Fluent Essays

The purpose of this assignment is to assess your understanding of the literary device called Point of View (The perspective from which a story is narrated.)  Reading : A Chapter 7 Style and point of view.  Page 26 & B Chapter 7 Approaches to point of view. Page 77 Answer the following questions.  I. Read the topic entitled Point of View in Unit 7 (Week 9) and read the attached short story entitled Cat in the Rain by Ernest Hemingway, then answer the following questions. (3 Points)  1- Was the short story told in the First, Second, or Third Person?  2- What pronouns does the narrator use to refer to the characters? 3- Is the narrator’s point of view reliable or unreliable? Explain. II. Imagine that the short story was told from a different point of view, then answer the following questions. (2 Points) 1- What would change in the story? Would the readers gain new knowledge from the new point of view? Explain.  2- Would the readers feel differently about one or more of the characters if the story was told from a different point of view? Why or why not?ENG 380 Stylistics Assignment 2 (5 points) CRN: Name: Student ID: Level: Purpose: The purpose of this assignment is to assess your understanding of the literary device called Point of View (The perspective from which a story is narrated.). Answer the following questions. (5 Points) I. Read the topic entitled Point of View in Unit 7 (Week 9) and read the attached short story entitled Cat in the Rain by Ernest Hemingway, then answer the following questions. (3 Points) 1- Was the short story told in the First, Second, or Third Person? 2- What pronouns does the narrator use to refer to the characters? 3- Is the narrator’s point of view reliable or unreliable? Explain. II. Imagine that the short story was told from a different point of view, then answer the following questions. (2 Points) 1- What would change in the story? Would the readers gain new knowledge from the new point of view? Explain. 2- Would the readers feel differently about one or more of the characters if the story was told from a different point of view? Why or why not? Answer …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… With My Best Wishes 1Ernest Hemingway – ‘Cat in the Rain’ There were only two Americans stopping at the hotel. They did not know any of the people they passed on the stairs on their way to and from their room. Their room was on the second floor facing the sea. It also faced the public garden and the war monument. There were big palms and green benches in the public garden. In the good weather there was always an artist with his easel. Artists liked the way the palms grew and the bright colors of the hotels facing the gardens and the sea. Italians came from a long way off to look up at the war monument. It was made of bronze and glistened in the rain. It was raining. The rain dripped from the palm trees. Water stood in pools on the gravel paths. The sea broke in a long line in the rain and slipped back down the beach to come up and break again in a long line in the rain. The motor cars were gone from the square by the war monument. Across the square in the doorway of the café a waiter stood looking out at the empty square. The American wife stood at the window looking out. Outside right under their window a cat was crouched under one of the dripping green tables. The cat was trying to make herself so compact that she would not be dripped on. ‘I’m going down and get that kitty,’ the American wife said. ‘I’ll do it,’ her husband offered from the bed. ‘No, I’ll get it. The poor kitty out trying to keep dry under a table.’ The husband went on reading, lying propped up with the two pillows at the foot of the bed. ‘Don’t get wet,’ he said. The wife went downstairs and the hotel owner stood up and bowed to her as she passed the office. His desk was at the far end of the office. He was an old man and very tall. ‘Il piove,1’the wife said. She liked the hotel-keeper. ‘Si, Si, Signora, brutto tempo2. It is very bad weather.’ He stood behind his desk in the far end of the dim room. The wife liked him. She liked the deadly serious way he received any complaints. She liked his dignity. She liked the way he wanted to serve her. She liked the way he felt about being a hotel-keeper. She liked his old, heavy face and big hands. Liking him she opened the door and looked out. It was raining harder. A man in a rubber cape was crossing the empty square to the café. The cat would be around to the right. Perhaps she could go along under the eaves. As she stood in the doorway an umbrella opened behind her. It was the maid who looked after their room. ‘You must not get wet,’ she smiled, speaking Italian. Of course, the hotel-keeper had sent her. With the maid holding the umbrella over her, she walked along the gravel path until she was under their window. The table was there, washed bright green in the rain, but the cat was gone. She was suddenly disappointed. The maid looked up at her. ‘Ha perduto qualque cosa, Signora?’3 ‘There was a cat,’ said the American girl. ‘A cat?’ ‘Si, il gatto.’ ‘A cat?’ the maid laughed. ‘A cat in the rain?dpsl dpsl STYLISTICS Routledge English Language Introductions cover core areas of language study and are one-stop resources for students. Assuming no prior knowledge, books in the series offer an accessible overview of the subject, with activities, study questions, sample analyses, commentaries and key readings – all in the same volume. The innovative and flexible ‘two-dimensional’ structure is built around four sections – introduction, development, exploration and extension – which offer self-contained stages for study. Each topic can be read across these sections, enabling the reader to build gradually on the knowledge gained. Stylistics : ❏ provides a comprehensive overview of the methods and theories of stylistics: from metre to metaphor, dialogue to discourse ❏ enables students to uncover the layers, patterns and levels that constitute stylistic description ❏ helps the reader to develop a set of stylistic tools of their own, which can be applied to any text ❏ is written in a clear and entertaining style with lively examples from authors as diverse as Shakespeare and Irvine Welsh ❏ provides classic readings by key names in the field, such as Roger Fowler, Mick Short, Walter Nash and Marie Louise Pratt. Written by an experienced teacher and researcher, this accessible textbook is an essential resource for all students of English language, linguistics and literature. Paul Simpson is a Reader in English Language at Queen’s University, Belfast. He edits the journal Language and Literature and is the author of On the Discourse of Satire (2004). His other books for Routledge include Language, Ideology and Point of View (1993) and Language through Literature (1997). Series Editor: Peter Stockwell Series Consultant: Ronald Carter 1111 2 3 4 5 6 71 8 9 10111 1 2 31 4 5111 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40 1 2 3 4 51 ROUTLEDGE ENGLISH LANGUAGE INTRODUCTIONS SERIES EDITOR: PETER STOCKWELL Peter Stockwell is Senior Lecturer in the School of English Studies at the University of Nottingham, UK, where his interests include sociolinguistics, stylistics and cognitive poetics. His recent publications include Cognitive Poetics: An Introduction (Routledge 2002), The Poetics of Science Fiction, Investigating English Language (with Howard Jackson), and Contextualized Stylistics (edited with Tony Bex and Michael Burke) SERIES CONSULTANT: RONALD CARTER Ronald Carter is Professor of Modern English Language in the School of English Studies at the University of Nottingham, UK. He is the co-series editor of the forthcoming Routledge Applied Linguistics series, series editor of Interface, and was co-founder of the Routledge Intertext series. OTHER TITLES IN THE SERIES: Sociolinguistics Peter Stockwell Pragmatics and Discourse Joan Cutting Grammar and Vocabulary Howard Jackson Psycholinguistics John Field World Englishes Jennifer Jenkins Practical Phonetics and Phonology Beverley Collins & Inger Mees FORTHCUnit 7, Sections A and B : Style and point of view Approaches to point of view Section A: Style and point of view Style and Perspective Point of view is the perspective through which a story is told. A useful technique to explore the narrative is to film it! Camera angle and viewing position There are textual clues to help decide where to locate the camera Style and Perspective Narrative modes: 1st person: “ I” Participating character/ internal/ same level of the story 2nd person: “you” addressing another character/reader – not comon 3rd person: “He-she-they” detached/invisible character/external/outside the story Omniscient “knows-all”: has access to feeling and thoughts as well as the events. Restricted omniscient: detached and reluctant about feelings and thoughts and has access to event only. (index of characterization) Iain Banks’s novel The Crow Road Core distinction in point of view theory: Who tells: detached, omniscient narrator Who sees: McHoan (the character in the story and reflector of fiction) audience sees what McHoan sees as his perspective unfolds Iain Banks’s novel The Crow Road Dynamic of point of view in a narrative Heterodiegetic: the narrator is ‘different’ from the exegesis that comprises the story Homodiegetic: the narrator is internal to the narrative, on the same plane of exegesis as the story Brings audience psychologically closer to the main character Alternatively, narrative loses the ironic space between the narrator and character Iain Banks’s novel The Crow Road Stylistic cues of viewing position Deixis: Situates speaker in physical space (camera) the reflector of fiction forms a deictic centre, an ‘origo’, around which objects are positioned relative to their relative proximity or distance to the reflector. Zoomed: move toward went back instead of came back: move away Locative expressions Grammatical units telling location, direction and physical setting Adjuncts: ‘just upstream’, ‘from falls to bridge’, ‘into the cutting’, etc. Iain Banks’s novel The Crow Road Point of view device: Attenuated focalization Point of view is limited due to a blocked or distanced perspective = blurry vision Marked by nouns with generalized/unspecific references ‘thing’, ‘shape’, ‘stuff’ Cues that narrative is temporarily restricted to the visual range of a particular character McHoan’s character first saw ‘a grey shape’ which was later identified as an owl Section B: Approaches to point of view The ‘Fowler-Uspensky Model’ This model has proved significant in shaping much stylistic work on point of view because it helps sort out different components in narrative organisation. Point of view rests on four planes (levels) : ideological temporal spatial psychological The Ideological Plane Ideology: A person’s beliefs or values system Ideological plane examines how a text mediates the character’s, narrator’s or author’s ideological beliefs. Author’s beliefs and valu