How are the events presented in the narrative?
How is the secret plan developed? Does the writer usage a additive ( chronological ) form? Is flashback one of the techniques used?
Do any of the early events or incidents prepare the reader for later 1s? Do any events or incidents lead you to expect the result? What is the nature of the struggle?
At what point does the narrative flood tide?
Does the flood tide bring about a alteration in character or state of affairs?
What are the types of character/s nowadays in the narrative? ( level. unit of ammunition. stereotype. stock ) Are the characters credible?
How are the characters presented by the writer?
What is the chief character like?
Does the writer present to the full developed characters?
What are the struggles that the chief character faces?
Does this character alteration as a consequence of the events that he or she experiences in the narrative? What is the nature of the alteration?
If there is no alteration. why non?
· How of import is the scene of the narrative?
· Does the puting aid to develop the secret plan? How does it make so? · What does the puting contribute to our apprehension of the significance of the narrative? · Does the scene have any influence on the characters?
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Point of View
Does the point of position that is used aid the writer to expose the subject? If so. how? To what extent is the storyteller a dependable informant to events? Would the pick of a different point of position change the narrative significantly?
What is the subject of the narrative?
Does the rubric provide a hint to what it is?
Is there merely one subject or are at that place several subjects?
Does the writer suggest the subject through imagination?
· Does the writer usage nonliteral linguistic communication in stating this narrative. or is the linguistic communication actual? · If nonliteral linguistic communication is used. what is the consequence? · Does the writer usage duologue to progress the action of the narrative? If idiom is used
what is the consequence?
· What illustrations of nonliteral linguistic communication are most dramatic in the narrative? · Why are they striking?
· How does nonliteral linguistic communication contribute to the significance and subject of the narrative?
Short Narratives Prescribed for the 2012-2014 Examinations
Blackout – Roger Mais
Shabine – Hazel Simmons-McDonald
Emma – Carolyn Cole
The Man of the House – Frank O’Connor
Septimus – John Wickham
The Day the World Almost Came to an End – Pearl Crayton
The Boy Who Loved Ice Cream – Olive Senior
Berry – Langston Hughes
Mom Luby and the Social Worker – Kristin Hunter
To Da-duh. in Memoriam – Paule Marshall
* Williams. D. . Simmons-McDonald. H ( Ed ) ( 2005 ) . A World of Prose for CSEC Oxford Heinemann Educational Publishers ( pp. 188-193 )
3. NOVELS ( Prose )
Harmonizing to the current CSEC course of study. for the English B scrutiny. the rhenium will be four inquiries. two on each of the two books prescribed. You will be required to compose an essay based on thorough cognition of one of the prescribed novels. You will non be required to compare the two texts. but you may be asked to do a comparing within a text.
Students are required to read at least ONE novel ( The Wine of Astonishment ) . The undermentioned elements will be explored in relation to the novel under survey: –
Language and Style
Narrative Point of position
Students should be able to: –
Show cognition of the Novel
Identify Literary Devicess used by the writer and province their effectivity to the subject or publish brought out. or to the overall presentation of the novel. Use personal cognition or experiences to notice on or analyse the novel and its effectivity. The novel is perchance the most popular of all literary signifiers. This is likely so because. by and large. novels are exciting. interesting and enlightening. The novel is longer than the short narrative. long plenty to prosecute a secret plan or plot line that can be complex. Suspense can be built and held. A figure of flood tides can maintain the reader engrossed and dying to cognize ‘where it will all end’ .
Songs of Silence – Curdella Forbes
The Wine of Astonishment – Earl Lovelace
Students are required to read at least ONE drama. The undermentioned elements will be explored in relation to the dramas under survey: –
Performance ( Plot and Structure )
Asides and Soliloquies
Issues and Theme
Types of dramas
Students should be able to: –
Show Knowledge of the Play
Identify Literary Devicess used by the poet and province their effectivity to the subject or publish brought out. or to the overall presentation of the drama. Use personal cognition or experiences to notice on or analyse the drama and its effectivity.
Prescribed Plays/ Drama texts
A Midsummer Night’s Dream – William Shakespeare
Old Story Time – Trevor Rhone
PAPER 1- ( Unseen ) Comprehension type Questions
There is NO MULTPLE CHOICE in English B. Paper 1 is known as the Unseen Paper. This paper tests comprehension and the ability to state how a writer/poet achieves a given consequence. The paper consists of 3 subdivisions. On this paper you will be given infusions of a POEM. PROSE FICTION and DRAMA with inquiries that follow. You will be required to pull upon you comprehension accomplishments to reply ALL the inquiries on this paper.
Analysis. that is. analyzing the writer’s usage of linguistic communication ( eg. Imagery. beat. tone. temper. sound of words ) and the ability to state how these map efficaciously in a piece of originative authorship. Attention to dramatic devices. such as phase way and the usage of sound and lighting effects.
Awareness of the relationship between action and motivation.
Awareness of the interaction among characters.
It is of import that you develop the vocabulary to show thoughts about literature. Your composing should:
Be converting. clear and focused
Show that you are believing about what you write. and
Be relevant to the inquiries being asked.
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Why Study Literature
WHY STUDY LITERATURE?
To open our heads to ambiguities of significance. While people will “say what they mean and mean what they say” in an ideal universe. linguistic communication in our universe is. in world. maddeningly and delightfully equivocal. If you go through life anticipating people to play by your regulations. you’ll merely be suffering. angry and defeated. You won’t alter them. Ambiguity. dual entendres and nicety give our linguistic communication deepness and eternal possibility. Learn it. Appreciate it. Revel in it. To profit from the penetration of others. The organic structure of universe literature contains most available cognition about humanity–our beliefs. our self-perception. our doctrines. our premises and our interactions with the universe at big.
Some of life’s most of import lessons are subtly expressed in our art. We learn these lessons merely if we pause to believe about what we read. Why would anyone bury of import thoughts? Because some thoughts can non be expressed adequately in simple linguistic communication. and because the lessons we have to work for are the 1s that stick with us. To research other civilizations and beliefs.
History. anthropology and spiritual surveies provide a method of larning about the civilizations and beliefs of others from the outside looking in. Literature. on the other manus. allows you to see the civilizations and beliefs of others first-hand. from the interior looking out. The merely other manner to hold such a personal apprehension of others’ beliefs are to follow them yourself–which most of us aren’t willing to make. If you understand where other people are coming from. you are better equipped to pass on meaningfully with them–and they with you.
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