Style, Narrator, Point of View, and Characters PDF

Style and Language ► Style Style [stad] is the way in which a text is written. In order to examine the style of a text it is necessary to examine aspects such as the *register, the *d...

Style and Language ► Style Style [stad] is the way in which a text is written. In order to examine the style of a text it is necessary to examine aspects such as the *register, the *diction and the *tone of the text, as weil as the gramm ar and the sentence structures used in the text. tone [taun] Tone is the way in which a writer treats his or her topic, thereb y reflect ing his or her emo- Ton(fa/1) tional attitud e towards that topic and also towards the reader. The tone can be forma l, intimate, solemn, playful, serious, ironic (cf. *irony), humorous (d. *humo ur), angry, etc. humour Humour is based on the human ability to see and laugh at the strangeness of a *chara cter, ['hju:m a] an action or comment, etc. because it is unexpected or unsuitable in a partic ular situation. Humor At one end of the spectrum, humour is gentle, understanding and tolera nt and makes the reader smile at human weaknesses; at the other end, it is divisive, bitter or sarcas tic, evok- ing contem pt and moral indignation at human vices and corrup tion. Example:... [The Queen] had got quite good at reading and waving, the trick being to keep the book below the level of the window and to keep focused on it and not on the crowds. From: Alan Bennett, The Uncommon Reader, 2008, p. 32; cf. Context, p. 58, II. 7-9 Here the Queen's well-k nown behaviour of waving at the crowd is ridicul ed by the fact that she is reading a book at the same time. 370 ► diction Diction is the words a writer chooses for his or her text. Diction is very important as words Diktion, influence the reader or listener. In many argumentative texts, for example, the writer will Ausdruck, use words that have a positive connotation [.kon~ te1fn] (i.e. the associations a word has Wortwahl beyond its literal or dictionary meaning) to support his or her arguments, or words with negative connotations to attack those he or she opposes. The choice of words often reveals the writer's attitudes. A writer can also use emotive language (i.e. words and expressions with particular connotations that appeal to the reader's or listener's emotions) and so influence him or her to react in a particular way. When the writer makes use of the literal and limited meaning of a word, regardless of the ideas and emotions it might connote, this is called denotation [.di:n~u te1fn]. register Register is the level of language (the choice of words, grammar, etc.) used in a particular ['red31st~l situation. The register in a text may be formal, neutral or informal. Sprachebene, Stilebene Formal style consists of difficult vocabulary, often of Latin origin, and complex sentence structure; it is usually only used for serious purposes, e.g. essays or academic publications, or in official Situations, and would not be appropriate in normal everyday conversation. Example: A new widely-debated approach is gene pharming. Pharma crops are genetically modified plants like maize that produce much-needed medicines. From: 'Science- motor of progress?', d.Context, p.140, 11.22-24 The writer uses difficult words and grammar so that the reader must examine the sentence closely to understand what the writer is saying. Neutral style falls between *formal and *informal style and is the style generally used by educated people; it is used In *feature stories, *news stories, etc. Example: [P)eople's 'likes' and 'dislikes' are carefully stored, along with a great number of other details gathered about the users, tobe exploited by businesses or political organizations. From: 'Llvlng lnteractlve lives', d.Context, p.184, 11.6-9 The writer uses stralghtforward sentences and words that are neither formal nor informal. Informal style 1s characterized by fairly simple, often lncomplete sentences, short forms (e.g. can't, you'/1), phrasal verbs and colloquial words, often of Germanlc origln; lt 1s used be- tween frlends or In a relaxed or informal sltuatlon. Example: Tbat ~ lized 111 up in two seconcls. We're black, and 'black people don't tip" so she wasn't scmnawute her time; aomeone like that, nothing you can do to change their mind. From: Paul Hagls, Crash, 2004, p.8, d.Context, p.23, 11.16-19 The short forms llke 'we're', 'wasn't' or gonna, the use of simple words like 'do', 'go' and phrases llke to 'slze sb'. up lndicate that the characters are uslng informal style. Informal style may lnclude the use of slang and/or taboo words: Slang 1s very Informal language, malnly used In dialogue between people of the same age or from a simllar back- ground, etc. Taboo words (ta'buz] are generally consldered obscene, vulgar or shocking and are used only lf the wrlter ls trylng to make a partlcular point or shock hls or her reader. 371 lii.J Glossary ---- layout 1 The way elements are arranged on a printed page is known as the layout. Layout, The layout includes elements such as the type and size of letters, the use of hold or italic Aufbau typeface, underlining, headings and sub-headings, bullets (i.e. dots or other symbols used at the beginning of a text passage), the size and number of *columns, the length of para- graphs, the colour and the placement of illustrations. The layout determines whether a text attracts the attention of the reader and is pleasant to read, and it helps writers to structure their texts and to emphasize certain words, phrases or passages. The layout is particularly important when considering newspaper articles, *advertisements and brochures. thesis [ 18i:s1s] An idea or a view that an author of an argumentative text presents and discusses These in a formal way. antithesis An antithesis is an idea that is the opposite of an idea (thesis) already put forward by a [ren 1t18~s1s] writer. Often the writer will put forward the antithesis in order to stress his own thesis. Antithese ► Narrat or The narrator [n~ reit~] is the voice or *characte r who tells the story and is part of the fictional world created by the author. There are three types of narrator: first-person narrator ' The narrator is a *character in the story and refers to him- or herself as I. The reader /eh-Erzähler must take care when reading the text, as only one person's point of view is given. Example: I'd attended school in the real world up until the sixth grade. lt hadn't been a very pleasant experience. From: Ernest Cline, Ready Player One, 2012, p. 30; cf. Context, p. 188, II. 1-2 third-person narrator The narrator is not a *character in the story and refers to the characters as he, she personalerlau ktorialer or they or by their names. Erzähler Example: lt was with some relief that she got back into the coach and reached behind the cushion for her book. lt was not there. Steadfastly waving as they rumbled along, she surrep- titiously felt behind the other cushions. From: Alan Bennett, The Uncommon Reader, 2008, p. 34; cf. Context, p. 58, II. 34-36 In this example, the narrator is a third-perso n narrator as he or she is not part of the fictional world and refers to the *protagon ist by using the personal pronoun she (= the Queen). This excerpt is, however, told from the Queen's point of view (i.e. there is a *limited point of view) as the readers experience the story from her perspectiv e. They are informed about her feelings and are also puzzled about the disappeara nce of her book. omniscien t narrator The narrator has an *unlimited point of view, i.e. he or she can move freely in place [om'n1s1an t] and time and enter the minds of the *character s at will. allwissender Erzähler ► Point of view The point of view is the perspectiv e from which *characters, events, etc. are presented in a *fictional story. This has an important effect on the reader: for example, we tend to respond more sympathe tically to a work character whose mind we enter, as we experience for ourselves what he or she goes through. A fictional can have several points of view (dependin g on the *narrator): ► 36  , --- -·- - panoramic. lf the author tells th e 5t ory as a condensed series of events, summarizing in a few Sentences what ha , months), presentatIon ppens over a longer period of time (e.g. an hour, a week he or she uses pan. oram1c presentat1on (also known as 'telling'). Example: ~orl °:e, school bad been a Darwinian exercise. A daily gauntlet1 of ridicule, abuse, and 1s0 ation. By the ti me 1 entered sixth grade, I was beginning to wonder if I'd be able to... long years away.. six mamtam my sanity2 until graduation. , still or attacking you :cru~ a) gauntlet ['g:>:ntfat] deal with a lot of people criticizing sanity ['sam~ti] mental health Context, p. 188, II. 21-23 From: Ernest Cline, Ready Player One, 2012, p. 31; cf. ► Characters They are usually presented through their actions, Characters ['kreraktaz] are the people in a fictional text. character in a story is called the protagonist speech and thoughts as well as by description. The main of characters in flfictional works: [prJ'tregamst]. There are generally speaking two types have several traits and round character A round character may be similar to real individuals and ly changes in the course of behave in a way that is life-like. A round character usual t, is almost always a round a story. The main character in a story, the protagonis character. represents only a single quality. flat character A flat character has only a limited number of traits or tobe laughed at is called a A crude representation of a character which is meant caricature. ---------- - - - - - ~ - TROUBLE S P O T ------~--------- When talking about the characters in a fictional text, do not use the words people or person. ► Characterization the author presents his or her characters. We usually Characterization [,kzraktara1'ze1Jn] is the way in whlch are often combined by authors in their presentation distinguish between two kinds of characterizatlon, which of the characters. Example: direct [da'rekt, The reader fs tofd about a character's personal- lty dlrectfy by But McNulty's eyes were scary. d1 , dar'-] or 1 a) the narrator, b) another character or explicit From: Carl Deuker, Payback nme, 2010, c) the character hlm- or herself. p. 24; cf. p. ~ 75, 1. 44 charaderization cter by studyfng his or her The reader 1s expected to draw conclusfons about a chara indired (.mda'rekt, g. behavlour, oplnlons, chofce of words and/or way of talkfn ,1nda1 rekt] or 1 impllcit Example: no, no,' characterizatlon c1eared my tbroat. 'How about we get started? I've got some questions. First- 'No,This job 1 - not_ ever. t~y, not McNulty llid. pointin& tbe pendl atme again. 'No questions 365  Glossary 1. k y,0 u write down or tape what I teil takes forever and pays peanuts. Here's how 1t wor 8 h t but never make me, my coac es, or you. When I'm clone, jazz1 it up whatever you wan, 5 my players look bad. Understand?' 1 jazz sth. up (infmf) make sth. more lnterestlng or attractive n„yback Time , 2010, p. 24; cf. Context, p.174, II. 33-37 From: CarI Deu ker, ,a LANGUAGE HELP - - - - - -1 TROUBLE SPOT - - - - - - - - - - - i. main/central/major character/figure An author characterizes somebody, i.e. invents the minor/secondary character/figure traits of a character. A reader describes the character hero/heroine of somebody when talking about his or her traits. ► Action Action ['rekfn] is everything that happens in a ~ictional story. Action may be on two levels: external action The author describes what the *characters do and the events that take place. 1 [1k st3:nl] Example: [...] she got backinto the coach and reached behind the cushion for her book. lt was notthere. ! Steadfastly waving as they rumbled along, she surreptitiously feit behind the other ~ 1 cushlons. f 1 surreptitious subtle ----- 1 ·-----..........------··--...---..- ----.......The From: Alan Bennett, ----- Uncommon Reader, 2008, p.34 internal action The author describes what is going on in the minds of the *characters, i.e. the reader is shown the thoughts of the characters. Example: She was dreading the two hours the whole thing was due to take, though fortunately they were in the coach, not the open carriage, so she could take along her book. _, From: Alan Ben nett, The Uncommon Reader, 2008, p. 32 ► Plot Plot [plot] refers to the structure of events in a *fictional story. The story is usually told through cause and effect. The English novelist E.M. Forster described plot in these terms: 'The klng dled and then the queen 11 died" is a story. "The king died and then the queen died of grief", is a plot.' (Aspects of the Novel, 1927). The plot usually develops in a number of stages: 1. exposition [.eksp-,'z1Jn] The *characters, theme, setting, etc. are lntroduced. 2. rising action A conflict ['konßrkt] fs developed (1.e. the struggle or opposition between different forces, characters, etc.). 3. climax ['kla1ma:ks] The confllct reaches its highest polnt. 4. turning point There Is a change In the confllct or suspense. 5. falling action The suspense is reduced. 366 rlibe  G lo s s a '!._ _ U - - - - - - - -· - - - _denouement [de1'nu:m ö] conflict is achieved. 6 Some resolution of the (also known as the solution [s~'lmJn]) ry are not fulfilled 1s co nc ern ing the course of the sto which may also be: The _reader's ex pe cta tior ict is presented. ex pe cte d solution of the confl surprise ending but ms tea d an un ering what might t ful ly res olv ed an d the reader is left wond or instead: The conflict is no open en din g happen next. · nse or to make a story ha ve so me ele me nt of *sus pense and *tens,on. In order to create suspe A Plot will eshadowing: , au tho rs also ma ke use of flashbacks and for more exciting a t know the outcome of [s~'sp en s] spe nse is cre ate d wh en the reader does no suspense Su n. Spannung conflict or of the actio a story/drama is fu/1 of ns ion is the fee ling ev oked in the reader when tension ['tenJn] Te about what will happen. )sp annu ng *su sp en se , i.e. the reader is curious (An chronologically no t alw ays teil their stories strictly flashback ['flrejbre k] Au tho rs do of flashbacks, i.e. the li]. In som e stories the authors make use / Lkron~'lod3 1.k relevance to Rückblende ck int o the pa st to de scribe a scene that has *narrator goes ba the plot. n) is the technique of hinting at later (als o ca lled an tici pa tio 1JJJ Foreshadowing pared for them or can foreshadowing [fJ:'Jredoo tio na l tex t so that the reader is pre even ts in a *fic Vorwegnahme anticipate them. three witches allow the akespeare's Macbeth, the Example: In William Sh king. t Macbeth will become audience to believe tha 1 ------ ------- LANGUAGE HELP - - TROUBLE SPOT - - ragic ending open/surprise/un expected/happy/sad/t happy ending centre around sth. Not= ha-ppy eRd a conflict between... and... ► Atmosphere J is the Example: s to open Parliament, an Atmosphere ['retm~sf1~ 's recurr ent royal responsibilities wa One of the Qu een rdensome and actually 1 feeling or mood create d by had nev er previo usly found particularly bu obligation she tumn morning even an author in his or her work. d: to be driven do wn the MalF on a bright au guage rather enjoye The *setting, use of lan ing ofa treat. on all after fifly years was someth and *characterizati d work 2the Mall roa d leading to Buckingha m Palace som e lmp lying har 1 burden phere contribute to the atmos p. 32; cf. Context, p. 58, 11. 1-4 J Uncommon Reader, 2008, of a work. From: Ala n Ben nett, The the the Mall together with ription of the Queen's drive down He re the desc. _ _ _ _ _ __ tumn mo rning creates a positive atmosphere bright au 36 7