Narratology

Introduction Narrative can be defined in a very simple terms as a widespread and often unconsciously spoken language activity, which is inevitably associated with our lives. "The Thief "which follows first person narration is one of the heart rendering story authored by Ruskin bond but here my main focus will lie to probe into how and why this style of narration is incorporated by the author in his story and what significance does it have to cast an impact on the readers. Analysing short story linguistically

Although The Turn of the Screw (1898) by Henry James is a century older than Margaret Atwood’s “Death by Landscape” (1990), it is not impossible to connect the stories to each other. The stories’ contents are different – The Turn of the Screw is a Gothic ghost story, whereas “Death by Landscape” is a more psychological story of a woman who tries to deal with a childhood trauma, namely the death of her friend –, but there are some aspects in which the stories are similar. Both texts have an open ending

Narrative technique in GithaHariharan’s The Thousand Faces of Night: The word “narrative” is represent experimental and factorial skills, the subtle and every day performance that is depicted by the writer. Her diction is pointed and the textures communicated exquisite. In terms of techniques her writing is masterful. It is stated that, in terms of technique, her writing contains expertise she could not write of an experience but could animate it with sharp and vivid life. There is not a single flat

2.2. Focaliser In addition, the narrative is divided into smaller sections that contain various focalisers and, hence, direct the focus towards various points of view. Indeed, the first focaliser in Luisa’s narrative is Rufus Sixsmith who is the receiver of Robert Frobisher’s letters in the second narrative. Thus, the readers of Cloud Atlas are introduced to Luisa through him: “A young woman emerges from the next door party and leans over the neighbouring balcony. Her hair is shorn, her violet dress

“A Rose for Emily” by William Faulkner is a suspenseful story not only because of its complex chronology and shocking ending, but also because of Faulkner’s unusual use of narrative technique. While the narrator is seen by many as a windows pane or mirror upon Emily’s life, there is more to the narrator than simply being an unnamed speaker or collective town voice. The rather unusual narrative perspective creates suspense and a sense of mystery as to the identity of the unnamed narrator, seemingly

“A Rose for Emily” by William Faulkner is a suspenseful story not only because of its complex chronology and shocking ending, but also because of Faulkner’s unusual use of narrative technique. While the narrator is seen by many as a windows pane or mirror upon Emily’s life, there is more to the narrator than simply being an unnamed speaker or collective town voice. The rather unusual narrative perspective creates suspense and a sense of mystery as to the identity of the unnamed narrator, seemingly

Everyone in the society can have some influences in any way, negatively or positively. In the novel The Catcher in the Rye by J.D. Salinger, Holden encounters many people throughout his journey. These relationships he has influence his view of the world, allowing him to mature from someone who dislikes the shallow cruel world to understanding this is how life is. This development is shown through "phonies" he meets throughout the novel, his brother Allie, and his sister Phoebe. The relationship

Throughout his writing career of forty-five years Beckett has been concerned with the aesthetic and epistemological implications of time consciousness. In his essay on Proust Beckett argues that Proustian demonstration presents to us a double-headed monster of damnation and salvation – Time. Beckett goes on to say, “the Proustian solution consists, in so far it has been examined, in the negation of Time and Death, the negation of Death because the negation of Time. Death is dead because Time is

This essay aims to examine narrative and stylistic elements in Leland’s flashback in Citizen Kane to show how they work to keep the audience focused on the story that Leland tells. Bordwell and Thompson shared that the manipulation of story order, time and frequency in the plot illustrate how the audience actively participate in making sense of a narrative film (81). Bordwell and Thompson mentioned that typically, in fictional biographies, life stories are presented chronologically and let their

Bakhtin describes dialogism as the ‘multiplicity of perspectives and voices’. It can also be understood as something that is ‘double-voiced’ or ‘multi-voiced’. In a dialogic piece, each character has their own final word, but on some level, it interacts with and relates to the voices of the other characters. ‘Dialogue’ does not progress logically or analytically, rather it does so in an interactive fashion. This makes dialogical works a lot more ‘objective’ and ‘realistic’ in nature. Bakhtin’s discussion