7. NARRATION
The process of telling the
story
What point of view is the
story told?
What are the limitations
to this perspective?
8. NARRATION
The process of telling the
story
What point of view is the
story told?
What are the limitations
to this perspective?
Who’s perspective are we
reading the story?
10. ANALYZING NARRATION
What does this picture
show us?
Is it objective or subjective?
Can we believe this
picture?
What is really happening in
this picture?
23. FIRST PERSON
NARRATION
If the character who tells the story is involved in the story
Usually indicated by “I”
1st person narrator is central to the story.
24. FIRST PERSON
NARRATION
If the character who tells the story is involved in the story
Usually indicated by “I”
1st person narrator is central to the story.
Enables readers to see things from the perspective of the
narrator
25. FIRST PERSON
NARRATION
If the character who tells the story is involved in the story
Usually indicated by “I”
1st person narrator is central to the story.
Enables readers to see things from the perspective of the
narrator
We ‘become’ the character who ‘talks’ in our head as we
read.
32. FIRST PERSON
NARRATION
Limited by what the narrator tells us from his experience, we
miss out point of view from other characters.
This is called the subjective perspective
33. FIRST PERSON
NARRATION
Limited by what the narrator tells us from his experience, we
miss out point of view from other characters.
This is called the subjective perspective
Allows the reader to engage in piecing together the whole
truth of the event.
36. THIRD PERSON
NARRATION
The narrator is outside the
text, but has knowledge of
the events.
Omniscient: All knowing,
can read and know the
minds of others
37. THIRD PERSON
NARRATION
The narrator is outside the
text, but has knowledge of
the events.
Omniscient: All knowing,
can read and know the
minds of others
Partially-omniscient: only
from one character.
39. OMNISCIENT
NARRATOR
Casey had a feeling that what they were doing... Was
wrong, but Jay was insistent that the task be completed
that night. He knew Robert would be upset if he did not find
his boat the next morning.
Casey had a feeling that what they were doing was wrong.
He could not understand why Jay was so insistent on
sneaking out that night.
41. THIRD PERSON
NARRATION
More objective account of
events in the story because
reader can look at events
from different perspective
of various characters and
therefore make his own
judgement.
46. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
47. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text A is written in 2nd person perspective.
48. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text A is written in 2nd person perspective.
Lecture on how to behave as a girl.
49. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text A is written in 2nd person perspective.
Lecture on how to behave as a girl.
Sounds like a barrage of information, glimpse into the protagonist’s
life and her relationship with the narrator and her mother.
50. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text A is written in 2nd person perspective.
Lecture on how to behave as a girl.
Sounds like a barrage of information, glimpse into the protagonist’s
life and her relationship with the narrator and her mother.
Strong accusatory tone to express the strong feelings the mother has
for the girl.
51. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text A is written in 2nd person perspective.
Lecture on how to behave as a girl.
Sounds like a barrage of information, glimpse into the protagonist’s
life and her relationship with the narrator and her mother.
Strong accusatory tone to express the strong feelings the mother has
for the girl.
Allows/forces the reader to imagine as if part of the story, in her shoes.
52. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text A is written in 2nd person perspective.
Lecture on how to behave as a girl.
Sounds like a barrage of information, glimpse into the protagonist’s
life and her relationship with the narrator and her mother.
Strong accusatory tone to express the strong feelings the mother has
for the girl.
Allows/forces the reader to imagine as if part of the story, in her shoes.
Unfamiliar, disturbing situation Able to feel and connect more for the
girl who is under oppression of her mother’s lecture.
53. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
54. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text B is written in 3rd person perspective
55. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text B is written in 3rd person perspective
Retelling a story of a girl treated like a servant by her
family.
56. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text B is written in 3rd person perspective
Retelling a story of a girl treated like a servant by her
family.
Chronological matter of fact report.
57. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text B is written in 3rd person perspective
Retelling a story of a girl treated like a servant by her
family.
Chronological matter of fact report.
Impersonal tone and detached perspective
58. WHY HAVE THE AUTHORS
ADOPTED THESE PERSPECTIVES?
Text B is written in 3rd person perspective
Retelling a story of a girl treated like a servant by her
family.
Chronological matter of fact report.
Impersonal tone and detached perspective
helps the reader to make the assessment of the family who
ill-treats the girl and relays the the cold, harsh
atmosphere the protagonist may be feeling.
63. FEELINGS EVOKED
Sympathy for both characters
Text A
Because she is badgered with a list of instructions
Treated like a slave to do things
64. FEELINGS EVOKED
Sympathy for both characters
Text A
Because she is badgered with a list of instructions
Treated like a slave to do things
Derogatory, “not like the slut you are so bent on
becoming”
65. FEELINGS EVOKED
Sympathy for both characters
Text A
Because she is badgered with a list of instructions
Treated like a slave to do things
Derogatory, “not like the slut you are so bent on
becoming”
Conveys a sense of harsh, uncaring situation.
70. FEELINGS EVOKED
Sympathy for both characters
Text B
Environment is also harsh and oppresive
We see she is unappreciated for the work she does
71. FEELINGS EVOKED
Sympathy for both characters
Text B
Environment is also harsh and oppresive
We see she is unappreciated for the work she does
Chided
72. FEELINGS EVOKED
Sympathy for both characters
Text B
Environment is also harsh and oppresive
We see she is unappreciated for the work she does
Chided
Violence as punishment evokes pity as she is victimized
and no one helps her.
Editor's Notes
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In the Avatar shot: We are looking at a man, looking at his avatar. The director of the movie is showing us how the main character of the movie is looking at something.\n\nIn the LOTR shot, we are looking at Smegal looking at a reflection of himself - he sees somebody in his reflection - where is this person in relation to Smegal? Behind him. \n\nWhat’s the difference? In the LOTR shot, the camera is showing us a FIRST person perspective so that the camera represents Smegal’s eyes as he looks at his own reflection.\n
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We ask these same questions of texts we read \n- is the story we read being told objectively or subjectively?\n- can we believe the person telling the story? Do we believe everything he says? Is the person trying to make us agree/sympathize with him? How does he do it?\n- Are we getting the ‘real’ and ‘entire’ picture of events in the story?\n
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Omniscient: all knowing and able to read and know the mind of all other characters\nPartially omniscient: only see things through one character. Limited perspective.\n
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strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”)\n
strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”)\n
strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”)\n
strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”)\n
strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”)\n
strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”)\n
