There are other parts of stories that children should learn to identify, such as: characters, settings, themes, a problem or conflict, a sequence of events and a resolution(comprehension instruction). I am sure if you think of all the fairy tales you know you can identify each of these parts. The important thing about this is you can learn to predict what could happen as you learn the structure.
Narrative prose or storytelling involves both reading and writing, but it is often forgotten that neither of these are necessary for storytelling. Since ancient times, pictures and oral renditions of stories have been used to tell stories. (Wikipedia Storytelling)
Vitz (1990) claims that narratives are a function in a person’s moral development. Vitz goes on to back this claim with the thoughts of several other psychologists. Some moral issues than can be addressed through narrative include empathy, caring and commitment, and personal character. Vitz (1990) feels moral education effects aspects in education and the society at large.
Bruner according to Vitz (1990), feels narrative thinking comes from actual and interrelated situations that show the validity of their moral thinking. Narratives tell about, the actions, intentions, outcomes, and personal experiences of people. Sarbin, a social psychologist, feels narratives explains the reasons behind human behavior (Vitz, 1990) Sarbin, according to Vitz (1990), believes our moral choices are developed by our internal self-narratives. Cole, according to Vitz (1990), think children understand their moral behavior through a narrative context and their moral behavior is deeply affected by narrative experience.
Vitz (1990) concludes narratives should be used to model the principles and general actions of moralities. Vitz (1990) acknowledge there will always be different views on what morality, but tolerating other views may eventually allow psychology to reach the ultimate form of moral knowledge: wisdom.
I.How To Read Narrative Prose ?
When you read a Narrative Prose ,you should observe three important rules :
- Read the passage carefully so that you really understand it without worrying over the meaning of a few difficult words.
- While reading the passage,pay close attention to the sequence of events described or to the stages which lead up to the main event
- See if the writer gives reasons why the event or events described occured
II.Finding The Meaning
When You have Read a Narrative-prose passage carefully,you should be in a position to write down what you think it means.As in poetry,you should give a general meaning,a detailed meaning,and be able to define the intentions of the writer.
1.General Meaning.This should be based on a reading of the whole passage.You should outline the main event described in a single sentence
2.Detailed Meaning,You should not write a precis of the passage.On the other hand, you account must be accurate and you must not omit essential information.The best way to tackle the detailed meaning is to divide the passage up into what you consider to be its main stages,and then to give a brief account of each stage in a single paragraph.What you have in effect to do is to recount the essential parts of the story in your own words
2.Detailed Meaning,You should not write a precis of the passage.On the other hand, you account must be accurate and you must not omit essential information.The best way to tackle the detailed meaning is to divide the passage up into what you consider to be its main stages,and then to give a brief account of each stage in a single paragraph.What you have in effect to do is to recount the essential parts of the story in your own words
3.Intention,A great deal of narrative often does much more than just "tell a story".Sometimes there is a deeper meaning behind the story
III.Kind Of narrative Prose :
Fairy Tale, is a type of short narrative that typically features such folkloric characters, such as fairies, goblins, elves, trolls, dwarves, giants or gnomes, and usually magic or enchantments. However, only a small number of the stories thus designated explicitly refer to fairies. The stories may nonetheless be distinguished from other folk narratives such as legends (which generally involve belief in the veracity of the events described) and explicitly moral tales, including beast fables.examples:Snow white and seven dwarfs,the light princess,The Golden Keys,Beauty and the Beast etc
Fable is a succinct story, in prose or verse, that features animals, mythical creatures, plants, inanimate objects, or forces of nature which are anthropomorphized (given human qualities), and that illustrates a moral lesson (a "moral"), which may at the end be expressed explicitly in a pithy maxim.A fable differs from a parable in that the latter excludes animals, plants, inanimate objects, and forces of nature as actors that assume speech and other powers of humankind.Usage has not always been so clearly distinguished. In the King James Version of the New Testament, "μύθος" ("mythos") was rendered by the translators as "fable" in First and Second Timothy, in Titus and in First Peter.examples : George Orwell Animal Farm,The Ant and the Cicade,The Deer and The Crocs,etc
A Short Story is a work of fiction that is usually written in prose, often in narrative format. This format tends to be more pointed than longer works of fiction, such as novellas (in the 20th and 21st century sense) and novels. Short story definitions based upon length differ somewhat even among professional writers, somewhat in part because of the fragmentation of the medium into genres. Since the short story format includes a wide range of genres and styles, the actual length is determined by the individual author's preference (or the story's actual needs in terms of creative trajectory or story arc) and the submission guidelines relevant to the story's actual market. Guidelines vary greatly among publishers.
Short stories have their face in oral story-telling traditions and the prose anecdote, a swiftly sketched situation that quickly comes to its point. With the rise of the comparatively realistic novel, the short story evolved as a miniature version, with some of its first perfectly independent examples in the tales of E.T.A. Hoffmann. Other 19th-century writers well known for their short stories include Nikolai Gogol, Guy de Maupassant, and Bolesław Prus. Some authors are known almost entirely for their short stories, either by choice (they wrote nothing else) or by critical regard (short-story writing is thought of as a challenging art). An example is Jorge Luis Borges, who won American fame with "The Garden of Forking Paths", published in the August 1948 Ellery Queen's Mystery Magazine. Another example is O. Henry (author of "Gift of the Magi"), for whom the O. Henry Award is named. American examples include Flannery O'Connor, John Cheever, and Raymond Carver.
Authors such as Charles Dickens, Kurt Vonnegut, Jr., Nathaniel Hawthorne, Virginia Woolf, Bolesław Prus, Rudyard Kipling, William Faulkner, F. Scott Fitzgerald, James Joyce, P.G. Wodehouse, H.P. Lovecraft and Ernest Hemingway were highly accomplished writers of both short stories and novels.
Short stories have their face in oral story-telling traditions and the prose anecdote, a swiftly sketched situation that quickly comes to its point. With the rise of the comparatively realistic novel, the short story evolved as a miniature version, with some of its first perfectly independent examples in the tales of E.T.A. Hoffmann. Other 19th-century writers well known for their short stories include Nikolai Gogol, Guy de Maupassant, and Bolesław Prus. Some authors are known almost entirely for their short stories, either by choice (they wrote nothing else) or by critical regard (short-story writing is thought of as a challenging art). An example is Jorge Luis Borges, who won American fame with "The Garden of Forking Paths", published in the August 1948 Ellery Queen's Mystery Magazine. Another example is O. Henry (author of "Gift of the Magi"), for whom the O. Henry Award is named. American examples include Flannery O'Connor, John Cheever, and Raymond Carver.
Authors such as Charles Dickens, Kurt Vonnegut, Jr., Nathaniel Hawthorne, Virginia Woolf, Bolesław Prus, Rudyard Kipling, William Faulkner, F. Scott Fitzgerald, James Joyce, P.G. Wodehouse, H.P. Lovecraft and Ernest Hemingway were highly accomplished writers of both short stories and novels.
Fantasy is a genre of fiction that uses magic and other supernatural phenomena as a primary element of plot, theme, or setting. Many works within the genre take place in fictional worlds where magic is common. Fantasy is generally distinguished from science fiction and horror by the expectation that it steers clear of (pseudo-)scientific and macabre themes, respectively, though there is a great deal of overlap between the three (which are subgenres of speculative fiction).
In popular culture, the genre of fantasy is dominated by its medievalist form, especially since the worldwide success of The Lord of the Rings books by J. R. R. Tolkien. In its broadest sense however, fantasy comprises works by many writers, artists, filmmakers, and musicians, from ancient myths and legends to many recent works embraced by a wide audience today.
In popular culture, the genre of fantasy is dominated by its medievalist form, especially since the worldwide success of The Lord of the Rings books by J. R. R. Tolkien. In its broadest sense however, fantasy comprises works by many writers, artists, filmmakers, and musicians, from ancient myths and legends to many recent works embraced by a wide audience today.
Fantasy is a vibrant area of academic study in a number of disciplines (English, cultural studies, comparative literature, history, medieval studies). Work in this area ranges widely, from the structuralist theory of Tzvetan Todorov, which emphasizes the fantastic as a liminal space, to work on the connections (political, historical, literary) between medievalism and popular culture.
Mystery fiction is a loosely-defined term that is often used as a synonym for detective fiction or crime fiction— in other words a Italic textnovel or short story in which a detective (either professional or amateur) investigates and solves a crime. Sometimes mystery books are nonfiction. The term "mystery fiction" may sometimes be limited to the subset of detective stories in which the emphasis is on the puzzle element and its logical solution (cf. whodunit), as a contrast to hardboiled detective stories, which focus on action and gritty realism. However, in more general usage "mystery" may be used to describe any form of crime scene fiction, even if there is no mystery to be solved.
Although normally associated with the crime genre, the term "mystery fiction" may in certain situations refer to a completely different genre, where the focus is on supernatural mystery (even if no crime is involved). This usage was common in the pulp magazines of the 1930s and 1940s, where titles such as Dime Mystery, Thrilling Mystery and Spicy Mystery offered what at the time were described as "weird menace" stories – supernatural horror in the vein of Grand Guignol. This contrasted with parallel titles of the same names which contained conventional hardboiled crime fiction. The first use of "mystery" in this sense was by Dime Mystery, which started out as an ordinary crime fiction magazine but switched to "weird menace" during the latter part of 1933.
Although normally associated with the crime genre, the term "mystery fiction" may in certain situations refer to a completely different genre, where the focus is on supernatural mystery (even if no crime is involved). This usage was common in the pulp magazines of the 1930s and 1940s, where titles such as Dime Mystery, Thrilling Mystery and Spicy Mystery offered what at the time were described as "weird menace" stories – supernatural horror in the vein of Grand Guignol. This contrasted with parallel titles of the same names which contained conventional hardboiled crime fiction. The first use of "mystery" in this sense was by Dime Mystery, which started out as an ordinary crime fiction magazine but switched to "weird menace" during the latter part of 1933.
A legend (Latin, legenda, "things to be read") is a narrative of human actions that are perceived both by teller and listeners to take place within human history and to possess certain qualities that give the tale verisimilitude. Legend, for its active and passive participants includes no happenings that are outside the realm of "possibility", defined by a highly flexible set of parameters, which may include miracles that are perceived as actually having happened, within the specific tradition of indoctrination where the legend arises, and within which it may be transformed over time, in order to keep it fresh and vital, and realistic.
The word "legend" appeared in the English language circa 1340, transmitted from mediaeval Latin language through French. Its blurred extended (and essentially Protestant) sense of a non-historical narrative or myth was first recorded in 1613. By emphasizing the unrealistic character of "legends" of the saints, English-speaking Protestants were able to introduce a note of contrast to the "real" saints and martyrs of the Reformation, whose authentic narratives, they were sure, could be found in Foxe's Book of Martyrs. Thus "legend" gained its modern connotations of "undocumented" and "spurious". Before the invention of the printing press, stories were passed on via oral tradition. Storytellers learned their stock in trade: their stories, typically received from an older storyteller, who might, though more likely not, have claimed to have actually known a witness, rendered the narrative as "history". Legend is distinguished from the genre of chronicle by the fact that legends apply structures that reveal a moral definition to events, providing meaning that lifts them above the repetitions and constraints of average human lives and giving them a universality that makes them worth repeating through many generations. In German-speaking and northern European countries, "legend", which involves Christian origins, is distinguished from "Saga", being from any other (usually, but not necessarily older) origin.
The word "legend" appeared in the English language circa 1340, transmitted from mediaeval Latin language through French. Its blurred extended (and essentially Protestant) sense of a non-historical narrative or myth was first recorded in 1613. By emphasizing the unrealistic character of "legends" of the saints, English-speaking Protestants were able to introduce a note of contrast to the "real" saints and martyrs of the Reformation, whose authentic narratives, they were sure, could be found in Foxe's Book of Martyrs. Thus "legend" gained its modern connotations of "undocumented" and "spurious". Before the invention of the printing press, stories were passed on via oral tradition. Storytellers learned their stock in trade: their stories, typically received from an older storyteller, who might, though more likely not, have claimed to have actually known a witness, rendered the narrative as "history". Legend is distinguished from the genre of chronicle by the fact that legends apply structures that reveal a moral definition to events, providing meaning that lifts them above the repetitions and constraints of average human lives and giving them a universality that makes them worth repeating through many generations. In German-speaking and northern European countries, "legend", which involves Christian origins, is distinguished from "Saga", being from any other (usually, but not necessarily older) origin.
Science fiction is a genre of fiction dealing with the impact of imagined innovations in science or technology, often in a futuristic setting. Exploring the consequences of such innovations is the traditional purpose of science fiction, making it a "literature of ideas".Science fiction is largely based on writing rationally about alternative possibilities. It is similar to, but differs from fantasy in that, within the context of the story, its imaginary elements are largely possible within scientifically established or scientifically postulated laws of nature (though some elements in a story might still be pure imaginative speculation).
The settings for science fiction are often contrary to known reality but the majority of science fiction relies on a considerable degree of suspension of disbelief, which is facilitated in the reader's mind by potential scientific explanations or solutions to various fictional elements. These may include:
The settings for science fiction are often contrary to known reality but the majority of science fiction relies on a considerable degree of suspension of disbelief, which is facilitated in the reader's mind by potential scientific explanations or solutions to various fictional elements. These may include:
- A setting in the future, in alternative timelines, or in an historical past that contradicts known facts of history or the archaeological record
- A setting in outer space, on other worlds, or involving aliens
- Stories that involve technology or scientific principles that contradict known laws of natures
- Stories that involve discovery or application of new scientific principles, such as time travel or psionics, or new technology, such as nanotechnology, faster-than-light travel or robots, or of new and different political or social systems (e.g., a dystopia, or a situation where organized society has collapsed)
A biography is a detailed description or account of someone's life. A biography is more than a list of impersonal facts (education, work, relationships, and death), it also portrays the subject's experience of those events. Unlike a profile or curriculum vitae (résumé), a biography presents the subject's story, highlighting various aspects of his or her life, including intimate details of experiences, and may include an analysis of the subject's personality.An autobiography is written by the subject himself.
A work is biographical if it covers all of a person's life. As such, biographical works are usually non-fiction, but fiction can also be used to portray a person's life. One in-depth form of biographical coverage is called legacy writing. Together, all biographical works form the genre known as biography, in literature, film, and other forms of media.The Early Middle Ages (AD 400 to 1450) saw a decline in awareness of classical culture in Europe. During this time, the only repositories of knowledge and records of early history in Europe was the Roman Catholic Church. Hermits, monks and priests used this historic period to write the first modern biographies. Their subjects were usually restricted to church fathers, martyrs, popes and saints. Their works were meant to be inspirational to people, vehicles for conversion to Christianity. See hagiography. One significant example of biography from this period which does not exactly fit into that mold is the life of Charlemagne as written by his courtier Einhard.
A work is biographical if it covers all of a person's life. As such, biographical works are usually non-fiction, but fiction can also be used to portray a person's life. One in-depth form of biographical coverage is called legacy writing. Together, all biographical works form the genre known as biography, in literature, film, and other forms of media.The Early Middle Ages (AD 400 to 1450) saw a decline in awareness of classical culture in Europe. During this time, the only repositories of knowledge and records of early history in Europe was the Roman Catholic Church. Hermits, monks and priests used this historic period to write the first modern biographies. Their subjects were usually restricted to church fathers, martyrs, popes and saints. Their works were meant to be inspirational to people, vehicles for conversion to Christianity. See hagiography. One significant example of biography from this period which does not exactly fit into that mold is the life of Charlemagne as written by his courtier Einhard.
An autobiography (from the Greek, αὐτός-autos self + βίος-bios life + γράφειν-graphein to write) is a book about the life of a person, written by that person.The word autobiography was first used deprecatingly by William Taylor in 1797 in the English periodical the Monthly Review, when he suggested the word as a hybrid but condemned it as 'pedantic'; but its next recorded use was in its present sense by Robert Southey in 1809.[1] The form of autobiography however goes back to antiquity. Biographers generally rely on a wide variety of documents and viewpoints; an autobiography, however, may be based entirely on the writer's memory. Closely associated with autobiography (and sometimes difficult to precisely distinguish from it) is the form of memoir.
IV.Structural Devices
- Unity.When considering Unity,you should show how a piece of Narrative prose has been put together,but you must take very great care not to repeat yor account of detailed meaning.You should observe how everything that happens in the story contributes to the main event,pointing out anything you consider to be irrelevant.
- Contrast,the placing of opposite pictures side by side is very often used to balance a Narrative and keep the reader simultaneously interested in two way things at once.Two situation run parralel until they finally meet;the point at which they meet is often a climax in the story
- Descriptions.Its virtually impossible to have without description for its by this means that an author sets his scenes and gives his reader his reader a sense of time and place.At the same tim,in good narrative there is never description for its own sake.It always adds something to the story and directly or indirectly influences the course of events
- Dialogue A writer helps his characters to come alive not only describing thew way they act but by letting us hear them speak effective dialogue enables the reader to feel that he is actually witnessing what is going on
V.Sense Devices
Style:When we speak a Writer's style,we mean the way he handles all devices generally.Style is quality that makes one piece of wriiting different from another and is thus one of the most important characteristics of prose.A writer must take very great care to adapt his style of writing to his subject-matter
Use Of words,Metaphor,Simile.The way an Author handles words not only giveshis style of writing a definite quality but adds colour to his narrative and enables the reader to imagine more readily what is happening
-----------------------------------------------------------------------------------------------------------Use Of words,Metaphor,Simile.The way an Author handles words not only giveshis style of writing a definite quality but adds colour to his narrative and enables the reader to imagine more readily what is happening
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