Narrator

INTRODUCTION This chapter represents the last visit to the cell told by the narrator, although it is not the last visit he makes to Jefferson. The day of the execution is coming nearer and nearer as it is due to take place in a fortnight. So this is the opportunity for us to check the results of Grant’s strategy and to see if he has been successful or not in saving Jefferson and making him” regain his dignity of a man before he dies. ------------------------------------------------- -------------------------------------------------

work · Novel genre · Memoir, bildungsroman, generational (family) chronicle, testament, novel of the Haitian diaspora. language · English time and place written · United States, early 1990s. date of first publication ·1994 publisher · SoHo Press narrator · Sophie Caco point of view · Sophie narrates in the first person, relating her direct experiences and impressions during the years that she is twelve (Section One) and eighteen through twenty (Sections Two to Four). Though she speaks in the past

fragment In Search of Lost Time. Various aspects of the text slip into a comic register, thus questioning a first-degree reading of love. This article proposes a look at these comedic aspects, which concern the vision that the grandfather of the narrator has of Swann; the characters of the Verdurin salon; Swann’s restricted point of view, which steers him into actions worthy of comedy; without forgetting the end of the story with its double ironic reversal. Table des matières La mise en place

Yves Ansel La Peste, des Carnets au roman In: Littérature, N°128, 2002. Biographiques. pp. 46-64. Abstract "The Plague", from "Notebooks" to Novel Camus' difficult choice of Rieux as narrator in "The Plague" has attracted little critical attention; yet Rieux, in the use he makes of his friend Tarrou's notebooks for his chronicle, reveals himself to be an old-fashioned, controlling type of historiographer, one who seeks order at all costs and disapproves of telling banal stories — a type

.................................................................................................... e) Why do you think Dunbar felt like crawling “into the smallest, darkest hole ” at the end of the passage? Does the point of view chosen by the narrator add to this? ............................................................................................................................................................. ..........................................................................

flight in an open-cockpit plane. 3. “He and his pursuit pilot buddies were gods to me, men of steel in planes of wood and cloth.” (l. 13-14) – “The brotherhood of pilots impressed me as much as the thrill of flying itself.” (l. 43-44) 4. The narrator admires his father who is portrayed as a determined man but also a tender father and a cheerful friend. He uses adjectives with a strong meaning like “intense” or “paramount” to convey his admiration. 5. The son was very close to his father –

one has nevertheless some moments of absence, when she estranges herself from Quentin and from the reader by sinking into a sort of interior monologue that is materialized in the italic form, in chapter 5 especially. So even if she has weight as a narrator, her voice seems distant sometimes. 2 – Creative and Destructive figures ⇒ It appeared to us that in AA, women are as much the symbol of life, preservation and regeneration as they are the symbol of death, and destruction. ⇒ The wisteria is a

by step. The passage conveys an impression of… LE NARRATEUR Le narrateur (L’auteur) fait remarquer... insiste sur... souligne... met en évidence met l'accent sur… se concentre sur… prend en compte… met en opposition… avance... dépeint... The narrator (The writer) points out... emphasizes… underlines… highlights stresses... focuses on… takes into account... contrasts... and... puts forward... depicts... -4- Survival kit esquisse le portrait de... affirme que... fait allusion à... fait

parla di focalizzazione interna, che può essere fissa (il punto di vista è sempre dello stesso personaggio), variabile (il personaggio focale non è sempre lo stesso), multipla (come nel caso del romanzo epistolare, in cui lo stesso avvenimento è narrato da più punti di vista). Nel caso poi di un narratore che sa meno del personaggio il racconto viene detto a focalizzazione esterna. LE TEORIE: ALCUNI MODELLI Si è già affrontato sinteticamente il problema delle istituzioni narrative, questione

first flight in an open-cockpit plane. 3. “He and his pursuit pilot buddies were gods to me, men of steel in planes of wood and cloth.” (l. 13-14) – “The brotherhood of pilots impressed me as much as the thrill of flying itself.” (l. 43-44) 4. The narrator admires his father who is portrayed as a determined man but also a tender father and a cheerful friend. He uses adjectives with a strong meaning like “intense” or “paramount” to convey his admiration. 5. The son was very close to his father – they