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The Language of Narrative Writing |
Забавная пачка "5000 дублей". 
Мыло металлическое "Ликвидатор". 
Горшок торфяной для цветов. YEREVA S A E LI GUIS IC U IVERSI Y AF ER V. BRUSOV ERM PAPER I LE: HE LA GUAGE OF HE ARRA IVE WRI I GYEREVA - 2009 Co e sI roduc io Chap er O e. ech iques of arra ive Wri i g 1.1 Selec i g a opic 1.2 Selec i g De ails 1.3 Orga izi g I forma io Chap er wo. Major Fu c io s of arra io 2.1 I formi g by arra i g 2.2 Objec ive arra ives 2.3 A ecdo es a d Illus ra io s 2.4 arra i g a Process 2.5 E er ai i g by arra i g 2.6 he S ory 2.7 he Se i g 2.8 he Plo 2.9 he Sce e 2.10 he Summary Co clusio Bibliography I roduc io he prese paper explores he peculiari ies of arra ive wri i g from he view poi of i s s ruc ure, fu c io s a d ypes. arra io is a ac of elli g a s ory. I is o jus elli g a s ory, bu i is also elli g a s ory of a seque ce of real or fic io al eve s - which seems o be a more a ural ac ivi y for mos people ha , say, givi g direc io s or describi g a sce e. arra io is he ki d of wri i g ha a swers he ques io , “Wha happe ed?” he expressio “ arra ive wri i g&quo ; covers a e ormous erri ory. arra ives vary i le g h from a few se e ces o lo g s ories. Some arra ives are based o ac ual experie ce, some are e irely fic i ious, a d o hers use a mix ure of ru h a d fic io . Some arra ives are mea o amuse, o hers i form or co vey a message o readers. arra ives appear i ma y forms, i cludi g poe ry, “regular” prose s ories, a d drama o he s age, i film, or o elevisio . I shor you are surrou ded by arra ives every day, some of hem i pri , ma y i he elec ro ic media, a d o hers passed alo g orally. Good arra ives ca be spoke jus as well as wri e , bu audie ces expec more polish a d s ruc ure i wri e work. hough arra ives of e make serious poi s, ma y arra ives are mea o amuse. Mos readers e joy ligh hear ed or humorous s ories, eve if he experie ces were o humorous o he people i volved a he ime. Some readers are also e er ai ed by scary s ories, which may be abou arrow escapes a d o her frigh e i g mome s i he wri ers’ lives. he paper co sis s of a i roduc io , wo chap ers, a co clusio a d bibliography. I roduc io reveals he ge eral guideli es of he paper. Chap er o e prese s he major ech iques of arra ive wri i g. Chap er wo co ce ra es o ypes a d fu c io s of arra ive wri i g, sig i g ou i formi g by arra i g a d e er ai i g by arra i g. Co clusio summarizes he resul s a d ou comes we have come o i he course of he research. Chap er O e. ech iques of arra ive Wri i g o o e k ows for how ma y housa ds of year’s people have bee elli g a d lis e i g o arra ives, bu we do k ow ha every cul ure has a s ory elli g radi io ; eve i does o have a wri i g sys em. Well before Homo sapie s lear ed o read a d wri e, hey had evide ly framed much of heir wisdom i s ory form. Fic io has always bee a a ural vehicle for people o commu ica e heir experie ces, fa asies, a d fears. Similarly, childre deligh i s ories lo g before hey are able o read or wri e. Almos as soo as a child has lear ed o alk, she ca e joy o o ly lis e i g o s ories, bu maki g up her ow as well. She may pre e d, for example, ha her s uffed a imal is alive a d wa s a cookie, or she may scold a doll for some imagi ary misbehavior.
hese baby s ories become more elabora e as he child acquires more experie ces o weave i o her fic io , a d she will of e develop her ow versio of a s ory she has heard. We adul s gossip, share jokes, complai abou wha happe ed o us his mor i g, specula e abou he fu ure. A d i elli g eve hese i formal ales, we are likely o pay careful a e io o he seque ce of he eve s we are speaki g abou . Because s ories crea e a order ha life lacks, we a urally draw upo arra ive. o make se se of our lives, we eed o hi k of begi i gs, middles, a d e di gs, a d we use hese fic io s o ry o orga ize he pas , he prese a d he fu ure. (Surmelia 92) hough arra ives of e make serious poi s, ma y arra ives are mea o amuse. Mos readers e joy ligh hear ed or humorous s ories, eve if he experie ces were o humorous o he people i volved a he ime. Some readers are also e er ai ed by scary s ories, which may be abou arrow escapes a d o her frigh e i g mome s i he wri ers’ lives. Such s ories may simply hrill readers, or hey may be he basis for a serious poi . Wri ers some imes rela e embarrassi g mome s, o ecessarily o co vey serious messages, bu o amuse a d o share hose experie ces wi h readers. Whe her arra ives co vey a serious poi or simply e er ai , hey express mai ideas a d back hem up wi h suppor i g i forma io . I o her words, arra ives follow he mai pri ciples of paragraph wri i g: Prese a opic idea (of e i a opic se e ce a he begi i g) Suppor ha opic idea wi h he o her se e ces I arra ive wri i g, you will co i ue o apply hese pri ciples: 1. Selec a d refi e he opic so ha a mai idea is s a ed clearly i he opic se e ce. I arra ives, he mai idea will probably deal wi h co flic or emo io al respo se o co flic . 2. Selec appropria e, vivid suppor i g de ails. I arra ives, he de ails will ell abou ime, place, ac io s, a d people’s mo ives a d reac io s. 3.orga ize he i forma io so ha readers will be able o u ders a d a d follow he s ory. I arra ives, chro ological arra geme is ormal. A y shif s i ime (or place) mus be made clear o he reader. (Karls/Szma ski 110-111). 1.1 Selec i g a opicFor arra ives, as for o her ki ds of wri i g, look for possible opics i your ow life: your backgrou d, experie ces, i eres s, a d firs ha d observa io of o her people. You will wri e bes whe you wri e abou hi gs ha really ma er o you: perso al experie ces, beliefs, worries, impressio s, a d k owledge i specific areas. You may begi wi h ma y possible opics. Brai s ormi g will produce rela ed ideas, or some imes lead you o a eve be er opic. Before wri i g, you mus exami e he possible opics a d suppor i g ideas. he goal is o arrow your focus o specific i s a ce. O e way o arrow a broad opic is o limi he ime a d place o a few mi u es (or maybe a few hours) a d o par icular place. For example, suppose you e joy hu i g, fishi g, a d explori g i parks a d fores s, you also work o a co s ruc io crew. You could ell ma y s ories based o your experie ces, bu for a brief arra ive, you would limi yourself o o e brief ime i o e specific place. Ideally, you would selec a episode ha s a ds ou i your mi d as drama ic or memorable.
I his paragraph, he s ude wri er limi ed himself o o e brief bu drama ic mome : Las Oc ober, I was ou i he woods wi h a work crew, cu i g a surveyi g li e for a gas pipeli e. We go o a cleari g a d decided o ake a break. Seco ds af er I fou d a ree o lea agai s , I heard he crackle of u derbrush breaki g. I ur ed o look a d saw a huge bear raci g righ a me. I remembered ha I was armed wi h o ly a mache e a d a walkie- alkie. I udged a guy ear me. We s ood here helpless wi h our mou hs ope a d our eyes he size of fryi g pa s. he bear kep comi g u il i was abou fif ee fee away. Sudde ly i saw us. I had ever before see a bear wi h a surprised look o i s face. Wi hi a seco d, i lurched back i o he woods. Bu before we could brea he a sigh of relief, a o her big bear came rushi g oward us. Whe i go wi hi abou seve fee a d saw us, i also dashed i o he woods. Our hear s were pou di g. Whe we recovered a li le, we decided ha he ex ime we work i he woods; we should go be er prepared for he u expec ed. (Karls J. / Szma ski R.112-113). 1.2 Selec i g De ailsWhe you have a workable opic i mi d, some de ails will occur o you immedia ely, a d o hers will spri g o mi d as you brai s orm a d wri e your firs draf s. You wa o selec he bes de ails you ca . ha mea s selec i g releva , vivid de ails. A imes, you may hi k of a drama ic mome , full of colorful de ails sure o grab your readers’ a e io a d hold heir i eres . If so, wri i g comes more easily, excep ha you may o have a mai idea u il you hi k abou he s ory la er. A o her imes, you may be wri i g simply o share a i eres i g or amusi g experie ce; your mai idea may be implied. Besides usi g de ails o make he sce e vivid, you mus provide he de ails readers eed i order o u ders a d he si ua io . Whe you wri e you firs draf , you will pu i some appropria e de ails; you may also e d wi h some irreleva o es. As you revise, you mus co sider which de ails really ma er. You wa o i clude de ails ha help suppor your mai idea. he goal i selec i g de ails sou ds qui e simple a d obvious: ell he readers wha hey eed o k ow, o hi g more a d o hi g less. elli g he readers more ha hey eed o k ow slows hem dow . elli g hem less ha hey eed o k ow leave hem puzzli g over he ime, place, or si ua io . By i cludi g e ough de ails, bu o ly appropria e de ails, you will give readers he i forma io hey eed. I his paragraph, a s ude wri er shares a drama ic a d amusi g mome . I am a firefigh er wi h he ci y fire depar me . Las fall, I respo ded o a fire call repor ed by a eighbor as “smoke i he house ex door”. Upo arrival, we do ed our self co ai ed brea hi g appara us a d e ered he house o do a primary search a d rescue. We discovered ha a mea loaf was bur i g i he ove , causi g he ki che a d much of he house o fill wi h smoke. I quickly ex i guished he mea loaf, he focus o searchi g for possible vic ims. I rushed arou d, hopi g I would ’ fi d a yo e home, bu k owi g I had o check everywhere o be sure. Upo e eri g he ba hroom, I came upo a lady soaki g i he ub. She was lis e i g o loud music a d appare ly had ’ heard a hi g.
As a developer, you can use either the C# or VB.NET language to write applications for the Windows Mobile platform. All the functionalities required by your applications can be satisfied by: □ The class libraries in the .NET CF, and/or □ APIs at the OS level via Platform Invoke (P/Invoke), and/or □ Alternative third-party class libraries such as the OpenNetCF's Smart Device Extension (SDE) You can determine the versions of the .NET Compact Framework currently installed on your Windows Mobile device by going to Start→File Explorer and launching the cgacutil.exe utility located in \Windows. Figure 18-4 shows the version of the .NET CF installed on a Windows Mobile emulator (more on this later). Figure 18-4 Windows Mobile 5.0 devices comes with the .NET CF 1.0 preinstalled in ROM, whereas the newer Windows Mobile 6 devices come with the .NET CF 2.0 preinstalled in ROM. If your application uses the newer .NET CF v3.5, you will need to install it onto the device before applications based on it can execute
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