Difference between revisions of "Talk:2008-09 BM1 Assignment 3: Fiction"

Revision as of 11:45, 22 January 2009

• How am I supposed to quote? There are no numbers for lines given. Am I allowed to give them numbers or do I have to write down the passage to that I refer? It would be a huge problem, when I have to wrote down the sentences, because 3 pages offer not that much space. Regards, Sören

Just give first and last words of passages you want to refer to, and [...] in between. Or quote entire passages if they are shorter than a sentence. You will not need to set footnotes on these quotes - we assume you quote the same text (Penguin edition etc.) as stated in our question. --Olaf Simons 16:00, 16 January 2009 (UTC)

• I have a question regarding exercise 1 and 2. Should we also include other passages than the given one? Shall we characterize Marlow and the aunt really only based on what we know from the passage? According to number 3. Shall we only analyze the narration and focalization in this passage or also describe possible changes throughout the whole story, apart from the passage?

Questions 1-3 (4) aim at your ability to analyze a short passage based on 'close reading'. They provide a basis for question 5, where your knowledge of the entire text is needed. Thus, as regards your question, stick to the passage first and foremost. Then, and only if your findings require this (and you do not exceed the three pages), may you reflect on how they substantiate/contrast your knowledge of the text. Best, Anna Auguscik 09:23, 19 January 2009 (UTC)

• Is the fifth question restricted to one particular passage or can we refer to several examples? For instance, in case of "the darkness", there are lots of pages with good examples. Do we have to decide on one? I'm just wondering because I have in mind that we need to consider the whole story...

Try to stick to the instructions as far as possible in order to avoid superficial answers. However, it is always a good idea to keep the whole novel in mind and let your reader know about it (if the reflections on the entire texts shed light on your findings). Best, Anna Auguscik 09:35, 19 January 2009 (UTC)

• Working on the assignment I got somehow "stuck" with the 4th question concerning the critical distance. Is it referring to the reader's critical distance towards the narrator or does the question refer to Marlow's critical distance from the Company, his aunt etc.? I'm somehow not quite sure about that.

The analysis of "critical distance" refers to a wide spectrum of possibilities which is comparable to the spectrum of characterization and narration/focalization. Best, Anna Auguscik 13:33, 19 January 2009 (UTC)

• If a story is written in the simple past, would that automatically mean that the narrator is external? When we have a story containing two levels of narration how can we distinguish between a story composed of an extra-diagesis + diagesis and a story composed of a diagesis and a hypo-diagesis. I don't understand how to distinguish between these?

It seems worthwhile to visit the library and browse through Rimmon-Kenan's Narrative Fiction: Contemporary Poetics (Handapparat BM 1/Kirchhofer). The chapter on "Narration: Levels and Voices" explains the diegetic level as "the events themselves" and the extradiegetic level as "immediately superior to the first narrative and concerned with its narration". Additionally, Rimmon-Kenan offers examples which may be of interest. The topic of tenses is to be found - among other passages - in the sub-chapter on "Temporal Relations". Best, Anna Auguscik 09:42, 22 January 2009 (UTC)

• Is the quotation "I found her triumphant" a case of direct definition or indirect presentation? It directly names a trait of the aunt, but it is a transient trait -- if Marlow were to visit her two hours later, he might find her tired and irritable.

Same advice here: visit the library and browse through Rimmon-Kenan's Narrative Fiction: Contemporary Poetics (Handapparat BM 1/Kirchhofer). Chapter 5 on "Text: Characterization" offers insight into the differences between indirect presentation and direct definition, as well as a wide range of further examples. If the passage remains problematic, discuss. Best, Anna Auguscik 09:42, 22 January 2009 (UTC)

If I understand Rimmon-Kenan correctly, direct definition is "by definition" explicit and supratemporal, describing a quality not so susceptible to the passage of time...

Good point. But how supra-temporal is a description of, say, beauty? And if so, would the contested example (the triumphant aunt) be indirect presentation by actions (commission / omission / contemplated action), characteristics of speech, external appearance, environment?