Point of View and Setting

 1. Identify the top of aim in all three stories assigned this week and interpret why you reflect the cause chose that pov. Be biased. 2. Counterpart these "Reading and Reacting" questions: # 1, 5, 9, subjoined Chopin's "The Storm" on p. 204. 2. Do you cogitate "Greasy Lake" an initiation, loss-of-innocence incident? Do any of the kinds veer? Explain. (Unsupported responses not accepted.) 4. Appear repeatedly at Faulkner's "A Rose for Emily," and counterpart these questions: Who divulges the incident in "A Rose for Emily?" How would you mark the attendant--an after a whileout observer or an expressive kind(s) in the incident? We procure examine top of aim and contrast this week and procure peruse these three incomprehensive stories: "New York Day Women" (273) by Edwidge Dandicat "The Storm" by Kate Chopin (199) and "Greasy Lake" by T. C. Boyle (425) So far we feel peruse, discussed, and interpreted various incomprehensive stories after a whileout using very-much technical diction. Such diction is not constantly compulsory to furnish sense in a incident; notwithstanding, using scholarly conditions frequently helps to unveil deeper layers of sense, to cogitate the cause's eager, and to examine the cause's wiliness. POINT OF VIEW This week we procure appear at top of aim (pov). Top of aim refers to the attendant of the incident, who is powerful the incident whether a kind in the incident or an after a whileout observer. In primeval special top of aim, the attendant, who may be a main or unweighty kind, uses I or we to divulge the incident. The attendant may be poor (his or her aim peculiar) or all-knowing (all of the kinds' experiences). In third special top of aim an after a whileoutr who may but does not have-a-share in the resuscitation divulges the incident using he, she, it, or they. Incident divulgeers pick-out from various types of third-special top of aim, as listed under. Participant and non-participant tops of aim, parallel after a while sinless eye, inopposed all-knowing, editorial omniscience, broad omniscience, stream-of-consciousness and external top of aim, all of which are defined on these pages, are conditions to grace affable after a while. 1. Peruse pp. 226-236 in your tome for an exposition of the opposed tops of aim myth writers claim to recite their stories. participant non-participant sinless eye inopposed all-knowing editorial omniscience broad omniscience stream-of-consciousness external top of aim Read "New York Day Women" (273) by Edwidge Dandicat to convergence on pov. SETTING First, peruse pp. 195 to 199 about contrast--historical, geographical, and natural. We procure appear air-tight at how the contrast plays an expressive role in these two stories: "The Storm" by Kate Chopin (199) "Greasy Lake" by T. C. Boyle (425)