Unit One Fiction PDF

UNIT ONE FICTION “Isn’t it nice to think that tomorrow is a new day with no mistakes in it yet?” — L. M. Montgomery, Anne of Green Gables 2 “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” — Jane Aust...

UNIT ONE FICTION “Isn’t it nice to think that tomorrow is a new day with no mistakes in it yet?” — L. M. Montgomery, Anne of Green Gables 2 “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” — Jane Austen, Pride and Prejudice 3 “Tomorrow I’ll think of some way to get him back. After all, tomorrow is another day.” — Margaret Mitchell, Gone with the Wind 4 “I am not afraid of storms, for I am learning how to sail my ship.” — Louisa May Alcott, Little Women 5 “It is only with the heart that one can see rightly; what is essential is invisible to the eye.” — Antoine de Saint- Exupéry, The Little Prince 6 “Beware; for I am fearless, and therefore powerful.” — Mary Shelley, Frankenstein 7 Learning Objectives: At the end of the session you are expected to: A. identify the ways in interpreting and evaluating fiction; and B. examine the types and elements of fiction. ONE INTERPRETING AND EVALUATING FICTION Think about! Stories are a natural product of the way the human brain works. Fiction A work of fiction may evoke: ▪ the thrill of imagining impossible or unavailable experiences ▪ intrigue with playing out "what if" or "if only" scenarios ▪ feelings and perceptions of another historical period, or simply observations on the human condition Nonfiction One analyzes a nonfiction text: ▪ to discover underlying themes and perspectives. ▪ to realize how choices of content and language shape the reader's perception and encourage the reader's acceptance. Fiction vs. Nonfiction ▪ Both fiction and nonfiction can be subjected to analysis and interpretation. ▪ Proof is a major concern with nonfiction; emotional involvement is a major concern with fiction. Fiction vs. Nonfiction Readers expect fiction to reflect the real world; they do not expect it to portray the real world. And yet fiction can seem very real without being factual in life. Fiction ▪ Fiction can be true. ▪ The sentiment may be real, but the characters and incidents are the fruits of the author's imagination. ▪ “Dramatic license" to distort history for dramatic effect. Fiction ▪Fiction evokes ideas and feelings indirectly by triggering emotional responses and mental pictures. ▪Fiction commonly communicates through images and symbols. Think about! The more evocative a text, the more the reader must do the work of finding meaning within the text. Think about! The meaning of fictional works is more personal than that of nonfiction texts. Forms of Fiction 1. Commercial 2. Literary 3. Mainstream Commercial Fiction ▪Intended solely to entertain. Commercial Fiction ▪Attracts a broad audience and may also fall into any subgenre, like mystery, romance, legal thriller, western, science fiction, and so on. Commercial Fiction ▪Other blockbuster commercial fiction authors include John Grisham, Sidney Sheldon, Danielle Steele, and Jackie Collins. Literary Fiction ▪Written with serious artistic intentions by someone who hopes to enable readers to broaden understanding of life and to empathize with others. Literary Fiction ▪Literary writers are more like explorer. ▪ Provides keener awareness of our humanity in a friendly and hostile world. ▪Usually need to be read twice. 28 Literary Fiction ▪Tends to appeal to a smaller, more intellectually adventurous audience. ▪excellent writing, originality of thought, and style Literary Fiction ▪Other popular authors of literary fiction include Toni Morrision, Barbara Kingsolver, John LeCarre, and Saul Bellow. Mainstream Fiction ▪Describe both commercial and literary works that depict a daily reality familiar to most people. ▪These books, usually set in the 20th or present-day 21st century, have at their core a universal theme that attracts a broad audience. Mainstream Fiction ▪Most of the novels that appear on the bestseller list are considered mainstream, whether the author is Sue Grafton, Arundhati Roy, Michael Crichton, or David Guterson. Review Questions that apply to most fiction: 1. Who is the protagonist? 2. When and where is the setting? 3. What is the story or plot? 4. What is the central conflict? 5. What is the point of view? Review Questions that apply to most fiction: 6. What are the characteristics of the style that derive from the point of view? 7. What is the external context? What is the general context? What are some of the most significant immediate contexts? 8. What other techniques or devices does the author use? Review Questions that apply to most fiction: 9. To what genre does the story belong (if relevant)? 10. How do the preceding considerations suggest them or meaning? Let us analyze and interpret!  Desiderata by Max Ehrmann Go placidly amid the noise and the haste, and remember what peace there may be in silence. As far as possible, without surrender, be on good terms with all persons. Speak your truth quietly and clearly; and listen to others, even to the dull and the ignorant; they too have their story. 43 Avoid loud and aggressive persons; they are vexatious to the spirit. If you compare yourself with others, you may become vain or bitter, for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time. 44 Exercise caution in your business affairs, for the world is full of trickery. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Be yourself. Especially do not feign affection. Neither be cynical about love; for in the face of all aridity and disenchantment, it is as perennial as the grass. 45 Take kindly the counsel of the years, gracefully surrendering the things of youth. Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself with dark imaginings. Many fears are born of fatigue and loneliness. 46 Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe no less than the trees and the stars; you have a right to be here. And whether or not it is clear to you, no doubt the universe is unfolding as it should. Therefore be at peace with God, whatever you conceive Him to be. 47 And whatever your labors and aspirations, in the noisy confusion of life, keep peace in your soul. With all its sham, drudgery and broken dreams, it is still a beautiful world. Be cheerful. Strive to be happy. 48  Look To This Day! by Kalidasa Look to this day: For it is life, the very life of life. In its brief course Lie all the verities and realities of your existence. 49  The bliss of growth, The glory of action, The splendour of achievement Are but experiences of time. 50  For yesterday is but a dream And tomorrow is only a vision; And today well-lived, makes Yesterday a dream of happiness And every tomorrow a vision of hope. Look well therefore to this day; Such is the salutation to the ever-new dawn! 51  Ang Pansit ni Adonis Durado Mahadlok ko sauna kung gutomon si Papa, Ma. Dili na siya mokaon. Ang platong gisudlan nimo sa sud-an mokalit lag hagtok sa imong bagulbagol. 52  Ug sama kaguba sa karaan natong banggira ang mga balikas ni Papa: “Litse! Atay! Yawa! Wa ka bay laing ipakaon nako Kung di puros lang pansit?” 53  Lab-as pa kaayo kanako hangtod karon, Ma, ang repolyong sagol sa pansit. Nahinumdom pa ko sa ka humot sa hebe ug tambok sa ginisang baboy nga nanab-it sa imong buhok. 54  Diin sa nagkamantika nimong danguyngoy gipuga sa atong bentana ang lemonsitong buwan. 55 “For sale: baby shoes, never worn.” Ernest Hemingway Think about! Stories have a least three lives. Think about! When we read the story, sentence by sentence, trying to turn the sequence of sentences into a consistent whole. Think about! When we have finished reading the story and we thinking back on it as a whole. Think about! When we reread a story, knowing already even as we read the first line how it will turn out in the end. Types and Elements of Fiction Literary Devices ▪a broad term for all the techniques, styles, and strategies an author uses to enhance their writing. ▪ Literary elements and literary techniques are both types of literary devices. Literary Elements ▪essential components that make up a piece of literature. ▪“big-picture” literary devices that extend throughout the entire work. Plot ▪consists of the events that happen in the story. ▪backbone of the story and provides structure and direction for the narrative. 64 Stages of a Plot ▪Exposition ▪Rising Action ▪Climax ▪Falling Action ▪Resolution or Denouement 65 Special Plot Techniques ▪Suspense ▪Foreshadowing ▪Flashback ▪Surprise Ending 66 Setting ▪represents both the physical location but also the time and the social and cultural conditions in which the characters exist. ▪creates atmosphere and mood 67 Character ▪can be described in terms of their physical appearance, personality, background, and motivations. ▪can also be dynamic (changing) or static (unchanging) throughout the story. 68 Characterization ▪Direct Presentation: readers are told straight out what the characters are like, or they have another character in the story to describe them. ▪Indirect Presentation: the author shows us the characters through their actions. Types of Character ▪Flat Characters: usually have only one or two predominant traits; they can be summed up in a sentence or two. ▪Round Characters: complex and many sided; they have the three-dimensional quality of real people. Types of Character ▪Static Character: does not change during the story. ▪Dynamic Character: (developing) undergoes distinct change of character, personality, or outlook. Types of Character ▪Stock/Stereotyped Characters: type of flat character; stereotyped figures who have recurred so often in fiction that we recognize them at once Character Archetypes ▪Protagonist ▪Antagonist ▪Foil: direct contrast to the protagonist, through their traits and actions. ▪Love Interest ▪Supporting Characters Theme ▪controlling idea or central insight ▪is the “why” of the story. ▪can be universal or specific to a certain culture or time period 74 Think about! Avoid reducing the theme to some familiar saying that we have heard all our lives. Think about! Theme does not have to be tied up in a simple MORAL. Point of View ▪“Who” is telling the story? 77 Types of Point of View ▪First person (I/Me/We/Mine) ▪Second person (“You/Your/Yours”) ▪Third person (He/She/It/They/Them/Theirs) oThird Person Omniscient: full access to the thoughts and feelings of all characters 78 Types of Point of View oLimited Third Person Omniscient: restricted to a single character readers only see what the narrator sees ▪Innocent Eye/ Naïve Narrator: story is told through child’s eye. ▪Stream of Consciousness: story is told so readers could solely experience a character’s thoughts and reactions. 79 Types of Point of View ▪Objective Point of View: the narrator disappears into a kind of roving sound camera. It cannot comment, interpret, or enter a character’s mind. 80 Third Person Omniscient POV You aren't restricted by a certain character's perception and access to information. Third Person Omniscient POV You can develop your own narrative voice which is separate from that of a character or characters. Third Person Omniscient POV You can move between characters easily and get a glimpse into different characters' thoughts in a scene so the reader is able to see exactly what's going on all around. Think about! Keep in mind that first-person narrators can be unreliable, as they do not have access to all vital information, and their own agendas can often skew the way they see events. Conflict ▪A clash of actions, ideas, desires, or will. 85 Types of Conflict ▪Internal Conflict Character vs. Self ▪External Conflict Character vs. Character Character vs. Nature Character vs. Society 86 Style ▪The author’s type of diction (choice of words), syntax (arrangement of words), and other linguistic features of a work. 87 Literary Techniques ▪are the literary devices that deal with individual words and sentences. Irony ▪a technique used to convey a truth about human experience by exposing some incongruity of a character’s behavior or a society’s traditions. 89 Mood ▪It refers to the general sense or feeling the reader is supposed to get from the text. ▪It does not describe the author’s or characters’ state of mind. 90 Tone ▪It describes the apparent attitude of the speaker or narrator toward the subject. ▪ It refers only to the narrative voice; not to the author or characters 91 Symbol ▪something that means more than what it suggests on the surface. ▪It may be an object, person, situation, action or other elements. 92 Types of Symbol ▪Name Symbolism: Adam, Phoenix ▪Object Symbolism: flag, wedding ring, red, quilts ▪Action Symbolism: journey ▪Setting Symbolism: landscape, railway station 93 Clues for identifying symbols: The story itself must furnish a clue that a detail is to be taken symbolically usually by emphasis, repetition, or position. Clues for identifying symbols: The meaning of the literary symbol must be established and supported by the entire context of the story.. Clues for identifying symbols: A symbol may have more than one meaning—a cluster of meanings. Figurative Language ▪Descriptive language that is not meant to be taken literally, but to create imagery. 97 References: https://www.quora.com/What-is-popular-literature- 1?no_redirect=1&fbclid=IwAR034yDNWi8CkRkOaroDJbXc6kpvj0BfsZ49n4LVn_w 2RHsFmHqV9_tm7ZI https://ahabsquest.wordpress.com/2007/04/08/challenges-facing-literature/ https://www2.slideshare.net/CheldhayeDay/understanding-the-nature-function-and- value-ofliteratureand-how-to-critique-151327639 https://www.britannica.com/art/popularart#ref236490writingstyle.tml#:~:text=Conte mporary%20literature%20is%20defined%20as,interpretation%20by%20scholars% 20and%20academics https://literaryterms.net/science-fiction https://www2.slideshare.net/lhengacusan/21st-century-literary-genre? fbclid=IwAR3SbjseSFHQyk6_vT98DzYZ04GoBFqCRZQ6xXQAoEP66iXTbteGSn9 yFyM