Narrative Study of Historical Fiction 5Th Grade- Unit of Study
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The Death of Genre: Why the Best YA Fiction Often Defies Classification
LoriScot Goodson Smith & Jim Blasingame The Death of Genre: Why the Best YA Fiction Often Defies Classification few years ago, I received a phone call from a adding a list called genre-busters, novels which do not desperate sixth grade reading teacher. “Help!” easily fit into a single category. The more I think about Ashe cried, “I have a literary mutiny on my my YA favorite titles of the past few years, the more hands. I need your help now!!” I immediately raced bewildered I become. Zusak’s The Book Thief— upstairs. historical fiction or fantasy? Anderson’s The Astonish- Our sixth graders read Louis Sachar’s Holes as a ing Life of Octavian Nothing—historical fiction or required novel. The teacher uses Holes as part of her science fiction? Rosoff’s How I Live Now?—realistic unit on fantasy. In a time where many middle fiction or science fiction? Shusterman’s The Schwa schoolers are steeped in Harry Potter and Paolini, Was Here—realistic fiction or fantasy? I have come to Holes just did not seem to fit into that the same the realization that genre might be dead, that many of category of fantasy. recently published YA novels no longer fit into the “Mr. Smith,” they argued, “It can’t be fantasy. It’s predictable categories we typically designate for too real.” books. Is it time to despair? I think not. Rather, let us What followed was a long discussion about the celebrate the innovative fashion in which today’s YA different types of fantasy. We debated over the effects authors are bending the traditional definitions of of rattlesnake nail polish, the existence of yellow genre. -
Introduction: Ethics of the Narrative
doi: https://doi.org/10.26262/exna.v1i1.5990 Introduction: Ethics of the Narrative Helena Maragou a, Theodora Tsimpouki b aDeree—The American College of Greece. b The National and Kapodistrian University of Athens, Greece. If a man could write a book on Ethics which really was a book on Ethics, this book would, with an explosion, destroy all the other books in the world. 1 The debate on whether literature does or should possess ethical relevance is both old and new. As far back as in the ancient times, Plato and Aristotle addressed the ways in which aesthetic structure produces affective power, as well as the extent to which the affective power of literature may provide direction, or in fact—as in the case of Plato’s famous critique of poetry—misdirection to an audience’s moral consciousness. In more recent years, in the mid-1980s and early 1990s, the intersections of literature and ethics became the focus of work by Wayne C. Booth,2 who theorized on the moral functioning of rhetorical practices, and Martha C. Nussbaum,3 who addressed literature from the perspective of moral philosophy. In an article published in the 2004 special issue of Poetics Today, which focused on Ethics and Literature, Michael Eskin4 draws attention to moral philosophy’s “turn to literature,” a move that aims to embed moral philosophy’s abstract investigations into the concrete domain of human and social relations opened up by literature. At the same time, however, philosophy’s turn toward literature has coincided with a turn of literary studies toward ethics,5 a fact which some attribute to a reaction against formalism and poststructuralism. -
Narrative, Identity and Academic Storytelling Narrations, Identités Et Récits Académiques
ILCEA Revue de l’Institut des langues et cultures d'Europe, Amérique, Afrique, Asie et Australie 31 | 2018 Récits fictionnels et non fictionnels liés à des communautés professionnelles et à des groupes spécialisés Narrative, Identity and Academic Storytelling Narrations, identités et récits académiques Ken Hyland Electronic version URL: http://journals.openedition.org/ilcea/4677 DOI: 10.4000/ilcea.4677 ISSN: 2101-0609 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-043-3 ISSN: 1639-6073 Electronic reference Ken Hyland, « Narrative, Identity and Academic Storytelling », ILCEA [Online], 31 | 2018, Online since 06 March 2018, connection on 30 April 2019. URL : http://journals.openedition.org/ilcea/4677 ; DOI : 10.4000/ilcea.4677 This text was automatically generated on 30 April 2019. © ILCEA Narrative, Identity and Academic Storytelling 1 Narrative, Identity and Academic Storytelling Narrations, identités et récits académiques Ken Hyland Introduction 1 Most simply, a narrative is a spoken or written account of connected events: a story. Narratives in the social sciences, particularly those elicited through biographical interviews, have become the preferred method of data collection for researchers interested in identity and the connections between structure and agency (e.g. Block, 2006). The idea is that identity can be explored through the stories we tell about ourselves, tapping into the accounts that individuals select, structure and relate at appropriate moments. The underlying emphasis is on reflexivity and the belief that storytelling is an active process of summation, where we re-present a particular aspect of our lives. Giddens (1991) argues that self and reflexivity are interwoven so that identity is not the possession of particular character traits, but the ability to construct a reflexive narrative of the self. -
Narratology and Other Theories of Fictional Narrative Sylvie Patron
On the Epistemology of Narrative Theory : Narratology and Other Theories of Fictional Narrative Sylvie Patron To cite this version: Sylvie Patron. On the Epistemology of Narrative Theory : Narratology and Other Theories of Fictional Narrative. Matti Hyvärinen, Anu Korhonen et Juri Mykkänen. The Traveling Con- cept of Narrative, COLLeGIUM. Studies across Disciplines in the Humanities and Social Sciences, http://www.helsinki.fi/collegium/e-series/volumes/volume_1/index.htm ; pp. 118-133, 2006. hal- 00698697v2 HAL Id: hal-00698697 https://hal.archives-ouvertes.fr/hal-00698697v2 Submitted on 28 Mar 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. On the Epistemology of Narrative Theory: Narratology and Other Theories of Fictional Narrative Sylvie Patron University of Paris 7-Denis Diderot (Translated by Anne Marsella) Introduction The work of Gérard Genette in the field referred to as “narratology”2 represents one of the most important contributions to narrative theory, considered as a branch of literary theory, in the second half of the twentieth century. I purposely say “one of the most important”, as there are other theoretical contributions, some of which I believe to be equally important though they are not as well known as Genette’s narratology, particularly in France.3 These lesser-known theories are rich in epis- temological reflection. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Alternate History
Alternate History "What if?" What if Germany and Japan had won World War II instead of the Allied Forces? What if the South had won the Civil War, instead of the North? What would history have been like and, perhaps more importantly, what would our world be like today? These are the kinds of questions that works of Alternate History address and that have intrigued such masters of speculative fiction as Isaac Asimov, Ben Bova, Philip K. Dick, Harry Turtledove, and a host of others. Sometimes complex but always imagination teasing, the titles in this category have intrinsic appeal not only to science fiction readers but also to fans of fantasy and historical fiction. -- Michael Cart, Contributing Editor, Young Adult Fiction. Alternate history would change our world but what if alternate worlds already exist on some dimension parallel to our own? This is another theme similar to alternate history which uses an explainable, non-magical means of moving from one world to another. Worlds that may have been similar to ours in their distant history are included. Some tales are set so far in the future that the setting is more like alternate worlds than the worlds in hard science fiction. Exploring “what if” can lead you to almost anywhere or any time! John Birmingham. Weapons of Choice. 2004. In this American debut of an Australian non-fiction author, a combination of time travel, alternate history and military science fiction focus on the year 2021 with a United nations military force gathered in the Pacific to end ethnic cleansing by an Islamic fundamentalist regime in Indonesia. -
The Basic Concept of Narratology and Narrative
Language Circle: Journal of Language and Literature 14(2) April 2020 P-ISSN 1858-0157 Available online at http://journal.unnes.ac.id/nju/index.php/LC E-ISSN 2460-853X The Basic Concept of Narratology and Narrative Devi Sari Panggabean Universitas Sumatera Utara, Indonesia Email: [email protected] Rahmadsyah Rangkuti Universitas Sumatera Utara, Indonesia Abstract The field of narratology is concerned with the study and analysis of narrative texts. It puts under investigation literary pieces of language and yields an understanding of the components has in its very texture. The aim of this article is to provide insights about the field of ‘narratology’ and its associated subject of study ‘narrative’. It also tries to sketch the main issues concerning these two concepts. For this, the present review is presented in two major sections, each with related discussions about narratology and narrative. The first major part, narratology, will be presented in three sections: the first section, deals with the definitions and origins of narratology. The defi- nitions are inspected and the researchers show how they go from general (encompassing all which is narrated) to more specific (encompassing literary narratives told by a narrator) ones. The second section, focuses on the two phases of narratology which are classical and post-classical ones in which narratology changed its orientations and scope.RETRACTED The last section is devoted to some of the elements and components of which narratology is made up, such as narration, focalization, narrative situation, action, story analysis, tellability, tense, time, and narrative modes which will be elaborated on in more details. -
What Fictive Narrative Philosophy Can Tell Us: Stories, Cases, and Thought Experiments†
Revista del Instituto de Filosofía, Universidad de Valparaíso, Año 1, N° 2. Diciembre 2013. Pags. 61 – 81 What Fictive Narrative Philosophy Can Tell Us: Stories, Cases, and Thought Experiments† Michael Boylan Resumen Este ensayo discutirá algunos de los modos en que la narrativa trabaja para promover la filosofía, llamada filosofía narrativa de ficción. La estrategia es discutir las maneras en que trabaja el discurso directo e indirecto y mostrar por qué el discurso indirecto llena un vacío importante que el discurso directo no puede satisfacer. En el curso de este examen, serán analizados diferentes filósofos de la narrativa ficcional como Platon, Kierkegaard, Nietzsche, Sartre, Murdoch, Johnson, y Camus. Ellos utilizan el discurso indirecto para hacer plausible a los lectores la visión que están presentando. El artículo muestra algunas restricciones a este proceso. PALABRAS CLAVE: Platón, ficción, filosofía narrativa de ficción, experimentos men- tales, casos de ética. Abstract This essay will discuss some of the ways that narrative works to promote philosophy, called fictive narrative philosophy. The strategy is to discuss the ways that direct and indirect discourse work and to show why indirect discourse fills an important void that direct discourse cannot fulfill. In the course of this examination several famous narra- tive-based philosophers are examined such as Plato, Kierkegaard, Nietzsche, Sartre, Murdoch, Johnson, and Camus. These practitioners used the indirect method to make plausible to readers the vision that they were presenting. This article also offers some constraints in this process. KEY WORDS: Plato, fiction, fictive narrative philosophy, thought experiments, ethical cases. Most everyone would agree that narrative literature can create a display that is amenable to interpretation via various critical theories (among which are philosophical). -
Narrative Lit Imagination
Boston Studies in Philosophy, Religion and Public Life Volume 2 Series Editor Allen Speight Boston University, MA, USA Associate Editors Daniel O. Dahlstrom Boston University, MA, USA M. David Eckel Boston University, MA, USA Editorial Board Andrew Chignell Cornell University, USA Paul Davies University of Sussex, UK Wendy Doniger University of Chicago Divinity School, USA Parimal Patil Harvard University, USA Eleonore Stump St. Louis University Alan Wolfe Boston College, USA Aims and Scope Boston Studies in Philosophy, Religion and Public Life is an interdisci plinary scholarly series which publishes seminal papers on topics of pressing and perennial interest at the intersection of philosophy, religion and public life. The series is especially interested in interdisciplinary work that illuminates questions of value, truth, reality and meaning, as well as topics in the relevant fi elds which have a particular intersection with public life (for example, philosophical and religious perspectives on contemporary issues in ethical and political philosophy). In addition, the series serves as a prominent forum for important academic work emerging within the specifi c sub-discipline of the philosophy of religion. More information about this series at http://www.springer.com/series/8881 Allen Speight Editor Narrative, Philosophy and Life Editor Allen Speight Institute for Philosophy and Religion Boston University Boston , MA , USA ISSN 2352-8206 ISSN 2352-8214 (electronic) ISBN 978-94-017-9348-3 ISBN 978-94-017-9349-0 (eBook) DOI 10.1007/978-94-017-9349-0 Springer Dordrecht Heidelberg New York London Library of Congress Control Number: xxxxxxxxxx © Springer Science+Business Media Dordrecht 2015 This work is subject to copyright. -
The Angel of Ferrara
The Angel of Ferrara Benjamin Woolley Goldsmith’s College, University of London Submitted for the degree of PhD I declare that the work presented in this thesis is my own Benjamin Woolley Date: 1st October, 2014 Abstract This thesis comprises two parts: an extract of The Angel of Ferrara, a historical novel, and a critical component entitled What is history doing in Fiction? The novel is set in Ferrara in February, 1579, an Italian city at the height of its powers but deep in debt. Amid the aristocratic pomp and popular festivities surrounding the duke’s wedding to his third wife, the secret child of the city’s most celebrated singer goes missing. A street-smart debt collector and lovelorn bureaucrat are drawn into her increasingly desperate attempts to find her son, their efforts uncovering the brutal instruments of ostentation and domination that gave rise to what we now know as the Renaissance. In the critical component, I draw on the experience of writing The Angel of Ferrara and nonfiction works to explore the relationship between history and fiction. Beginning with a survey of the development of historical fiction since the inception of the genre’s modern form with the Walter Scott’s Waverley, I analyse the various paratextual interventions—prefaces, authors’ notes, acknowledgements—authors have used to explore and explain the use of factual research in their works. I draw on this to reflect in more detail at how research shaped the writing of the Angel of Ferrara and other recent historical novels, in particular Hilary Mantel’s Wolf Hall. -
Philosophy of Action and Theory of Narrative1
PHILOSOPHY OF ACTION AND THEORY OF NARRATIVE1 TEUN A. VAN DIJK 1. INTRODUCTION 1.1. The aim of this paper is to apply some recent results from the philosophy of action in the theory of narrative. The intuitive idea is that narrative discourse may be conceived of as a form of natural action description, whereas a philosophy or, more specifically, a logic of action attempts to provide formal action descriptions. It is expected that, on the one hand, narrative discourse is an interesting empirical testing ground for the theory of action, and that, on the other hand, formal action description may yield insight into the abstract structures of narratives in natural language. It is the latter aspect of this interdisciplinary inquiry which will be em- phasized in this paper. 1.2. If there is one branch of analytical philosophy which has received particular at- tention in the last ten years it certainly is the philosophy of action. Issued from classical discussions in philosophical psychology (Hobbes, Hume) the present analy- sis of action finds applications in the foundations of the social sciences, 2 in ethics 3 1This paper has issued from a seminar held at the University of Amsterdam in early 1974. Some of the ideas developed in it have been discussed in lectures given at the Ecole Pratique des Hautes Etudes (Paris), Louvain, Bielefeld, Münster, Ann Arbor, CUNY (New York) and Ant- werp, in 1973 and 1974. A shorter version of this paper has been published as Action, Action Description and Narrative in New literary history 6 (1975): 273-294. -
Young Adult Historical Fiction Book List
Young Adult Historical Fiction Book List Denotes new titles recently added to the list GREEK MYTHOLOGY is doomed to become a werewolf. In this climate of hysteria, the boys’ father is charged Galloway, Priscilla with heresy for covertly reading the Bible. The Courtesan’s Daughter From humble beginnings, Cushman, Karen Phano rises to become one of Alchemy and Meggy Swann ancient Athens’ most powerful Meggy Swann, a girl who walks citizens through her marriage with the aid of two sticks, to Theo, but they both have powerful enemies arrives in Elizabethan London, who don’t share their political views. (2002) along with her goose Louise, to stay with her father who really does not want ICE AGES her, and while he pursues his dream of transforming base metal into gold, Meggy Gear, Kathleen and Michael undergoes a transformation herself. (Summary Children of the Dawnland from Follett Destiny, November 2010). Twelve-year-old Twig, a Spirit Dreamer who can see into the Grant, K.M. Green Jasper future, teams up with best friend Having returned to a politically Greyhawk and the unpopular unstable England after the shaman Screech Owl to warn villagers of an Crusades, brothers Will and impending natural disaster. (Summary from Gavin--with the help of the Follett Destiny, October 2009). red horse Hosanna--attempt to rescue their friend Ellie who is being held MIDDLE AGES prisoner by an enemy of King Richard I. (Summary from Mackin.com 2006) Banks, Lynne Reid The Dungeon Hoffman, Alice Driven by grief over the loss of Incantation his family and by his longing During the Spanish Inquisition, for adventure, Bruce sixteen-year-old Estrella, brought MacLennan sets out from up a Catholic, discovers her Scotland for China, where he family's true Jewish identity, and buys a yohoung girl, who tries when their secret is betrayed by Estrella's best to ease his pain but instead is caught up in his friend, the consequences are tragic.