...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...From century to century there have been many instances of people standing up against wrongdoing in the face of great danger. One good example of this was slavery in the United States and the movement to abolish it. Frederick Douglass, a famous author and former slave from the time period, wrote numerous pieces arguing for the freedom of his people. In his autobiography entitled Narrative of the Life of Frederick Douglass, he describes his experiences as a slave and how he attained education, despite overwhelming adversity. His story draws similarities to the fictional character Guy Montag created by Ray Bradbury, author of the book Fahrenheit 451’s protagonist. Both of these authors utilize characterization and conflict to develop their main...
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...that are present in the world today. THE POST-APOCALYPTIC GENRE AND NARRATIVE STRUCTURE The novel “Oryx and Crake” were written by Margaret Atwood in 2003. The novel falls into the genre ‘post-apocalyptic fiction’, which can be defined as fiction that tells the story about what the world has become after the destruction of the earth or society as we know it; the word ‘post’ meaning what comes after and ‘apocalypse’ meaning revelation . An example of the post-apocalyptic setting can be found on the first page of Oryx and Crake; “Out of habit, he looks at his watch … a blank face is what it shows him: zero hour” . Zero hour can be interpreted according to the doomsday clock as when the existing world has ended, the clock has stroked past midnight, and there is no time left to change the situation; the humans can do nothing but accept their current situation. This is the case with Oryx and Crake, since it is too late to change the world back to what it once was. The novel starts ‘in medias res', and keeps switching between the past and the present world, however, the novel has its beginning in the post-apocalyptic world. The post-apocalyptic genre often uses a term called suspension of disbelief; this term suggests that if a writer, in this case Margaret Atwood, can create a “human interest and resemblance of truth” in a fictional work, the reader will not judge the story based on how unreliable the narrative might be. Using this term, the reader will be open to what the story...
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...“Canada is an unknown territory for the people who live in it, and I’m not talking about the fact that you may not have taken a trip to the Arctic or to Newfoundland, you may not have explored as the travel folders have it – This Great Land of Ours. I’m talking about Canada as a state of mind, as the space you inhabit not just with your body but with your head. It’s that kind of space in which we find ourselves lost. What a lost person needs is a map of the territory, with his own position marked on it so he can see where he is in relation to everything else. Literature is not only a mirror; it is also a map, a geography of the mid. Our literature is one such map, if we can learn to read it as our literature, as the product of who and where we have been. We need such a map desperately; we need to know about here, because here is where we live. For the members of a country or culture, shared knowledge of their place, their here, is not a luxury but a necessity. Without that knowledge we will not survive.” Margaret Atwood, Survival As Atwood’s statement demonstrates, Canadian literature is concerned with place and displacement, and with the development of an effective identifying relationship between self and environs. Canada’s literature whether written in English or French reflects three main parts of Canadian experience. First, Canadian writers often emphasize the effects of climate and geography on the life and work of their people. Second, frontier’s...
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...things, people, or places. The observable or "physical" is usually described in concrete language. Allegory—A narrative or description having a second meaning beneath the surface one. A story, fictional or nonfictional, in which characters, things, and events represent qualities or concepts. The interaction of these characters, things, events is meant to reveal an abstraction or a truth. These characters, etc. may be symbolic of the ideas referred to. Alliteration—The repetition at close intervals of initial identical consonant sounds. Allusion—An indirect reference to something (usually a literary text) with which the reader is expected to be familiar. Allusions are usually literary, historical, Biblical, or mythological. Ambiguity—An event or situation that may be interpreted in more than one way. Also, the manner of expression of such an event or situation may be ambiguous. Artful language may be ambiguous. Unintentional ambiguity is usually vagueness. Anachronism—Assignment of something to a time when it was not in existence, e.g., the watch Merlyn wore in The Once and Future King. Analogy—An analogy is a comparison to a directly parallel case. When a writer uses an analogy, he or she argues that a claim reasonable for one case is reasonable for the analogous case. Anecdote—A brief recounting of a relevant episode. Anecdotes are often inserted into fictional or nonfictional texts as a way of developing a point or injecting humor. Angst—A term used in existential...
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...the genre. In the film the life of the protagonist, Antoine Doinel, accords with the filmmaker’s conscious attempt at creating a film that challenges commonly held notions of narrative, character, and style. As such, Les Quatre Cents Coups is a film in which the central character’s motives are ambiguous, narrative events are loosely connected, and degrees of closure are limited. These characteristics will later form the basic structure of the art film model and can be used to understand the film and art films, in general. An understanding of Les Quatre Cents Coups proves a difficult task without some understanding of the French New Wave, an influential film movement falling roughly between 1959 and 1964. During this era, directors such as: Godard, Chabrol, Truffaut, sought to produce films with a casual style and ambiguous but psychologically developed characters; these directors were opposed to studio filmmaking and the norms of “classical style” and story, which promoted narrative clarity and unity. According to James Monaco, the “aesthetic of the New Wave cinema was improvisational and its photography and editing were far less mannered than its predecessors” (Monaco). Truffaut’s attempt to grapple with the “poetry of childhood” in the story of Antoine Doinel is replete with the methods of the New Wave. Doinel’s psychological tension becomes the focus of the camera; Truffaut maps out a world which holds as its nucleus a single protagonist. Doinel is centered upon but never treated...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...apparent in regards to genre and its definition. Bennett identifies genre as, "Encompassing groups of texts and categorizing them according to the characteristics they have in common" (Bennett, 2006, pg26) where as writer Barry Keith's arguments are contradictory stating that; "Genre movies are always about the time and place in which they are set." (Grant, 2006, pg6) Theses quotes have enabled me to identify the three pieces of horror genre media texts that I am going to analyze for my research investigation and how their construction is used to appeal to its audience with reference to; "Stalker-Lewis Farinella", "Lovefield-Matthieu Ratthe" and "Vanished-NewDawnFilm", and how their technical, audio, visual codes characterization and narrative are constructed to relay the genre to its audience. It has been quoted that the "Concept of genre is important in arousing the expectations of an audience and how they judge and select texts"(Bateman, 2010, pg46) presenting a valid...
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...wall of literary structure. * If we miss one detail of the story,it would be incomplete comprehension for the readers. * The most important reason why we study literature is not about “what” but “How”.(Literature statement should be beyond peripheral) * Theme * Main idea of literary work is usually a structural decision,comparable to an architectural decisions. * consistency of the chosen theme/ex:”Native”/Filipino * Literary Terms 1. Symbol 2. Simile 3.Metaphor 4.Images 5.Diction 6.Denotation/Connotation * Literary Genres * are determined by literary technique, tone content & by critics’ definitions of the genres * a category , type or class Literature 1. Allegory : A narrative w/c litetal meaning corresponds clearly &...
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...Characteristics of Stream of Consciousness Writing • Stream-of-consciousness writing is usually regarded as a special form of interior monologue and is characterized by associative leaps in thought and lack of punctuation. In stream of consciousness the speaker's thought processes are more often depicted as overheard in the mind (or addressed to oneself); it is primarily a fictional device. Stream of consciousness narrative differs from conventional prose, as it seeks to mimic the often fragmentary and disjointed nature of a character's train of thought. Rather than a series of structured sentences, linked by logical progression, sentences may be more fluid, adhering less strictly to formal grammar, often beginning and ending abruptly. The sequence of sentences may be marked by apparently random jumps from subject to subject, as the protagonist is distracted by some external impression or one idea sparks off another. Stream of consciousness narrative thus often requires more work from the reader than conventional prose. In recompense, the reader gains a privileged insight into how the character experiences the world from within. Interior Monologue • Stream of consciousness technique is perhaps most frequently associated with the interior monologue. The interior monologue is written from a first-person perspective, as though it were a record of the character's thoughts. The illusion that we are privy to an unmediated rendering of the character's inner self...
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...Hair Extensions Won’t Save The Modern Rapunzel Hair extensions and expensive shampoo might not find your man, but Austen will writes Alex Simmons As I once again retire to my ivory tower, or rather my apartment on the fourth floor, I look out my window to see but another possible suitor across the street. Why he doesn’t look up at me, I wonder, as he strolls casually by. Is it because of how I look, I question, as I survey myself in the mirror with a fine toothed comb. Or is it because of where I live, in average furnishings and a moderate city block? And now I think to myself, is the modern world so frustratingly bound to physical appearance rather than personal depth? Or is it my reclusive nature and timid personality that restrains me from racing down the stairs and potentially entering into my own fairytale? For the adult population of the modern world, in particularly males, the possibility that fairytales and happy endings still exist seems to be a fanciful notion. Perhaps I am a child at heart or more likely delusional in the hope that such “fabrications” of reality that struck a par with me as a young girl do exist in the contemporary world. And whilst years of seemingly perfect yet failed relationships, contradictory evidence and vindictive and damning opposition stack up against me, I still earnestly believe in the literary complex of Prince Charming sweeping me off my feet and into my happy ending. But what if there is the possibility that simply waiting...
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...The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life In the feature article " The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life" the author, Benjamin D. Espinoza, explains the educational strategy of narrative pedagogy, its characteristics and creative ways to apply it effectively in religious and secular ambits in our life. First, narrative pedagogy is an approach to teaching that involve our life stories through creative ways and another life stories (in the Christian ambit biblical stories) to form and renovate our life from the past through the present to the future. The purpose of explain the theological truths through stories is to develop a clearer understanding of the ideas, avoiding...
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...Countless novels and stories attest to this as numerous examples can be found dating post golden pirate age, in which a protagonist pirate shares a love interest. In works prior to the conclusion of the golden age, however this trait is quite noticeable absent. The closest example of such love we see in one of these early texts in found in Defoe’s General History of the Pirates, which is common source material for pirate literature. In describing the travels and life of John Rackham, Defoe acknowledges at one point that Rackham in Cuba “kept a little kind of family (149),” however this abstains as the only mention of family for Rackham. Further reading of Rackham’s story would seem to indicate such love interests were not of major importance to Rackham either, as Defoe states Rackham was quick to “make courtship to her (Anne Bonney) (165),” once he was able to woo her away from her husband. The lack of heartfelt relationships were clearly mutual in this matter as Bonney is later recorded as telling Rackham before his hanging “that she was sorry to see him there, but if he had fought like a man, he need not have been hang’d like a Dog (165).” While harsh, and short in nature, these love interests in Defoe’s historically accurate pirate narratives, stand out as the only examples of such romanticism in the entire text. Much of the rest of the pirate narratives, be it of Rackham or Blackbeard, are filled with tales of bloodshed and cruelness on the part of the buccaneers, creating...
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...Florida 33808 10 February 2007 Date Irini Plantenberg Mr. Jake Greer Director of Customer Service for Liftoff Airways Title of recipient 44 Take Flight Way Soaring, Nebraska 27021 Dear u; I just got done reading this wonderful book and i just thought you should read it, If you liked Catcher In The Rye you will love great expectations by charles dickinson. Some of the similarities are that Great expectations is written in standard English with many colloquial and archaic words. As with catcher in the rye, written in American English and also has many colloquial words and is also written as if the main character is speaking (first person narrative) directly to you. Another similarity is that both are fictional autobiographies, narrated personally by the protagonists. Also Both novels are viewed as the protagonists revisiting their past experiences and passing them on to the reader. Some of the differences are the age difference between the two boys, Pip is 7-8 years of age while Holden is 15-16. Another big diffrenece is Great Expectations is a full life story, and you can tell by the very beginning, Pip starts by giving us a full background description of his self and his family, . Holden, on the other hand starts with the very quote " If you really want to hear about it, the first thing you'll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me and all that David Copperfield...
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...to create a storyboard and a CD cover as well as insert. In order to accomplish this I had to research a range of music videos and CD covers that would relate to my genre of music. The genre that I have picked is alternative rock as I am most familiar with this genre of music and could express myself the most for this since I have an abundance of knowledge about this specific genre. Whilst conducting my research, I looked at several contemporary bands such as: Kings of Leon, Linkin Park, 30 seconds to Mars as well as other older bands such as Red Hot Chilli Peppers and Nirvana. Bands are very conventional in this genre meaning I too would be creating a fictional band- not many solo artists are seen within this genre, with the exception of Suzanne Vega, Lorde etc. With all this information I have decided to opt for a fictional band as it would be more conventional as well as please the fans of the genre more since they persist on listening to bands compared to individual artists. During my research I had discovered that the age demographic for my genre of music is 16-25 year olds. Just from this piece of information I can tell that most of the people who listen to this genre of music are in further education or had just started university- I can then tell that the type of music would be party related as this age group is stereotyped for partying during this social part of their lives. I also found a higher correlation between listening to alternative rock and being a male with...
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