I. In this exercise, you are to either establish a connection with what is stated or explain what the statement implies.

Model:Stories and poems describing nature, ‘novels of ideas’, stories

presenting the stream of consciousness.

– They have no plots.

1 The writr does not follow all the in which the characters would participate in real life during the span of the time covered by the story.

2 Every event in the plot is suggestive.

3 Man against man, man against nature, man against society, etc.

4 Man agains himself.

5 One the one hand, they are suggested by contradictions in reality, on the other, they are affected by the writer’s outlook, his personality, and the way he views people, events, problems.

6 They are normally localized.

7 It helps to evoke the necessary atmosphere or mood, or reinforce

characterization, or it may be a reflection of the inner state of a character, or

place the character in a recognizable realistic environment, etc.

8 It answers the Wh-questions. They become tenser as the plot moves toward the

moment of decision.

9 It may affect the atmosphere and introduce the necessary mood; it may

increase the tension and the reader’s suspense, and in this way affect the

reader’s emotional response to the story.

11 A straight line narrative presentation, a complex narrative structure, a circular pattern and a frame structure.

12 The order in which the writer presents the information.

13 An important factor in storytelling when the reader is uncertain of some things or suspects certain facts.

14 Narration, description, reasoning, direct speech (monologue, dialogue), represented speech, quotations, the author’s digressions.

213 Read the story that follows and say:

· what literary representational form/s it involves(Ex. 152, quest. 14);

· what kind of narrative structure the story has;

· whether its plot is fixed or not;

· what components it includes and what purpose each of them serves;

· whether there are deviations from the traditional model;

· what kind of conflict is revealed here;

· what stylistic devices and expressive means the author employs.

Just leave the keys in, sir Stan Murch, in a uniform-like blue jacket, stood on the sidewalk in from of the Hilton and watched cab after cab make the loop in to the main entrance. Doesn’t anybody travel in their own car any more? Then at last a Chrysler Imperial with Michigan plates came hesitantly up Six Avenue, made the left-hand loop into the Hilton driveway and stopped at the entrance. As a woman and several children got out of the doors on the right of the car, toward the hotel entrance, the driver climbed heavily out on the left. He was big man with a cigar and a camel’s hair coat. Murch was at the door before it was halfway open, pulling it the rest of the way and saying, “Just leave the keys in it, sir.” “Right,” the man said around his cigare. He got out and sort of shook himself inside the coat. Then, as Murch was about to get behind the wheel, the driver said, “Wait.” Murch looked at him, “Sir?” “Here you go, boy,” the man said and pulled a folded dollar bill from his pants pocket and handed it across. “Thank you, sir,” Murch said. He saluted with the hand holding the dollar, climbed behind the wheel, and drove away. He was smiling as he made the right turn into 53^rd Street; it wasn’t every day a man gave you a tip for stealing his car.

Date: 2015-12-11; view: 932

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