By Arthur Whimbey, Myra J. Linden
This textbook is designed to augment the considering and writing talents that scholars want for either educational and occupational luck. It is helping to organize scholars for the verbal parts of the SAT, PSAT, ACT, GED, and GRE and gives the best way to move writing assessments frequently required for promotion/graduation and on-the- activity writing assignments.
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Extra info for Analytical Writing and Thinking: Facing the Tests
In fact, Robbie died at Dunkirk, Cecilia died in the London Blitz, and Briony was never reconciled with her sister. The overt narration provided by Briony at the end, in her own voice, serves to redirect her readers’ interpretations, insisting they go back and re-evaluate what they thought they knew, and 26 Story parts and purpose revealing—“laying bare,” as Shklovsky might say—the workings of the narrative layers of the story. Mood and voice Mood is the attitude that comes through towards the story as it is being told, and the way that attitude determines responses on the part of the reader.
Chatman sees five ways in which this can occur: (1) summary, where a narrator summarizes several years’ worth of action and experience in a single paragraph; (2) ellipses, where a narrator leaves out a chunk of time; (3) scene, where an event is being narrated as it is occurring, in “real time”; (4) stretch, where a narrator extends the telling of an event well past the amount of time the event took to occur; and (5) pause, where a narrator pauses the telling of an event to offer a description or a reflection or a tangent (68–74).
It’s marvelously simplifying that there’s no time for this to become anything more than a kiss” (20). Even the marker of time—“there’s no time”—indicates here that story-time and discourse-time are not synchronized. To simply note that the narrator of “Sunstroke” is separate from the story and its characters is necessary but not sufficient. It would also not be entirely accurate to suggest that the narrator is focalizing any of the characters, although we do have access to the subjectivity—perspective— of each of the characters at one point or another in the story.
Analytical Writing and Thinking: Facing the Tests by Arthur Whimbey, Myra J. Linden