This document provides an overview of Unit 1: Aspects of Narrative for AQA English Literature B. It outlines the assessment objectives for the unit, which focus on demonstrating critical understanding of how structure, form and language shape meanings in literary texts. The document then lists some of the key texts that will be studied for the unit, including The Kite Runner and The Great Gatsby. It defines narrative and differentiates it from story, noting that narrative refers to how events are shown and the methods used to convey them. Finally, it identifies some of the common elements that make up a narrative, such as setting, time/sequence, characters, and structure.
Presented July 28, 12-1 Fremont Library
Outlander is much more than a television romance about a World War II nurse and a Jacobite in a fetching kilt. The series has been categorized as a period drama, adventure saga, military history and fantasy epic. Inspired by the Irish legends of Fionn Mac Cumhaill and the prophecies of Brahan Seer, the storyline is also filled with mythology and symbolism from around the world, from the Fair Folk and the Loch Ness monster to wendigos, ghosts, zombies and succubae. The series is also rich with its own symbolism: heather and white roses, the dragonfly in amber, Claire’s blue vase and wedding gown, her wedding rings and pearl necklace. This presentation by Valerie Estelle Frankel (author of five books about the Starz series and novels) untangles the myriad of myths, legends, symbols and literary references found within.
Presented July 28, 12-1 Fremont Library
Outlander is much more than a television romance about a World War II nurse and a Jacobite in a fetching kilt. The series has been categorized as a period drama, adventure saga, military history and fantasy epic. Inspired by the Irish legends of Fionn Mac Cumhaill and the prophecies of Brahan Seer, the storyline is also filled with mythology and symbolism from around the world, from the Fair Folk and the Loch Ness monster to wendigos, ghosts, zombies and succubae. The series is also rich with its own symbolism: heather and white roses, the dragonfly in amber, Claire’s blue vase and wedding gown, her wedding rings and pearl necklace. This presentation by Valerie Estelle Frankel (author of five books about the Starz series and novels) untangles the myriad of myths, legends, symbols and literary references found within.
Analysis of the poem 'mowing' by robert frostHusain Necklace
This paper analyzes the poem 'mowing' by Robert Frost by analyzing how Frost talks about work in this poem and refers to the fact that writing poem is word in itself.
by W.H.Auden
it is a poem by Auden addressing his daughter. He expresses his own desires and expectations from his daughter. The poem has a universal feeling of a typical father towards his own daughter. The father in the poet indicates his concerns regarding his daughter.
Analysis of the poem 'mowing' by robert frostHusain Necklace
This paper analyzes the poem 'mowing' by Robert Frost by analyzing how Frost talks about work in this poem and refers to the fact that writing poem is word in itself.
by W.H.Auden
it is a poem by Auden addressing his daughter. He expresses his own desires and expectations from his daughter. The poem has a universal feeling of a typical father towards his own daughter. The father in the poet indicates his concerns regarding his daughter.
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World History Essay. History Essay - Writing PortfolioBrandy Johnson
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"Poets & Programmers: What to do when you are not a genius"; examines the idea of "genius" in poetry and programming; posits that our ideas of the genius lead to stereotypes about software developers that translate to both gatekeeping and unproductive practices.
used for reporting in Introduction to Stylistics
includes the types of style (expository/argumentative, descriptive, narrative, persuasive) basic principles in stylistic analysis, teaching of language and literature: a case for stylistics, and stylistics and levels of language
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The facts, fancies, and fallacies of this book
are gleaned from the rovings and ramblings of
a solid year of over fifty-five thousand miles of
travel; through ten separate countries: Japan,
Korea, China, the Philippine Islands, French
Indo-China, the Malay States, Borneo, Java,
Sumatra and the Hawaiian Islands ; across seven
seas: the Pacific Ocean, the Sea of Japan, the
North China Sea, the Yellow Sea, the South
China Sea, the Malacca Straits, and the Sea of
Java; after visiting five wild and primitive tribes :
the Ainu Indians of Japan, the Igorrotes of the
Philippines, the Negritos of the same islands ; the
Dyaks of Borneo, and the Battaks of Sumatra;
face to face by night and day with new races, new
faces, new problems, new aspirations, new ways
of doing things, new ways of living, new evils,
new sins, new cruelties, new fears, new degrada-
tions; new hopes, new days, new ways, new na-
tions arising; new gods, and a new God!
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In the Kite Runner, Amir loves books. In some ways The Kite Runner is a celebration of classical arab and persian poets. This PowerPoint explores four of the poets.
This PowerPoint explores A03 as part of AS English Language therefore how to link phonology, graphology and lexis-semantics to meanings, writer's authority and how the writer shapes the reader's response.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Thesis Statement for students diagnonsed withADHD.ppt
Introduction to Narrative
1.
2. Unit 1: Aspects of Narrative
AO1: Articulate creative, informed and relevant responses to literary texts using appropriate
terminology and concepts and coherent accurate written expression.
A02: Demonstrate detailed critical understanding in analysing the ways in which
structure, form and language shape meanings in literary texts.
A03: Explore connections and comparisons between different literary texts, informed by
interpreotations of other readers.
A04: Demonstrate understanding of the significance and influence of the contexts in which
literary texts are written and resolved.
3. AQA English Literature B
1.
Know the structure and requirements of AS Literature with a
particular focus on Unit 1 Aspects of Narrative.
2.
Consider and define the term Narrative.
3.
Discuss the elements that create a narrative.
4. AQA English Literature B
1) Term 1: The Kite Runner
The Ancient Mariner
2) Term 2: The Great Gatsby
Tennyson
Twelfth Night
The Importance of
Being Earnest
6. Aspects of Narrative
What is the difference between Narrative and
Story?
A story is simply the list of events that happened
“all the various events that are going to be shown”
Narrative is the way a story is told: “How the events and causes are
shown and the various methods used to do this showing. Exploring aspects
of narrative involves looking at what the writer has chosen to include or not
include, and how this choice leads the reader to certain conclusions.
Plot: the chain of causes and circumstances that connect the various
events and place them into some sort of relationship with each other.
8. LEARNING OBJECTIVES
1) TO EXPLORE WHAT ELEMENTS MAKE UP A NARRATIVE.
2) TO ANALYSE AN EXTRACT AND IDENTIFTY THE
DIFFERENT ELEMENTS OF A NARRATIVE AND HOW THIS
AFFECTS THE STORY.
9. WHAT DO YOU THINK ARE THE INGREDIENTS
OF A NARRATIVE?
10. • SETTING AND OTHER PLACES.
• TIME AND SEQUENCE
• POINT OF VIEW
• OTHER VOICES
• CHARACTERS AND CHARACTERISATION
• MOOD
• DESTINATION
• FORM: GENRE ELEMENTS.
• STRUCTURE
• LANGUAGE
11. HE DIED A HERO
What is the story? Summarise the story in one line.
How is the story changed into a narrative?
Comment on some or all of the following:
1) Time and Sequence/Narrative Structure.
2) Point of View and Narrative voice.
3) Characterisation
4) Form: Genre Elements
12. CHANGE THESE STORIES TO MAKE
THEM MORE EMOTIVE
1. Man hit by robbers
2. One hundred soldiers killed by other troops.
3. Argument closes factory.
4. Train seats cut by teenagers.
5. Supporters run onto pitch.
6. Shortage of money creates problems in schools.
7. Trouble on roads after snowfall.
8. Player hits referee
9. House prices fall in Stevenage.
10.Political meeting ends in disturbance.
13. ON YOUR MINI-WHITEBOARDS:
1.
What does the word story mean?
2. Write down the meaning of narrative.
3. Write down 5 aspects of narrative and what they
mean.
http://www.youtube.com/watch?v=IO3TqqoaKnw
14. IT WAS 7 MINUTES AFTER MIDNIGHT. THE DOG WAS LYING ON
THE GRASS IN THE MIDDLE OF THE LAWN IN FRONT OF
MRS SHEARS’ HOUSE. IT’S EYES WERE CLOSED. IT LOOKED AS
IF IT WAS RUNNING ON ITS SIDE, THE WAY DOGS RUN
WHEN THEY THINK THEY ARE CHASING A CAT IN A DREAM. BUT
THE DOG WAS NOT RUNNING OR ASLEEP. THE DOG WAS DEAD.
THERE WAS A GARDEN FORK STICKING OUT OF THE DOG. THE
POINTS OF THE FORK MUST HAVE GONE ALL THE WAY
THROUGH THE DOG AND INTO THE GROUND BECAUSE THE
FORK HAD NOT FALLEN OVER.
15. I BECAME WHAT I AM TODAY AT THE AGE OF TWELVE, ON A
FRIGID OVERCAST DAY IN THE WINTER OF 1975. I REMEMBER
THE PRECISE MOMENT CROUCHING BEHIND A CRUMBLING
MUD WALL PEEKING INTO THE ALLEY NEAR THE FROZEN
CREEK. THAT WAS A LONG TIME AGO, BUT IT’S WRONG WHAT
THEY SAY ABOUT THE PAST, I’VE LEARNED HOW YOU CAN
BURY IT. BECAUSE THE PAST CLAWS ITS WAY OUT. LOOKING
BACK NOW, I REALIZE I HAVE BEEN PEEKING INTO THAT
DESERTED ALLEY FOR THE LAST TWENTY-SIX YEARS.
16. THE PICTURE OF DORIAN GRAY
THE STUDIO WAS FILLED WITH THE RICH ODOUR OF ROSES,
AND WHEN THE LIGHT SUMMER WIND STIRRED AMIDST THE
TREES OF THE GARDEN, THERE CAME THROUGH THE OPEN
DOOR THE HEAVY SCENT OF THE LILAC, OR THE MORE
DELICATE PERFUME OF THE PINK-FLOWERING THORN.
17. From the corner of the divan of Persian saddle-bags on which he was
lying, smoking, as was his custom, innumerable cigarettes, Lord Henry
Wotton could just catch the gleam of the honey-sweet and honeycoloured blossoms of a laburnum, whose tremulous branches seemed
hardly able to bear the burden of a beauty so flamelike as theirs; and now
and then the fantastic shadows of birds in flight flitted across the long
tussore-silk curtains that were stretched in front of the huge window,
producing a kind of momentary Japanese effect, and making him think of
those pallid, jade-faced painters of Tokyo who, through the medium of an
art that is necessarily immobile, seek to convey the sense of swiftness
and motion. The sullen murmur of the bees shouldering their way through
the long unmown grass, or circling with monotonous insistence round the
dusty gilt horns of the straggling woodbine, seemed to make the stillness
more oppressive. The dim roar of London was like the bourdon note of a
distant organ.
18. The beginning is simple to mark. We were in sunlight under a turkey oak,
partly protected from a strong gusty wind. I was kneeling on the grass with
a corkscrew in my hand and Clarissa was passing me the bottle- a 1987
Daumas Gassac. This was the moment, this was the pinprick on the time
map: I was stretching out my hand, and as the cool neck and the black foil
touched my palm, we heard a man’s shout. We turned to look across the
field and saw the danger. Next thing, I was running towards it. The
transformation was absolute: I don’t recall dropping the corkscrew, or
getting to my feet, or making a decision, or hearing the caution Clarissa
called after me. What idiocy, to be racing into this story and its labyrinths,
sprinting away from our happiness among the fresh spring grasses by the
oak. There was the shout again, and a child’s cry, enfeebled by the wind
that roared in the tall trees along the hedgerows. I ran faster. And there,
suddenly, from different points around the field, four other men were
converging on the scene, running like me.
19. I SEE US FROM THREE HUNDRED FEET UP, THROUGH
THE EYES OF THE BUZZARD WE HAD WATCHED
EARLIER, SOARING, CIRCLING AND DIPPING IN THE
TUMULT OF CURRENTS: FIVE MEN RUNNING SILENTLY
TOWARDS THE CENTRE OF A HUNDRED ACRE FIELD. I
APPROACHED FROM THE SOUTH-EAST, WITH THE
WIND AT MY BACK.
20. On either side the river lie
Willows whiten, aspens quiver,
Long fields of barley and of rye,
Little breezes dusk and shiver
That clothe the wold and meet the sky;
Thro' the wave that runs for ever
And thro' the field the road runs by
By the island in the river
To many-tower'd Camelot;
Flowing down to Camelot.
And up and down the people go,
Four gray walls, and four gray towers,
Gazing where the lilies blow
Overlook a space of flowers,
round an island there below,
And the silent isle imbowers
The island of Shalott.
The Lady of Shalott.
22. CHOOSE YOUR OWN EXTRACT AND
ANNOTATE THE EXTRACT FOR THE
DIFFERENT ASPECTS OF NARRATIVE.
23. TIME AND SEQUENCE: KEY QUESTIONS
1. When do the key events occur?
2. Is there anything significant about the time in
which the story is set?
3. Is the story told in any particular/significant
order?
24. ASPECTS OF NARRATIVE: TIME AND SEQUENCE
CHRONOLOGICAL ORDER: THE ACTUAL SEQUENCE OF EVENTS AS THEY HAPPEN.
1) A MURDER IS PLANNED AND CARRIED OUT.
2) A BODY IS FOUND THAT YIELDS EVIDENCE.
3) THE DETECTIVE PURSUES A NUMBER OF CLUES AND IDENTIFIES THE KILLER.
4) A VIOLENT SHOOT-OUT LEADS TO THE DEATH OF THE VILLAIN.
5) THIS LEADS TO ANOTHER REVENGE KILLING.
25. ESTABLISHMENT
REFERS TO HOW TEXTS BEGIN, THE WORK THE AUTHOR DOES FOR
THE READER AT THE BEGINNING OF THE TEXT. ESTABLISHMENT CAN
INVOLVE INTRODUCING PEOPLE, PLACES, TIME AND SO ON.
26. NARRATIVE STRUCTURE
___________Narrative: A story that starts at the end. Books may
construct the whole narrative around one flashback and then return to
where they began.
____________Narrative: Events usually unfold chronologically. The
structure is comparable to how fictional books use chapters to break up a
story. These usually follow on sequentially.
___________Narrative: This structure is the most simple and commonly
used narrative structure; it refers to a structure that is told in the order in
which events happen from beginning to end. These are sometimes known
as cause’ and ‘effect’ narratives.
Linear, Episodic, Circular.
30. EMBEDDED NARRATIVE / FRAMING DEVICE
• A STORY WITHIN A STORY.
• FRAMING DEVICE: INTRODUCES THE STORY AND JUSTIFIES WHY IT’S
TOLD. GIVES BACKGROUND INFO.
HOW TO SPOT IT: IF A CHARACTER IS SUDDENLY REMINDED OF
SOMETHING, SO HAS A FLASHBACK OR TELLS A SECONDARY STORY
THAT INFORMS THE MAIN PLOT, THE THING THAT REMINDED THEM IS
THE FRAMING DEVICE. THE STORY ITSELF IS THE EMBEDDED
NARRATIVE.
WHY? GIVE BACKGROUND INFO/RELEVANT INFORMATION ALLOW THE
WRITER TO EXPLORE A CHARACTER FURTHER, OR GIVE CERTAIN
ACTIONS CONTEXT OR JUSTIFICATION.
32. KEY TERMS: NARRATIVE STRUCTURE
1. Exposition
2. Rising Action
3. Crisis
4. Climax
5. Anti-Climax/
Falling Action
6.Catharsis
7.Denouement
Choose any book that you have read
and identify these key points.
Does more than one event fit these
key points?
35. CHARACTERS AND CHARACTERISATION
1. To explore how writers present characters?
2. To explore how characters can be used to influence a
story.
Key Questions
What are the significant character traits?
How are these traits revealed?
How are the character traits revealed through the
form/structure and language.
36. DRAW ONE OF THE FOLLOWING CHARACTERS.
CAN YOU NAME YOUR CHARACTER?
•WIZARD
Label the features.
•WITCH
•FRENCHMAN Why have you chosen these
features?
•ROCK STAR
•HERO
•VILLAIN
•FOOTBALL FAN
37.
38. Stereotypes, Archetypes and Generic Types
________ ___________An instantly recognisable representation of a character
that has been in use for a very long time.
______________________ A certain personality or type of person seen
repeatedly in a particular genre.
____________________Simple characters that are only very superficial and
depend on our knowledge of clichés to recognise them
Narrative Persona: the unnamed “I” who sometimes narrates a story.
39. The hero
The false hero
The princess
The father of the princess
The helper
The villain
The donor
The dispatcher
40. AN EXTRACT FROM MARINER
•LIST THE FEATURES OF THE MARINER.
•WHAT ARCHETYPE DOES HE FIT?
•HOW IS THE MARINER DESCRIBED?
•CONSIDER THE LANGUAGE USED.
Key Question
How does the Mariner challenge stereotypes?
How do characters go beyond stereotypes?
41. THE ANCIENT MARINER
It is an ancient mariner,
And he stoppeth one of three
‘By thy long grey beard and glittering eye,
Now wherefore stop’st thou me?
The bridegroom’s doors are opened wide,
And I am next of kin
The guests are met, the feast is set:
May’st hear the merry din’,
He holds him with his skinny hand,
‘There was a ship’ quoth he.
“Hold off! Unhand me grey-beard loon’.
Eftsoons his hand dropt he.
He Holds him with his glittering eyeThe wedding guest stood still,
And listens like a three years’ child:
The Mariner hath his will.
The Wedding-Guest sat on a stone:
He cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed mariner.
43. THE KITE RUNNER I used to climb the poplar trees in the driveway of
When we were children, Hassan and
my father’s house and annoy the neighbours by reflecting sunlight into their homes
with a shard of mirror. We would sit across from each other on a pair of high branches.
We took turns with the mirror as we ate the mulberries, pelted each other with
them, giggling. Laughing. I can still see Hassan up on that tree, sunlight flickering
through the leaves on his almost perfectly round face, a face like a Chinese doll
chiselled from hardwood: his flat, broad nose and slanting, narrow eyes like bamboo
leaves, eyes that looked, depending on the light, gold, green even sapphire. I can still
see his tiny low-set ears and that pointed snub of a chin, a meaty appendage that
looked like it was added as a mere afterthought. And the cleft lip, just left of midline, where the Chinese doll maker’s instrument may have slipped or perhaps he had
simply grown tired and careless.
Sometimes up in those trees, I talked to Hassan into firing walnuts with his slingshot at
the neighbour’s one-eyed German Shepherd. Hassan never wanted to, but if I asked
really asked, he wouldn’t deny me. Hassan never denied me anything.
44. IV
That in the mortar---you call it a gum?
Ah, the brave tree whence such gold oozings come!
And yonder soft phial, the exquisite blue,
Sure to taste sweetly,---is that poison too?
V
Had I but all of them, thee and thy treasures,
What a wild crowd of invisible pleasures!
To carry pure death in an earring, a casket,
A signet, a fan-mount, a filigree basket!
VI
Soon, at the King's, a mere lozenge to give,
And Pauline should have just thirty minutes to live!
But to light a pastile, and Elise, with her head
And her breast and her arms and her hands, should drop dead!
45. THE LOVELY BONES
My name was Salmon, like the fish: first name Susie. I was fourteen when I was
murdered on December 6 1973. In newspaper photos of missing girls from the
seventies, most looked like me: white girls with mousy brown hair. This was
before kids of all races and genders started appearing on milk cartons or in the
daily mail. It was still back when people believed things like that didn’t happen.
In my junior high yearbook I had a quote from a Spanish poet my sister had
turned me on to, Juan Ramon Jimenez. It went like this: If they give you ruled
paper, write the other way. I chose it both because it expressed my contempt
for my structured surroundings a la the classroom and beause not being some
dopey quote from a rock group. I thought it marked me as literary. I was a
member of the chess club and chem club and burned everything I tried to make
in Mrs Delminico’s home ec class.