DOCSLIB.ORG

Aristotle's Poetics in Relation to the Narrative

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aristotle's Poetics in Relation to the Narrative 1 ARISTOTLE’S POETICS IN RELATION TO THE NARRATIVE STRUCTURE OF THE SCREENPLAY KARMELA ECONOMOPOULOU A thesis submitted in partial fulfilment of the requirements of Nottingham Trent University for the degree of Master of Philosophy October 2009 2 This work is the intellectual property of the author. You may copy up to 5% of this work for private study, or personal, non-commercial research. Any re-use of the information contained within this document should be fully referenced, quoting the author, title, university, degree level and pagination. Queries or requests for any other use, or if a more substantial copy is required, should be directed in the owner(s) of the Intellectual Property Rights. 3 Abstract This study is dedicated to the analysis of the narrative structure of the screenplay in relation to Aristotle’s Poetics. This analysis begins with a general discussion of the various misconceptions of Aristotelian topoi which were gradually created in the course of centuries of applying the Poetics to drama and literature. One of the principal concerns of this study has been to trace specific misconceptions of screenwriting theorists that discuss the Poetics in relation to screenwriting narrative techniques. The discussion of these misconceptions has a double aim: firstly, to disengage the Aristotelian narrative system from the classical narrative system and secondly, to highlight the potential of the Poetics for the specific needs of a screenplay’s narrative. The two misconceptions analysed in great detail in this study are mimesis and katharsis and there is also a thorough examination of the basic elements of the Aristotelian theory on plot structure. Chapter I of this study is dedicated to a discussion of mimesis as it has been viewed by Aristotelian scholars as well as screenwriting theorists. In Chapter I, I have tried to prove that the Aristotelian mimesis is not related to idealistic realism but to verisimilitude. I have analysed what the implication of this conclusion is in terms of Aristotelian, classical and counter-Aristotelian screenplay narrative structures. In Chapter II, I have tried to describe the accurate function of katharsis as opposed to the one that Augusto Boal – one of Aristotle’s strongest opponents – has attributed to it. I have shown that katharsis is not a means to repress the spectator but a means to reach to an emotional relief derived from the intellectual clarification of the hero’s hamartia. The third chapter of this study is dedicated to the clarification of misconceptions regarding central plot structure elements, such as peripeteia, anagnorisis and hamartia. By discussing a number of inaccuracies of the Poetics in screenwriting texts, by clarifying the meaning of katharsis and mimesis and by analysing 4 key Aristotelian plot structure elements I hope to have contributed with this study to a deeper understanding of the potential Poetics has for the dramatic needs of the screenplay. 5 Acknowledgements The idea for this study was born after reading several screenwriting manuals that referred to the Poetics in relation to the art of screenwriting. I have realised that in many cases there were misconceptions of central Aristotelian concepts from screenwriting theorists, a fact that was partly due to the various inconsistent translations of the Poetics. Also, the authors of these manuals were adopting already existing misconceptions of the Poetics and in many cases, have decided to oversimplify highly problematic, complicated and controversial Aristotelian notions. The process of applying the Poetics to screenwriting has created very interesting bibliography and opened up new paths to explore the art of screenwriting. But, unless some of the most common inaccuracies regarding the bibliography on Poetics are addressed, the potential of Aristotle’s narrative technique cannot be studied, understood and applied in screenwriting. My goal during this research was to trace as many as those inaccuracies as possible in order to contribute to a more accurate and effective application of Aristotle’s narrative theory to screenwriting. I would like to thank my supervisors, Georgina Lock and Stan Smith for believing in me and in this research, for the countless times they read and commented on my writings, for their valuable advice and endless patience. 6 Contents Introduction……………………………………………………….pages 1-17 Chapter I, MIMESIS……………………………………………..pages 18-48 Chapter II, KATHARSIS…………………………………………pages 49-82 Chapter III, PLOT………………………………………………...pages 83-124 Conclusion…………………………………………………………pages 125-127 Bibliography………………………………………………………..pages 128-129 Filmography………………………………………………………..pages 130-132 7 Introduction It might not be far-fetched to say that Aristotle’s Poetics functioned as a guide to the ancient Greece tragedians; a guide that still serves as the basis of the construction of drama and literary criticism, even though it was written almost 2,300 years ago. Despite its wide recognition and reception, the Poetics is a treatise notoriously difficult to understand partly because of Aristotle’s elliptical thought and loose terminology, but primarily because Aristotle’s influence on subsequent drama and criticism makes it difficult to isolate his original thought from subsequent attempts of implementation or interpretation. Various misconceptions and debates on the ‘real’ meaning of the Aristotelian topoi were gradually created in the course of centuries of applying the Poetics to drama and literature. Around the 1950s, the Poetics was discovered by screenwriting theorists and screenwriters, who set out to apply central Aristotelian concepts to the needs of screenwriting. It was almost inevitable that the application of the Poetics to film would not only adopt the pre-existing misinterpretations, but also create new ones. The most common misconception with respect to the Aristotelian narrative structure is that it is associated directly with the classical or restorative narrative structure of the American screenplay; that is, the film form widely acknowledged today as the dominant or mainstream cinema. This is a false assumption, since the classical Hollywood cinema and – to a lesser extent – post-classical Hollywood cinema, drew their plots and narrative from the nineteenth century novel and play. Nineteenth century novels and plays have been influenced by the Poetics but mainly by partially erroneous interpretations of the Poetics. Equally ‘responsible’ for the restorative three act form that became dominant for mainstream films seems to be the Well- Made Play written by the French playwright Eugene Scribe in the 1820s. 8 The Poetics was used as a tool to decipher the secret language of successful screenwriting in the following way: isolated, relatively comprehensible Aristotelian concepts such as unity of action, complex plot, climax and resolution, reversal of fortune, recognition have been analysed out of context and immediately adopted for the development of hybrid screenwriting formulae. Highly controversial, problematic and complicated concepts such as katharsis, hamartia and peripeteia were oversimplified, excessively popularised and thus tragically deprived from their unique potential in screenwriting. Various screenwriting scholars rewrote the Poetics, consciously or not, to construct the perfect screenplay formula and in doing so, placed the Aristotelian model in the heart of classical narrative design. And, while the rediscovery of the Poetics for the needs of screenwriting did contribute to the understanding of the key plot construction ‘secrets’ of the classical narrative, it was also used as a scapegoat for all the shortcomings of the classical narrative (predictability, simplicity, spectator manipulation and so on). Also, associating the Poetics with mainstream cinema automatically entailed that art or counter-cinema became, consciously or not, counter-Aristotelian. Neo-Aristotelian screenwriting theorists like Syd Field (Screenplay, 1979) and Robert McKee (Story: Substance, Structure, Style and the Principles of Screenwriting, 1999) formed narrative systems based on Aristotelian concepts that were changed and reshaped to fit the new screenwriting narrative schemata. Other screenwriting texts, such as Aristotle in Hollywood: The Anatomy of Successful Storytelling (Ari Hiltunen, 2002) or Aristotle’s Poetics for Screenwriters: Storytelling Secrets from the Greatest Mind in Western Civilization (Michael Tierno, 2002), borrowed specific Aristotelian elements to explain the success of the classical narrative but failed to show the fundamental differences of the Aristotelian model with the classical film narrative. These differences are exactly what differentiates the Poetics from other narrative systems and makes it a unique method, the potential of which is far from exhausted in screenwriting. A key objective of this study is not only to trace the inaccuracies in the above texts but also to illuminate the hidden potential of Aristotle’s system for the art of screenwriting. 9 Robert McKee’s book, Story: Substance, Structure, Style and the Principles of Screenwriting, and Syd Field’s Screenplay are directly influenced by the Poetics. Nevertheless, both McKee and Field do not claim to have found what Aristotle ‘really’ meant and do not attempt to give answers to the most controversial issues found in the Poetics (mimesis, katharsis and hamartia). Despite the few misconceptions of Aristotelian concepts found in both texts, they do not distort Aristotle’s concepts, primarily because they only
Load more

Recommended publications
  • Thesis Slabaugh Ms072117
    THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Melanie J. Slabaugh August, 2017 THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE Melanie J. Slabaugh Thesis Approved: Accepted: ______________________________ ______________________________ Advisor School Director James Slowiak J. Thomas Dukes, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the College Durand L. Pope John Green, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the Graduate School Hillary Nunn, Ph.D. Chand Midha, Ph.D. ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………….. 5 II. HISTORY AND DESCRIPTION OF DRAMATURGY ……………………… 3 Gotthold Ephraim Lessing and the Hamburg National Theatre ……… 4 Lessing’s Influence on the Dramaturgical Movement …………………. 8 Dramaturgy in American Theatre ……………………………………….. 16 III. PRODUCTION DRAMATURGY ……………………………………………. 13 The Production Dramaturg/Director Relationship ……………………. 15 New Production Dramaturgies …………………………………………… 18 IV. NEW PLAY DEVELOPMENT ………………………………………………… 20 The Role of the Dramaturg in New-Play Development …………..…… 22 The Dramaturg as Supporter ………………………………………..….… 22 The Dramaturg as Guardian ………………………………..………….…. 26 The Dramaturg as Questioner …………………………………..……….. 29 V. DEVISED THEATRE ………………………………………….…………..……. 32 The Tasks of the Dramaturg in Devised Theatre ………………….….…
    [Show full text]
  • GCWC WAG Creative Writing
    GASTON COLLEGE Creative Writing Writing Center I. GENERAL PURPOSE/AUDIENCE Creative writing may take many forms, such as fiction, creative non-fiction, poetry, playwriting, and screenwriting. Creative writers can turn almost any situation into possible writing material. Creative writers have a lot of freedom to work with and can experiment with form in their work, but they should also be aware of common tropes and forms within their chosen style. For instance, short story writers should be aware of what represents common structures within that genre in published fiction and steer away from using the structures of TV shows or movies. Audiences may include any reader of the genre that the author chooses to use; therefore, authors should address potential audiences for their writing outside the classroom. What’s more, students should address a national audience of interested readers—not just familiar readers who will know about a particular location or situation (for example, college life). II. TYPES OF WRITING • Fiction (novels and short stories) • Creative non-fiction • Poetry • Plays • Screenplays Assignments will vary from instructor to instructor and class to class, but students in all Creative Writing classes are assigned writing exercises and will also provide peer critiques of their classmates’ work. In a university setting, instructors expect prose to be in the realistic, literary vein unless otherwise specified. III. TYPES OF EVIDENCE • Subjective: personal accounts and storytelling; invention • Objective: historical data, historical and cultural accuracy: Work set in any period of the past (or present) should reflect the facts, events, details, and culture of its time and place.
    [Show full text]
  • The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«
    DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41).
    [Show full text]
  • THE ROLE of TIME in NON-LINEAR FICTION NARRATIVES by Tatevik Kyurkchyan Presented to the Department of English & Communicati
    THE ROLE OF TIME IN NON-LINEAR FICTION NARRATIVES by Tatevik Kyurkchyan Presented to the Department of English & Communications in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts American University of Armenia Yerevan, Armenia 20/05/19 1 Table of Contents Abstract………………………………………………………………………………………3 Introduction…………………………………………………………………………….…….4 Literature Review……………………………………………………………...……….…… 5 Research Questions and Methodology ….………………………………………………….12 The Seed and the Soil linear version……..…………………………………………………13 The Seed and the Soil non-linear version…………………………………………………. 30 Research Findings and Analysis …………………………………..………………….…… 48 Limitations and Avenues for Future Research………………………….…………..…….. 56 Bibliography…………………………………………………………………………..…… 58 2 Abstract This paper analyzes the structure of non-linear narratives in fiction literature in comparison with linear variants. It considers the concept of time and how it is represented and altered through writing in fiction literature. Additionally, the role of time and non-linearity is discussed from the perspective of the emotional effects it induces rather than linear, chronological narratives. With the use of qualitative research, international literature, and an original creative writing segment, this theory is analyzed. 3 Introduction Stories, in their most basic interpretation, are created by isolating a sequence of events and presenting them to an audience. How a story is written noticeably impacts the way it will be received by readers since it considers characters, setting, tone, time, and several other aspects to make it whole. While every detail allows a story to raise various interpretations or perceptions, the importance of time is often overlooked compared to other aforementioned qualities which are deemed more important. From this perspective, time is mostly considered a means through which the story is told, but rather, this paper will analyze how the disruption of time in a story is capable of altering how the story is perceived and emphasizing certain aspects.
    [Show full text]
  • Why Does the Screenwriter Cross the Road…By Joe Gilford 1
    WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 1 WHY DOES THE SCREENWRITER CROSS THE ROAD? …and other screenwriting secrets. by Joe Gilford TABLE OF CONTENTS INTRODUCTION (included on this web page) 1. FILM IS NOT A VISUAL MEDIUM 2. SCREENPLAYS ARE NOT WRITTEN—THEY’RE BUILT 3. SO THERE’S THIS PERSON… 4. SUSTAINABLE SCREENWRITING 5. WHAT’S THE WORST THAT CAN HAPPEN?—THAT’S WHAT HAPPENS! 6. IF YOU DON’T BELIEVE THIS STORY—WHO WILL?? 7. TOOLBAG: THE TRICKS, GAGS & GADGETS OF THE TRADE 8. OK, GO WRITE YOUR SCRIPT 9. NOW WHAT? INTRODUCTION Let’s admit it: writing a good screenplay isn’t easy. Any seasoned professional, including me, can tell you that. You really want it to go well. You really want to do a good job. You want those involved — including yourself — to be very pleased. You really want it to be satisfying for all parties, in this case that means your characters and your audience. WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 2 I believe great care is always taken in writing the best screenplays. The story needs to be psychically and spiritually nutritious. This isn’t a one-night stand. This is something that needs to be meaningful, maybe even last a lifetime, which is difficult even under the best circumstances. Believe it or not, in the end, it needs to make sense in some way. Even if you don’t see yourself as some kind of “artist,” you can’t avoid it. You’re going to be writing this script using your whole psyche.
    [Show full text]
  • Examining Television Narrative Structure
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2002 Re(de)fining Narrative Events: Examining Television Narrative Structure M. J. Porter D. L. Larson Allison Harthcock Butler University, [email protected] K. B. Nellis Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Communication Commons Recommended Citation Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. Available from: digitalcommons.butler.edu/ccom_papers/9/ This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Re(de)fining Narrative Events: Examining Television Narrative Structure. This is an electronic version of an article published in Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. The print edition of Journal of Popular Film and Television is available online at: http://www.tandf.co.uk/journals/VJPF Television's narratives serve as our society's major storyteller, reflecting our values and defining our assumptions about the nature of reality (Fiske and Hartley 85). On a daily basis, television viewers are presented with stories of heroes and villains caught in the recurring turmoil of interrelationships or in the extraordinary circumstances of epic situations.
    [Show full text]
  • Narrowing the Gap Between Imaginary and Real Artifacts: a Process for Making and Filming Diegetic Prototypes
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Narrowing the Gap Between Imaginary and Real Artifacts: A Process for Making and Filming Diegetic Prototypes Al Hussein Wanas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art and Design Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3142 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Al Hussein Wanas 2013 All Rights Reserved 2 Approval certificate for Al Hussein Wanas for the thesis project entitled Narrowing The Gap Between Imaginary And Real Artifacts: A Process For Making And Filming Diegetic Prototypes. Submitted to the faculty of the Master of Fine Arts in Design Studies of Virginia Commonwealth University in Qatar in partial fulfillment for the degree, Master of Fine Arts in Design Studies. Al Hussein Wanas, BFA In Graphic Design, Virginia Commonwealth University in Qatar, Doha Qatar, May 2011. Virginia Commonwealth University in Qatar, Doha Qatar, May 2013 Diane Derr ______________________ Primary Advisor, Assistant Professor Master of Fine Arts in Design Studies Patty Paine ______________________ Secondary Advisor, Reader, Assistant Professor Liberal Arts and Science Levi Hammett ______________________ Secondary
    [Show full text]
  • “Almost Invisible Until Now” Antigone, Ismene, and the Dramaturgy of Tragedy
    NORDIC THEATRE STUDIES Vol. 31, No. 1. 2019, 141-154 “almost invisible until now” Antigone, Ismene, and the Dramaturgy of Tragedy KRISTINA HAGSTRÖM-STÅHL ABSTRACT This essay discusses Sophocles’ Antigone in relation to its Hegelian legacy, engaging with the play from a directorial perspective. Drawing on the work of Judith Butler, Anne Carson , Bonnie Honig, Peggy Phelan and Cecilia Sjöholm, I attempt to envision a contemporary mise en scène that repositions feminine subjectivity within the dramaturgy of tragedy. Centering on the relationship between Antigone and Ismene, as well as on the possibility of revaluing Ismene’s position in terms of political and dramaturgical agency, I hope to challenge dramaturgical conventions that assume binary, heteronormative relations as the primary framework of interpretation for female characters, and death and destruction as the only possible outcome for what is positioned as feminine. This resituated reading of the drama examines the function of embodied performance in processes of meaning-making, and offers dramaturgical structure as a site for strategies of resistance. KEYWORDS dramaturgy, tragedy, Hegelian dialectics, feminist theory, performance practice ISSN 2002-3898 © Kristina Hagström-Ståhl and Nordic Theatre Studies PEER REVIEWED ARTICLE Open access: https://tidsskrift.dk/nts/index Published with support from Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS) DOI: 10.7146/nts.v31i1.113013 “almost invisible until now” “almost invisible until now” Antigone, Ismene, and the Dramaturgy of Tragedy1 Elle pense qu’elle va mourir, qu’elle est jeune, et qu’elle aussi, elle aurait bien aimé vivre. Mais il n’y a rien à faire.
    [Show full text]
  • Dramaturgy Handbook
    Marat/Sade Emerson Stage 2007-08 Photo Brendan Koons DRAMATURGY STUDENT HANDBOOK Compiled by Magda Romanska, Ph.D. Head of Theatre Studies and Dramaturgy Advisor Emerson College Department of Performing Arts 120 Boylston St Boston, MA 02116 [email protected] 2 TTAABBLLEE OOFF CCOONNTTEENNTTSS WHAT IS DRAMATURGY? ........................................................................... 4 DRAMATURGY AND THE LIBERAL ARTS ............................................... 6 INSTITUTIONAL DRAMATURGY .............................................................. 7 PRODUCTION DRAMATURGY ................................................................. 9 AMERICAN VS. EUROPEAN DRAMATURGY ........................................ 13 DRAMATURGY PORTFOLIO .................................................................... 14 RECOMMENDATION LETTERS ............................................................... 15 DRAMATURGY CAREER RESOURCES ............................................... 17 INTERNSHIPS ......................................................................................... 17 GRADUATE PROGRAMS - M.F.A. /Ph.D. ............................................... 24 JOURNALS ......................................................................................................28 CONFERENCES & ORGANIZATIONS .................................................... 49 OTHER CAREER RESOURCES ............................................................. 53 DRAMATURGY BEYOND THEATRE DRAMATURGY FOR FILM SCRIPTS.....................................................
    [Show full text]
  • Reconsidering Brechtian Elements in Process Drama1
    Ankara University, Journal of Faculty of Educational Sciences, Year: 2015, Vol: 48, No: 2, 19-36 Reconsidering Brechtian Elements in Process Drama1 Özgehan UŞTUK, MA Balıkesir University [email protected] ABSTRACT. It is known that process drama is parallel to non-Aristotelian structure of Brecht’s epic theatre in certain ways. Techniques and structure as the elements of these two notions (O’Neill’s process drama and Brecht’s epic theatre) resemble to each other not only by the usage and also by the relationship between the process and the participants as well. Brecht intended to engage actively with the audience and makes them engage with the play critically; similarly in process drama structures, participants are actively engaged with the material and the theme of the work. Moreover, in process drama, participants are assigned as meaning-makers throughout the process since they actively shouldered the role of writer, director, actor/actress and the audience. This quality lets them engage with the process in ways that are not only aesthetic but also critical and purposeful. Thus, there are also some elements that Brechtian plays and O'Neill's structures may share but they are included with different intentions. Taking all the similarities and differences that can be referred from texts into consideration, it can be suggested that further discussion is needed to reveal the dichotomy. This paper intends to build a direct link between drama in education and theatre and to explain this link from a structural point of view by comparing and contrasting examples from plays of Brecht and process drama sessions of O'Neill.
    [Show full text]
  • A Rose for Emily”1
    English Language & Literature Teaching, Vol. 17, No. 4 Winter 2011 Narrator as Collective ‘We’: The Narrative Structure of “A Rose for Emily”1 Ji-won Kim (Sejong University) Kim, Ji-won. (2011). Narrator as collective ‘we’: The narrative structure of “A Rose for Emily.” English Language & Literature Teaching, 17(4), 141-156. This study purposes to explore the narrative of fictional events complicated by a specific narrator, taking notice of his/her role as an internal focalizer as well as an external participant. In William Faulkner's "A Rose for Emily," the story of an eccentric spinster, Emily Grierson, is focalized and narrated by a townsperson, apparently an individual, but one who always speaks as 'we.' This tale-teller, as a first-hand witness of the events in the story, details the strange circumstances of Emily’s life and her odd relationships with her father, her lover, the community, and even the horrible secret hidden to the climactic moment at the end. The narrative 'we' has surely watched Emily for many years with a considerable interest but also with a respectful distance. Being left unidentified on purpose, this narrative agent, in spite of his/her vagueness, definitely knows more than others do and acts undoubtedly as a pivotal role in this tale of grotesque love. Seamlessly juxtaposing the present and the past, the collective ‘we’ suggests an important subject that the distinction between the past and the present is blurred out for Emily, for whom the indiscernibleness of time flow proves to be her hamartia. The focalizer-narrator describes Miss Emily in the same manner as he/she describes the South whose old ways have passed on by time.
    [Show full text]
  • Teaching Narrative Structure: Coherence, Cohesion, and Captivation
    Teaching Narrative Structure: Coherence, Cohesion, and Captivation Teresa A. Ukrainetz ,,N...... ,.1rivP Structure Analyses ............................................................................ 197 Degree of Independence ................................................................................ 197 Story Grammar Analysis .............. :................................................................ 202 Cohesion of the Tale ................................................................................ _..... 208 Story Art ........................................................................................... :........... 212 Books and Notations for II,U~goving Narrative Structure ............................... 218 Narrative Structure through Children's Literature ............... ;........................ 218 Pictography: A Narrative Representation Tool ............................................. 223 --·-- Moving Young Children into Independent Storytelling ................................. 230 Teaching Story Grammar ................................................................................. 231 Story Grammar Cues ...................................., ............................................... 232 A Story Grammar Lesson ...................................................................._ ......... 232 Teaching One Kind of Cohesion ................................................ :.................... 235 Making Stories Artful .......................................................................................237
    [Show full text]