Talking About Stories. Theoretical Preliminaries. The Plan for Rendering the Story

МИНИСТЕРСТВО ОБРАЗОВАНИЯ РЕСПУБЛИКИ БЕЛАРУСЬ

ЛИНГВОГУМАНИТАРНЫЙ КОЛЛЕДЖ

УЧРЕЖДЕНИЯ ОБРАЗОВАНИЯ

«МИНСКИЙ ГОСУДАРСТВЕННЫЙ ЛИНГВИСТИЧЕСКИЙ УНИВЕРСИТЕТ»

МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ

ПО ИНТЕРПРЕТАЦИИ ТЕКСТА

ДИСЦИПЛИНА

«ПРАКТИКА УСТНОЙ И ПИСЬМЕННОЙ РЕЧИ»

                                       Минск, 2008                    

Contents

I. Talking About Stories. Theoretical Preliminaries.

II. The Plan for Rendering the Story

III. Some Helpful Questions for Further Text Analysis

IV. Useful Vocabulary for Detailed Text Analysis

V. Connectors and Modifiers for Expressing the Opinion

VI. Elements of Style

VII. Patterns for Practice

VIII. List of Works Used

I. Talking About Stories. Theoretical Preliminaries.

When discussing stories or extracts there are certain aspects which you are supposed to regard. It is useful to know and to be able to use them. They will make it easier for you to talk about stories.

1. If you deal with an extract begin your discussion with saying a few words about its origin, naming the writer and the title of the story or the novel it is taken from.

2. The impact of a literary work depends on all its elements. Among them plot plays an important role.  Plot refers to the sequence of events or actions in a story. Most stories and novels have plots. But there are some which have no plots (e.g. stories and poems describing nature, the so-called “novels of ideas” and stories presenting the stream of consciousness).

The components of the plot structure are

-  the exposition (where the author introduces the theme, the characters and establishes the setting)

-  complications (actions, thoughts, feelings)

-  the climax (the key event, the crucial moment of the story)

-  the dénouement or resolution (where the fate of the main characters is clarified and some conclusions are suggested)

It should also be noted that the intensity of the impression depends on the order in which the writer presents the information included into the story (the so called “presentational sequencing”). There are several devices of presentational sequencing

-  retardation (the withholding of information until the appropriate time, it heightens suspense)

-  flashbacks (scenes of the past inserted into the narrative)

-  foreshadowing (a look towards the future, a remark or hint that prepares the reader for what is to follow)

3. At the heart of the plot is conflict – the opposition of the characters or groups of characters to each other or to something. The story may be based on several conflicts:

external –

a)  man against man

b)   man against nature

c)  man against society, social order!

d)  conflict with poverty inequality

internal – “man against himself”

4. The plot with its characters, actions and settings forms the so-called ‘surface content’ of a literary work, which is represented in concrete individuals, situations and actions. It may entertain and keep the reader curious. Some read only to learn what happens next. But a skilled reader discovers what lies beyond the surface content, he looks for the theme.

The theme of the story is the main area of interest treated in the story. There are stories on the theme of love, or love for one’s Motherland, family relations, anti-war theme, human relations in society, the power of beauty and art to stir emotions, etc.

5. The theme of the story implies the problem which the writer raises. His view and attitude to the problem is revealed in the way he develops the theme of the story. The most important idea that the author expresses in the process of developing the theme is the message of the story. The theme is therefore organically connected with the author’s message. The message can be expressed indirectly. We way reveal the message of a literary work trough the analysis of the implications. Implication may be conveyed by contrast, parallelism, repetition, symbols, arrangements of plot structure.

6. In fiction the representation of the reality is always a subjective reflection, which is affected by the author’s view of the world, his outlook, his personal attitude to it. That is why in fiction the representation of reality can never be entirely neutral. In every literary work the writer’s feelings and emotions are reflected in the tone, attitude and atmosphere (mood).

Atmosphere is ageneral mood of a literary work. Mood is the dominant impression the story makes on you. It can be gloomy, sad, optimistic, pathetic, melancholy, lively, cheerful and so on. Mood may be revealed through the choice of words, figures of speech, dialogues, monologues, short or long sentences and even phonetic devices, such as alliteration or others.