstorybook.com around so that the Rising Action is replaced with Falling Action? No, it doesn’t.
    [Show full text]