The Wife Of Bath's Tale Study Guide Flashcards

Lesson 3. № 18. ГДЗ Английский язык 5 класс Верещагина. 1. Who is the narrator of the story? 2. How many members were there in Uncle Oscar's family?Most of the differences that we hold to be so significant are accidental byproducts of geography and history. They're superficial — merely different cultural My life immediately got about 542% better when I realized that the information you consume online is predominantly made up of the 5% of each...Many of the earliest television shows were sponsored by single companies, who inserted their names and Another important milestone came in the 1960s with the introduction of very short commercial breaks during a TV show. The lesson that the narrator learnt from his arrest was 1) not to use a...job 2. life is very competitive 3. Japanese people have the same job for life B. According to the narrator pupils should do well at school school to junior school (Ответ под цифрой 3) D - The narrator thinks that schoolchildren are very polite because politeness and respect are characteristic of Japanese......Twelve Most Important Lessons I've Learned So Far 1. The more we know about ourselves, the more power we have to behave better. Humility is underrated. We each have an infinite capacity for self-deception — countless unconscious ways we protect ourselves from pain, uncertainty...

10 of the Most Important Life Lessons I Learned from My 20s

There are many important lessons that the narrator of "The Women's Bath" learns in the story, however, in my opinion, the most important one is to respect what other people do and what they believe in. The narrator gets to see how her grandmother views the world when she bathes together...An important part of narration is the narrative mode, the set of methods used to communicate the narrative through a process narration (see also "Aesthetics approach" below). Most narrators present their story from one of the following perspectives (called narrative modes): first-person, or...You may be asked what the most important lessons you have learned in school are. This is a way for an interviewer for example, to find out if you are a good fit for the job for which Because it teaches a lesson about being content with who you are and not wanting to change a single thing about you.How many of these famous female scientists do you know about? Tasks. Do the preparation task first. Which of the scientists in the video do you think is most important? And while it's important to know about her contributions to science, many people's knowledge of women in STEM ends there.

Подготовка к ЕГЭ по английскому языку 11 класс

and I eat that more as an excuse for conversation than anything else. I couldn't possibly eat anything more unless they had some of those giant asparagus. The plot of the text is the following: the narrator, a book writer, recognizes a woman with whom he had lunch years ago.In the women's Bath, the narrator can see how her grandmother views the world when she bath together with her in the public bath. I think the most important lesson in the story is you always have to respect other people, no matter how different they are from you, they do what they believe is...Women are as important as men in any society. They stay in the house and keep it in good order. Properly educated and trained women can be of immense help to their husbands and working members of the family. They can teach, train and bring up their children on the right lines.Another important thing here is learning to do practical things. Their metal and wood shops are like small factories, and we are taught to drive as well. 4. What clubs did she join? 5. What games do girls play in her new school? 6. What practical things are the children taught? please please.2. The narrator's parents taught her 1) to achieve her goals. 2) great lessons in economy. The person I admire most of all is Julie Foudy, former Olympic soccer star. She walks into a room and just lights it up. We see each other every October at the Women's Sports Foundation dinner in New York...

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Plot

Theplot of the story (or story line) is what occurs in it. It is the creator's association of occasions in the story. The plotis the direct surface layer; the plan of a literary composition comprising a chain of incidents which might be steadily opened up and each of the incidents comes out of the previous one and will increase in depth till the best level is reached.

When describing what happens, it is important to reply to the four easy questions:

1) Who? Who are the characters?

2) Where? Where are they?

3) What? What do they do?

4) When? When does the motion take place?

Asummary of the plot is known as asynopsis/sɪ'nɒpsɪs/ - синóпсис.

Summarizing a story / novel most often method describing those 4 issues. It is very helpful so to do it briefly and with out too many inappropriate details. That's why in level 2 of your plan for stylistic interpretation of the text you're asked to offer an overall view of the story best in 4 – 6 sentences.

A plot normally runs via Three phases:

1. Original condition - 2. Change - 3. New situation

The exchange in a short story is due to a conflict. So, usually a struggle is seen in the authentic condition, in the very starting of the story. The essential warfare of the story has a beginning, a development and an end. The struggle could also be: 1) exterior (man against guy, man against the society, guy against the instances (atmosphere), man in opposition to nature) or 2) inside (man is in battle with himself). The warfare can also be physical, psychological, moral or social.

The development from one condition to a new one is reflected in the composition of the story. Theplotaccordingly consists of: 1) exposition, 2) body of the story, 3) climax and four) denouement. The interrelation between these other components of the plot is subsequently known as composition:

1) In theexposition(introduction) the vital preliminaries to the motion are laid out, similar to the time, the place and the subject of the action. Some mild might be solid on the cases that will affect the building of the action.

2) Body of the story is that section of the plot which represents the starting of the collision (столкновение) and the collision itself. By collision the opposition, the fight of forces or characters are understood. Also this step of the composition is called complication (construction) – the conflict develops and intensifies. There may also be a number of headaches in a story / novel.

3) Climax/'klaimæks/ (кульминация) is the easiest level of an motion in a story, the the most important second of the narration; fruits previous the dénouement. Here the struggle reaches its absolute best point. It is the moment of largest depth. It is the most thrilling or important section of a story, which is usually comes close to the finish.

4) Dénouementis the unwinding of the motion; the event(s) in a story immediately following the climax and bringing the action to an end. It signals the unencumber of the war. The war is settled and a new condition is reached. If there is no denouement the story is referred to as open-ended.

5) The remaining of the story is the finishing. When it takes an unexpected flip it is referred to as an sudden or marvel finishing.

A piece of narrative prose that has all the parts of the plot as obviously discernable portions has a closed plot structure. A literary work in which motion is represented and not using a positive element of its construction has an open plot structure.

Some word-combinations:

panoramic presentation – when a complete description of a particular scenario or subject is given; a basic illustration in phrases - панорамный

scenic /'si:nik/ presentation - сценический, театральный

tight plot (a extremely plotted story) - острый, драматический сюжет

loose plot - свободный, расплывчатый сюжет

a loosely plotted story - рассказ со свободным сюжетом

a plotless story - бессюжетный рассказ

an open-ended story – история без конца, завершения

the exposition, the knitting – завязка

to achieve the climax – достигать кульминационной точки

tricky / twisted / open finishing – хитрая, сложная, мудрёная / запутанная / открытая, откровенная концовка

the author favours concerned plots – автор любит запутанные/сложные сюжеты

Questions to be requested:

1. Is it a story (extract) with a plot? If so, trace it in 4 sentences.

2. Is it simple, complicated, static or dynamic /dai'namik/?

3. Is the motion fast-(gradual) shifting? Or it stands nonetheless?

4. How does the story spread? – Как развивается/развёртывается рассказ/роман?

5. In what vein is the story written? – В каком ключе/духе написана история?

6. Is the author focused on the plot? – Он заинтересован / обеспокоен сюжетом?

7. What is he after? – Что он замышляет?

8. Are the events organized chronologically or no longer? Why?

9. What important change has taken place in the path of the story?

10. What is / are the war/s?

11. Identify the climax of the story (extract). Is the conflict settled or not?

12. How are you able to signify the finishing?

13. Is the presentation scenic or panoramic?

Point of view (author, narrator, forms of the story presentation)

Point of view is the attitude from which the story is instructed.

The creator is the one that wrote the story.

The narrator is the person or voice telling the story. He is the product of the author's creativeness like any other persona. The narrator may present the occasions from other "angles" - from other issues of view.

Types of point of view:

1) first person narration – the "I" narrator who is either the major character (the protagonist – 1. the major persona in a play, guide, movie) or a witness of the occasions of the story;

2) 1/3 consumer narration.

The first-person narratoris "an eye-witness". The first consumer narration imparts a prime degree of economic system and dramatic intensity to the story. Often the narrator is much more than a narrative tool, since the writer is careful to involve him in the plot to the level where he becomes the best character who undergoes any significant personal construction.

The narrator's limited involvement often places him in a position to record occasions fully and directly while ultimate outside the major action, to evaluate these occasions. He is often "both within and without", and his dual status as each the narrator and a functioning persona accounts for a large section of the luck with which the story is told.

The author's choice of a first-person narration as the organizing device lends compactness and unity to the story. The ideas conveyed in the judgments made by means of the narrator concerned in the action are made simpler than when they're imposed from the out of doors by way of the writer.

The third-person narratoris out of doors the story and he/she refers to the characters by way of their names, or by means of "he", "she", and many others. The narrator then specializes in any other personality(s). He could have direct (limitless) knowledge of the characters and act as an observer (witness). He would possibly have no direct (restricted) wisdom of the characters and act as a wholly nameless character. An merit over the first-person narrator is that there is a greater liberty to move round in time and space, and to incorporate extra characters. Third user narration will also be of several varieties:

1) a detachednarrator who stories best what he sees and hears;

2) an omniscient narrator who moves freely in and out of the characters' thoughts and is free to comment on their ideas, emotions and actions (the omniscient point of view). The omniscient point of view approach that the narrator knows the whole thing about the occasions and the characters. But how a lot of all this does the narrator select to expose? What a character says reveals a really perfect deal. But just as in life, a personality would possibly say one thing, meaning something else, or indeed be thinking one thing utterly different. There is so much of room for selection in between those two extremes:

intrusive narrator←→ function (unintrusive) narrator

An intrusive narrator explicitly tells the reader things, commenting on the characters and explaining events.

An goal (or unintrusive) narrator simply shows things: he/she is more like a digital camera.

There is another level of view of the 0.33 person narration: the restricted point of viewthat means that the narrator confines himself to the impressions and feelings of one character: he/she presents only one level of view of occasions.

Entrusted narration is more sophisticated than the writer's narration. Here we take care of the double point of view (the writer's and the story-teller's). Here the storyteller is offered together with his outlook, social standing, training, tradition, age and different factors that could be other from those of the writer's. The textual content is polyphonic.

The writer's selection of level of view is important as it is the approach wherein he shapes the subject material and controls the reader's hobby and sympathy.

Some paperwork of the story presentation:

1) Interior monologue-the narrator speaks to himself.

2) Dramatic monologue- the narrator or the character speaks by myself but there are the ones he addresses himself to.

3) Dialogue- the speech of two or extra characters addressed to one another.

4) Represented speechis the shift from the writer's narrative into the persona's utterance. It is usually inserted into the narrative through verbs of utterance or mental belief.

5) Stream of consciousness- a sort of narrative in which the author makes an attempt to report lifestyles via environment down the whole thing that comes into the personality's thoughts, with none affordable selection. It is based on the conception of the incidence of the unconscious over the mindful; therefore the recording of unperceived through senses or mind emotions. It had brought into literature a deeper perception into human psychology, nevertheless it also continuously ended in disintegration of the shape of the practical prose sample and the character.

6) Narration- the presentation of events in their construction. It is in most cases dynamic. It is incessantly way more efficient first to withhold personal data after which gradually unveil the persona's background than it might be to offer all the details about the character in the starting. Instead of presenting a attached day-by-day narrative, the writer may soar from scene to scene, focusing simplest on those few incidents which best possible make stronger the general structure. In avoiding extraneousmaterials authors create a tightly knit, highly organized narrative structure, in which each and every scene and detail give a contribution to the overall effect.

7) Description- the presentation of the surroundings (read the level Atmosphere), the surroundings (learn the point Setting), and the like of the literary paintings. Its fundamental types are subjective and goal: a) the objectivedescription is a factual account. It is typically detailed; b) thesubjectivedescription provides best striking main points. It specializes in the mood created in the story and communicated to the reader.

Here we can also be given the description of characters that has some special issues of their own (read the point Characters).

Questions to be asked:

Does the author speak in his own voice or thru the hero? Identify the type of point of view, if it is a primary consumer narration, state if he is the major character (the protagonist) or a witness. If it is the 0.33 consumer narrator, does he input the characters' minds and make remark: does the narrator make remark with out getting into the minds of characters or does he just report the occasions? What is the narrator's motivation for telling the story?

3. What is the narrator's angle to what he is telling us?

4. What is the writer's perspective to the narrator? To the reader?

Is the narrator dependable? Can we consider his judgment? Is the narrator the author's mouthpiece? Is the level of view consistent via the story? If there is any change what is the impact (achieved)? Does the narrator moralize? Does he comment upon …? Does he specific his perspective to …? Is the perspective specific or implicit?

Words to be used:

to offer events from one's point of view - изображать события с точки зрения …

to give events via the eyes of the character (through the imaginative and prescient of the personality)

The story is advised in the first (1/3) person.

This is the first/0.33 user narration.

The writer speaks in his own voice (via the persona).

to be the writer's mouthpiece (an individual that expresses the author's opinion) on – перен. рупор

to be identified with

an aloof, remote, detached, dispassionate, omniscient, un/sympathetic, now not/dependable narrator - сдержанный, суховатый; отдалённый; беспристрастный, равнодушный; бесстрастный; всеведущий; не/сочувствующий; не/надёжный, не/достоверный

to touch upon/upon

to move ethical judgment on ... – выносить/произносить моральное, нравственное суждение

to impose (intervene) one's opinion on the reader(s) – навязывать ч-л. суждение читателю

to sympathize with (the characters) – сочувствовать к-л.

to take aspects with sb – принимать ч-л. сторону

to document/document the events - сообщать/отражать события

to leave it for the reader(s) to pass judgement on

to remain aloof, far off, detached, and many others.

the naked happenings – голые факты, неприкрашенные события

The time and place, the "4) when and 2) where" of the plot, are known as the atmosphere.

The atmosphere created by means of the plot is often very important.

Date: 2015-12-13; view: 2781; Нарушение авторских прав