The literary devices used in the literary essay are description, definition, examples, narration, compare and contrast, cause and effect, classification and division.Generally speaking, the two most frequently used genres in literature are fictional and non-fictional.Having said this, fictional and non-fictional literature are distinct regarding their purpose as well the literary devices they use.Lastly, both the literary essay and short story convey life-learning lessons.On the other hand, the short story uses narrator, setting, characterization, plot and perspective.
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This paper will compare the elements of narrative in two fictional and two non-fictional works, exploring such areas as the credibility, entertainment value and superiority within the distinct character of both, the fictional and non-fictional genres of literature.Emotions such as love, fear, anger and pain can be enhanced or exaggerated in a fictional account to pike the readers interest.This paper has performed a through analysis of the elements of narrative in fictional and non-fictional literary works.Narrative is defined as “the general term (for a story long or short; of past, present or future; factual or imagined; told for any purpose; and with or without much detail).” (2006) In a fictional work, narrative may be used to create ...
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It becomes visible in the first paragraph, which starts off with the narrator saying that it is no good to write autobiographical fiction.Essentially, that describes autobiographical fiction.The subject of this piece can be interpreted as to be one side of an argument on why not to write autobiographical fiction.It continues describing the problems concerning autobiographical fiction occurring with friends.It can be classified as narrative prose and is written in the first person.
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A look at other Munro short fiction could lead to a better understanding of Munro’s status as a realist writer.Thus, the narration becomes free of legend-making.” (Canitz and Seamon, 1996: 77) On the other hand, this episode could be also interpreted as a sign of the ambiguity and unreliability of experience, a sign of how â€ževents and memories, experience and fictional reconstruction, never precisely coincide” which is also characteristic of Munro’s style.This fluctuating view-point, or in better words multiple perceptions of single events” can be seen as a post-modern feature in the narrative construction.Canitz and Seamon explain how Munro, as all realists, must somehow persuade her audience that her fiction is not a product of imagi...
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The Walking Dead is set in Georgia during a fictional zombie apocalypse.They often contain fictional components as well, leading to new types of games.Mario Party (Nintendo 1998) contains an overarching fictional world and game, but is largely made up of individual staged games.Coherent world games are games that have a fictional world that contain nothing that prevents the player from imagining them in full.Juul had previously taken the stance that rules are what make a game a game, fiction is unnecessary for a game, a game with an excellent fiction can still be a terrible game, therefore fiction is unimportant in games (Half-Real 13).
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fiction which invites suspension of reality * Fiction narrative – literary works whose content is produced by the imagination and is not necessarily based on fact * Fiction in verse – full-length novels with plot, subplot(s), theme(s), major and minor characters, in which the narrative is presented in (usually blank) verse form * Folklore – the songs, stories, myths, and proverbs of a people or “folk” as handed down by word of mouth * Historical fiction – story with fictional characters and events in a historical setting * Horror – fiction in which events evoke a feeling of dread and sometimes fear in both the characters and the readerю .* Science fiction – story based on impact of actual, imagined, or potential science, usually set in...
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Thus the present author aims at investigating narrative features of Martin Amis’s fiction under the heading of “Postmodernism”.He argues that “to reveal the author’s position within the ontological structure is only to introduce the author into fiction (his italics) as a result we would notice far from abolishing the frame, “this gesture widens it to include the author as a fictional character” (197).He also gives an account of fiction which in “an inclusive sense is any literary narrative, which is invented instead of being an account of events that in fact happened”.Nick Bentley in Contemporary British Fiction discusses different issues related to modern and postmodern era, like narrative forms, contemporary ethnicities, gender and sex...
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This fragmentation of the narrative continues in the film.The creating of the story in our minds gives us a pleasure of delight, where bewilderment is on top, and for certain viewers to actually figure out the film Pulp Fiction, by realizing that the light in the briefcase is the lost soul.This anthropological narrative deliberately confuses the audience.Generalizing Pulp Fiction, it can be seen how Quentin Tarantino is fascinated with narrative structure and that he deliberately confuses the audience with fragmentation of the narrative.Another of Tarantino’s personal features throughout his films, such as Pulp Fiction, are that he seems to be fascinated by narrative structure.
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If, however, a documentary text is considered in its entirety, then it is open to questioning about the validity of the historian’s factual claims (including analysis as to whether the “narrative structure” is an accurate or fair way of interpreting the real events) in a way that fiction is not.I have already suggested that the film possesses three layers of exposition: an outer narrative (Stone’s case), an inner narrative (Garrison’s story), and evidence (presented as documentary material and re-enactments).The inner narrative story of Jim Garrison (which is likely to be understood by most audiences as at least partially fictional and not taken as literally true) is often weaved seamlessly in with the evidence (more likely to be seen as...
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Summary: Neo-slave narratives, which is a sub-genre of the slave narrative, proliferated by the second half of the twentieth century.The authors base the structure of their fictional work on the oral histories and existing slave narratives to make sure that the story would still echo true events in the historical sense.As was mentioned, the novel Kindred follows the typical pattern for a slave narrative, and this will be the thesis of the paper.Kindred as a neo-slave narrative With the plot and simple and direct language employed by Butler, Kindred could not be missed as a neo-slave narrative.Wholuba said that “while a significant number of scholars have established that certain silences exist in the traditional narrative of history, neo...
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And likely this is why Stowe's novel spoke so much more powerfully than the South's less dramatic, more analytical attempts at a defense of slavery in fiction.Another aspect of Stowe's `power' for which Adams argues is her ability, as a woman, to write moving fiction: " No fictitious narrative of slavery could make a deeper impression than a book on this subject written by a female hand which knew well how to touch the chords of the human heart, especially if there were interspersed skillful representations of the unnaturalness of second love, of the impossibility that maternal affection should be imitated, and that where a stepmother has children of her own, there is the strongest temptation to partiality, with other theoretically truth...
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A narrative (or plot) is a literary form consisting of the placing in an arbitrary and specific order of the facts of a story.Still in a functional vein, but this time taking into account the different possible combinations between the sequentiality of the events told and that of the narrator, Sternberg associated three elementary narrative interests in the definition of narrativity: .It is possible to associate these different cognitive and poetic factors determining narrative interest with a general form of narrative reluctance generating a tension that directs the updating of the story towards an uncertain outcome.An affirmation is in fact evaluated much more positively when it is scripted, and even more when it is based on an "unveil...
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However, this study perhaps is one of the very few studies that have dealt with the organisation and presentation and interpretation of postmodern elements within television crime fiction.One of the cornerstones of postmodernism is the unwillingness to demarcate the regular from the unusual, ordinary from extra ordinary, and media with its prime objective of recruiting and entertaining audiences bombard them with content that is inundated with fictional and factual images and representations.This study started with an aim to explore and identify postmodern elements in the text of television crime fiction.From the analysis, several findings are identified which may have future research and theorising potential regarding television crime f...
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Works Cited Hollowell, John.Contemporary Literary Criticism 19 (1981): 82-84.John Hollowell's, critical analysis of Truman Capote's novel In Cold Blood focuses on the way Capote used journalism and fiction to try and create a new form of writing (82-84).Overall, In Cold Blood gives an example of events of the sixties, such as meaningless crimes, senseless violence, social dislocations, and failure of the conventional morality (Hollowell 84).Even though events could be checked, "any attempt to write a narrative account implies establishing a 'fiction' that best fits the facts as they are known"... ... middle of paper ... ...k" (84).
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Evidently, there were characteristics of a slave narrative in the novel Kindred.Kindred as a neo-slave narrative With the plot and simple and direct language employed by Butler, Kindred could not be missed as a neo-slave narrative.As Kindred is a work of fiction, it would naturally be categorized as a neo slave narrative, a concept I came to be familiar with after research.By the second half of the twentieth century, a sub-genre of the slave narrative has arisen; called the “neo-slave narrative,” it is a fictional mutation of the slave narratives of nineteenth-century Americans (Crossley).” As was mentioned, the novel Kindred follows the typical pattern for a slave narrative, and this will be the thesis of the paper.
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He mistakenly thinks that Robert having never seen his wife, was not able to properly get to know or love her.The narrator often uses “etc” implying that the details are inconsequential.His dislike of thinking about other people’s roles in his wife’s life, is evident in this line “why should he have a name?Ultimately, the narrator’s inability, and refusal, to look past the superficial or concrete level prevents …Whereas, the blind man served as an effective foil to further highlight the protagonists’ faults and establish his figurative blindness.
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To bring the robots to life on screen require some very impressive special effects which again is something that the science fiction audience has come to expect in order to make the setting and subject matter of the genre believable.’ (J. P. Telotte Science Fiction Film pg 166) The main plot is about OCP creating a super cop robot that doesn’t have the frailties of a human being, there are two projects seen in the film the first to be tried out is the Ed 2009 project which is totally made of mechanical parts and is run by a computer.To look into how genre theory applies to Paul Verhoven’s Robocop (1987) it is useful to look at the science fiction genre and exactly what conventions go into putting a film into the science fiction genre.Ver...
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Carol Shields, Narrative Hunger and the Possibilities of .Cixous believes it is hierarchical in nature and insidious in effect.The Stone Diaries, the fictional autobiography about the calamitous birth of Daisy, her various far- away journeys, and her roles as a wife, mother, and widow up to her death, as it first seems is based on a series of trivial details such as memories, dreams, letters, recipes and many lists.The other book which may be useful during this process is Carol Shield, Narrative Hunger and the Possibilities of Fiction by Dee Goertz and Edward Edeen.Contemporary Canadian Women’s Fiction: Refiguring Identities.
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When comparing and contrasting any two stories, we can see these elements of fiction present regardless of the end result.Lastly, point of view acts as the brain, or the train of thought that give life to the story.After looking at both Bartleby, the Scrivener and A & P, it is plain to see that there are many types, and ways to use the elements of fiction, and each creates its own ending .Setting provides the skin, or canvas, so the reader is able to put the information into context.Bartleby, the Scrivener by Herman Melville and A&P by John Updike, are two wonderful examples to examine to compare and contrast how the different elements of fiction applied to a story can produce definite endings.
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There is a subtle intertwining of fact and fiction that hooks the reader into reading further.There is a thin line between fact and fiction.As a matter of fact it goes beyond fiction despite the fact that the author labeled it as “a work of fiction” on the title page.The story may be fiction but the emotions, tragedies and lives behind the story are real.Truly, facts could sometimes be stranger than fiction.
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Nonfiction opposes fiction and is distinguished from those fiction genres of literature like poetry and drama which is the next section we will discuss.Historical Fiction is a story with fictional characters and events in a historical setting.It is often effective to end a body paragraph with a sentence that rationalizes its presence in the essay.The genre of Fiction can be defined as narrative literary works whose content is produced by the imagination and is not necessarily based on fact.This gives additional effect to what an audience would otherwise consider a very boring conclusion.
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It is often effective to end a body paragraph with a sentence that rationalizes its presence in the essay.Fiction of verse is one of the genres of literature in which the narrative is usually presented in blank verse form.Imagine how much more effective the last statement would be if the writer cited some specific statistics and backed them up with a reliable reference.Historical Fiction is a story with fictional characters and events in a historical setting.Fiction in Verse is full-length novels with plot, subplots, themes, with major and minor characters.
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In the mean time, his novels reveal the decadency of the humanity in the modern society.Chapter III deals with the Meta-fiction narrative techinque using in Campus Trilogy.Chapter II demonstrates Campus Trilogy from Narrative Perspective.The author masters the skill of Parody and Collage to break the true effect of the narration.It exposes the fiction of the novels by itself and subverts the readers’expectation.
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As a study of the Vietnam war, this is probably not the most explicitly accurate text, but this is not a story about war, it is about what war does to a man.Tim O’Brien uses a unique narrative style as he, the narrator, details the lives of the men from his platoon in the . O’Brien, Tim.Moreover, there are three main themes, among others, that run throughout the novel: bravery, how war effects a soldier both physically and mentally, and, as O’Brien admits in the first chapter, a reader’s understanding of the truth he weaves with fiction, because, only stories that reveal the truth can be true.This is a story about the men who could have fought the war, how they dealt with it, and what kind of men the frightening, deadly jungles of ...
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These elements include the narration of the story by Victor Frankenstein who became the victim of the monsters’ revenge actions, the horrifying experiences expressed in the book and the use of science fiction.Over the years, the novel has inspired other writers publish science fiction work.Anticipations: Essays on Early Science Fiction and Its Precursors.The prolific fictional and scientific research of Victor Frankenstein resulted to the creation of a monster which made life difficult for him.Mary Shelley; Her Life, Her Fiction, Her Monsters.
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A chief effect of this reconfiguration is replay--and replay of the voyeuristic frame, for just as Palamon and Arcite watch Emily through prison windows, settting in place a definition of love as distance and the gaze as a complex relation of inversion and self-objectification, Palamon, hiding in the grove, watches Arcite in this scene.participate in supporting a fiction that would seem to have so little in it for me?A common pressure of much of this work is a focus on representational and narrative practices that allow the homoerotic to be simultaneously seen and contained, exposed and repressed.Nevertheless, the greatest prop of the heterosexist fiction is the spectacle itself.Purely in representation, ponderous in its fictions, the pa...
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In fiction, the author believes that readers will make an effort to follow and interpret in an indirect or abstract way the progression of the presented theme.Some non-fictional literatures may include elements of unverified hypothesis, deduction or imagination for the purpose of smoothing out a narrative, but the inclusion of open lies would discredit it as a work of non-fictional literature.which were seen by few and are without much interest except for a historian.Semi-fiction is fiction involving a large part of non-fiction, example of fictitious descriptions based on a true story.Readers are important in any artistic or descriptive endeavor, but they are perhaps more important in non-fictional narrative.
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* Stockwell (2002: 47) .* Omniscient= the narrator knows everything about the fictional world and the characters that he/she is describing, including those character’s thoughts and feelings.>a way of accounting for how the reader of a text often takes a cognitive stance within the world of a narrative and interprets text from the perspective.Example: me and you .* Social Deixis= another analogous development of place deixis and encodes how close how close we feel in terms of our social relationship with them.
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The one-sidedness in autobiographies often gives the reader a bias view on all events and the author usually alters the truth.Furthermore, Time does have an effect on memory as it can be clouded over time and cannot be as strong.Autobiographies, as a narrative non-fiction text, generally rely on the conventions of factual historical evidence while presenting a personal point of view.By saying non-fiction texts only deal with facts is highly debatable as facts are intertwined with the personal.The written style of non-fiction text both deals with facts and emotional theories.
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The five examples of fiction books: Louis Ehlert’s Red Leaf, Yellow Leaf; Mary Hoffman’s Amazing Grace; Jerry Stanley’s Children on the Dust Bowl; Harriette Gillem Robinet’s Children of the Fire; Marya Dasef’s Tales of a Texas Boy.DQ 14 It is critical that children are able to distinguish expository texts from narrative works of writing.Generally, there are several features which make narrative and expository texts different from each other.To understand the meaning of a word, to communicate with audiences, to acquire new information, and to use this information to achieve personal goals, children need to possess sound knowledge on what a fiction, and what a non-fiction text is.The process of education requires using either expository or...
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