NARRATIVE LEVELS by Mahir BARUT

Narrative capability is one of the most distinguished gift given to human beings which dwell on each individual in various levels of experience and types of discourses.  Theorists put forward a large number of narratives to discuss. What makes the narrative perception so profound issue stems from it having a pivotal role in shaping our world.  I will try to explain the implications of “the narrative jamming” upon the narrator and the reader which distorts the verisimilitude of the accounts of the narrator and writer running parallel.  This premise will be underpinned by a narrative analysis of Ian McEwan’s “Atonement”.

Jean-Paul Sartre, in his famous work “Existentialism is a Humanism” asserts that “Man makes himself” by underlining the morality that is chosen by mankind. I will adopt this view to “narrator makes his writer”  He also claims that “ you are what you live”  I will also call it “you are what you write”. In this regard, although these statements seem inextricably interwoven, sometimes you are not able to be what you write. But in which cases does this happen? Is this a direct consequence of the narrative jamming we experience every day consciously or unconsciously? Roland Barthes explains this natural affinity as follows;

“Narratıve starts wıth the very hıstory of mankınd; there ıs not, there has never been anywhere, any people wıthout narrative; all classes, all human groups, have theır storıes and very often those storıes are enjoyed by men of dıfferent and even opposıte cultural backgrounds: narratıve remaıns largely unconcerned wıth good or bad lıterature. lıke lıfe ıtself, ıt ıs there, ınternatıonal, transhıstorıcal, transcultural.”

This quotation inspired many researchers on their works as a starting point to the depths of the narrative discourse however, I will be hesitant and barely inclined to agree that it is “like life itself” as long as and only if mankind themselves narrates this premise. The reason that causes me to have serious reservations about this point is the same as the notion that led me to recognize the dual role of the narrative within the entire span of the history of mankind. The narrative is the key player in our life with its dual role as a means of communication with the present and as a device of imitation of the past which also paves the way for the prediction and creates the power of determining or constructing the future. All these come to happen through the triangular interaction which is composed of the narration, the narrator, and the reader. Thus, as the quotation suggests above, narrative can not be confined to a group of writers or some leading intellectuals of a certain elite. It encompasses the whole of society and spans nearly a complete life from the onset of childhood to adulthood for each individual. Some believe even the period of infancy can be conceived within this process.

Let’s have a look at the incident In Ian McEwan’s Atonement, in which Briony Tallis’s pretense of being drowned takes place in the river is corroborative evidence to this notion. This example directly brings us to the focal point of the ongoing dispute on the reliability of the narrator by extension usually the author himself. Many questions arise at the very heart of this argument. To what extent can the narratives be versions of reality?  Whose voice is it we hear of? Does the narrator narrate everything? Can the Subjective identity be reconstructed? what is the role of the narratee amid these debates? All these arguments stem from the uncertainty of the posture that the narrator adopted towards the narrated and the narratee at the exact time of narrating.  Here, the narrative time interferes with the core of the problem as another indelible component. In order to grasp the argument let’s remember Briony Tallis as an author who just reached the age of 77 in 1999 and finished her last novel, its origin derived from her childhood and its earliest version from January 1940.  As it is clearly seen, It nearly spans a complete life. But the point is the resulting implication being that “ it will also inevitably span the whole narrative time” from the very beginning of the narration to the final sentence which will mark the end of the narration. However, we do not know precisely how long it took for Ian Mcewan to finish his novel, but by his novel Atonement, he is projecting the very epitome of this process. This instance is mapping the whole history of the narrative but in a way in which many questions arise from the time gaps between the different acts of narrating all along the different acts of writing time.  Is it plausible for the narrator to remain the same person while the author is still getting older?  How can an author adapt himself to the continuum mechanics in the diegesis³ of the narrator?   If the narrator is not the one who writes and the writer is not the one who narrates according to the structuralists whose narration is it we read? These are absolutely absorbing questions as relatively much as controversial. These arguments scattered over the subsequent chapters with their relevant subpoints will be debated in direct references to Atonement.

Roland Barthes claims that the conceptions that seem to have been formulated so far which determine the point of view are inadequate to the question “Who is the giver of the narrative?”  He points out that the bulk of the problem is embedded in the codes in which the narrator’s and the reader’s presence can be detected within the narrative itself in “two different systems: personal and impersonal.  He adds that although this approach may come in handy its efficacy is limited. He underlines the insufficiency of the linguistic marks hence it may be sometimes a faking practice and can mislead us in a text written in the third person, in fact, which is in the first person.

He is totally right in his stance because, on many occasions, eliminating the presence of the person who is speaking apparently remains controversial in itself especially in paratextual narrations as it was in the case of Atonement. This fact will lead us to seek the answers not along the tortuous fields of narratology but absorbing. On Atonement. Ian McEwan in his work truly provides for such an attempt at an extensive field of study in narration hence it has this built-in paratextual structure.

CHAPTER  ONE

 THE LEGACY OF THE COMPLICATIONS OF NARRATİVE  THEORY

 1.1.NARRATIVE CONFIGURATION

“Long ago when anımals and human beıngs were the same, there were four brothers who went about doıng good. Comıng to the Squamısh Indıans one tiıe, they were persuaded by the chıef to stay a whıle ın hıs vıllage. Knowıng the wonder-workıng powers of the brothers, the chıef saıd to them, “Won’t you brıng the salmon people to our shores? We are often short of food. We know that salmon ıs good, but they never come to our waters.”….”

There are various forms of narrative in the history of mankind. The quotation above from an American Indian legend is a testament to the ubiquity of the narrative to how it came to be known long before the theories of the narrative were brought by Russian formalists and French structuralists such as Vladimir Propp (1968), Claude Levi-Strauss (1977), Roland Barthes (1977), Gerard Genette (1985) and post-structuralists such as Umberto Eco(1979) and Jean Francois Lyotard (1979).

Due largely to the extensive and influential fields of narrative in daily life, it is hard to make a definition in concrete terms for narrative. Furthermore, we need much of its definition for a deep understanding. Narration is a part of the world we all personally understand and each of us virtually rebuilds in response to what we perceive, remember, and predict. In other words, narration is a version of reality. Tales, novels, films, essays, cartoons, and stories all are written at a specific narrative level by a narrator according to different purposes.  Narrative is also a human tendency and desire. This intrinsic attempt may be rooted in the curiosity of man for the unknown. Curiosity and cognitive endeavor are promoted by the linguistic intuition of each language and cultural legacies. Narratives can also be classified beyond the written and oral narratives known popularly but the core of the narrative remains unchanged whatever we integrate or subtract from the narrative we have certain principles for constructing a narrative applicable to its all forms. We can see narrative in visual gestures, and physical activities and we can read it in talks as a part of daily causal conversations, ceremonies, movies, and even in the classroom. Another form of narrative activity can be read in musical arts such as jazz, piano, classical music, folksongs, rock and roll ..etc. Pictorial arts can also be read as a form of narrative such as family photographs, diagrams, models, drawings, and oil paintings. They can be surprisingly quite effective and convenient in conveying the  mystic, complicated, and historical tales as a primitive form of narrative such as the cave painting given below;

This cave painting survived from prehistoric times 15.000 years ago tells us the dancing women, hunting men, disguised members of the commune, a large variety of animals, suns, stars, instruments of labor, and plants.

We have an occasional celebration whose characters participate in it, furthermore, we have a painter who narrates the past according to a specific point of view. Let’s remember our Squamish legend. We have had again characters and a particular event.

The narrative similarity between the Squamish legend and the Magura cave painting is that both are purposely functional and designed for the medium of past experiences. But however, when we took an insight into both and looked into them closer, some structural differences came into view. For example;  The Squamish legend tells us the plot in temporal time sequences whereas the Cave painting indicates a stable moment captured from a particular occasion. The narrator of the Squamish legend is omniscient third person and the author of the legend is unknown as long as we do not recognize the storyteller as a transitory author. As to the Cave painting, the narrator is the painter.

The reason why I chose these two instances of narrative before Ian Mcewan’s Atonement is to help clarify the problems and complications of the popular approaches which are well recognized by the overwhelming majority of literary critics. These approaches center on the premises in which the author and narrator diverge from each other on a narrative level by being labeled as someone who writes the story and the other who reads the story to the reader. This view  especially became popular and reinforced by the proclamation Roland Barthes made in his essay “The Death of The Author” as follows

“ No doubt It has always been that way. As soon as a fact Is narrated no longer wIth a vIew to actIng dIrectly on realIty but IntransItIvely, that Is to say, fInally outsIde of any functIon other than that of the very practIce of the symbol Itself, thIs dIsconnectIon occurs, the voIce loses Its orIgIn, the author enters Into hIs own death, wrItIng begIns”

Roland Barthes apparently made an assertion but was and is still being regarded as a proclamation rather than a simple assertion from the immediate publication of his essay onwards. Since then, the relationship between the author and narrator has been underestimated or hasn’t been studied enough by scholars. Now let’s return to the cave painting and imagine how it is constructed by its painter until the final composition and become a painter simultaneously of our own canvas. first, we draw a layout then draw an open moor and proceed with animals. We decided to make some supplementary changes and add a gloomy sky and stars. Hunters and dancing women come next and go on this way. If we figure out this process in our own accord, each of us will experience different phases of stagnation. These stagnations, willingly or compulsory, will determine what the paintbrush will cover next on our canvas. In other terms, We will have to make a nexus of the objects and feelings according to what we read in the current composition on hand. We will look at the incomplete work, we will make a choice between the possible options and we will have to provide a coherence between the thoughts we have and the course of the events what the work indicated. Most importantly in the end we will have been affected by this incomplete work by making a compromise between the world we built and the world on which we work.  This seemingly means that we will have to become the narratee “reader” from the first brush applied to the end. This is the first intervention that occurs in the act of narrating and I am suggesting this momentous intervention is not being made directly by the narrator or the writer itself but being made at a higher level than the narrating and writing levels because it encompasses two points of views which are of the reader and author. We become the first reader of our work with each intervention and each time the course of the events changes from the angle of the reader-author. In this regard, neither the narrator nor the writer is the writer or the narrator in classical terms of what we recognize as the writer or the narrator until the completion of the work.  This resulted in a tussle between the narrator and the writer throughout the work as follows in Ian McEwan’s Atonement.

“ But now I can no longer thInk what purpose would be served If, say, I trIed to persuade my reader, by dIrect or IndIrect means, that RobbIe Turner dIed of septIcernIa at Bray dunes on 1 June 1940, or that CecIlIa was kIlled In September of the same year by the bomb that destroyed Balham Underground stattIon”  ( page 350 ) In thIs quatation, the questIon I wIll tackle Is that “

We see in this paragraph the narrator reveals himself but more significantly by including the reader in it as a justification for her stance as a writer. At the moment she confides her anxiety and concern she also reveals a higher level than the narrator and writer by implying how she becomes entangled with such a sense of indecisive steps on her tortuous path. These moments can be usually seen at each beginning and each end of the work which are the moments where the intensity of the involvement is most distinguished and eloquent because of the fresh attempts and need to change the mood of the distance and focalization of the narrator by the author.  Our fragment was from the end of Atonement when the narrator introduces himself surprisingly as a writer of the work to the reader with some sheer resentment to the reader and the publishers as if she is trying to shirk her responsibilities or forget her lifetime failure on belated work. She directly tends to join the reader not to the main plot of the story but in an implied manner connects the reader to the process of writing by revealing the roles and influences of the reader on herself throughout the novel and her own life. Now this time let’s look at the following fragment from the beginning of Atonement;

“In a story, you only had to wIsh, you only had wrIte It down and you could have the world; In a play you had to make do WITH what was avaIlable: no horses, no vIllage streets, no seasIde. No curtaIn. It seemed so obvIous now that IT was late: a story was form a telepathy. By means of InkIng symbols onto a page, she was able to send thoughts and feelIngs from her mInd to her reader’s”

As it seems, our focalizer or narrator freakily changes the distance, and the focalization shifts to a different level. Our hetero-diegetic 3rd person omniscient narrator suddenly turns into 1st person narrator but again omnisciently. The narrator directly addresses the reader and the reader finds himself as a direct addressee by a delicate sense of rhetorical substitution of the pronoun “you” which indicates both the reader and narrator.

It refers to an unreal condition and the balance of the time distance is being distorted but this can not be explained by the foculization because the foculization occurs within the diegesis of the characters, not the reader and narrator although the distance can be changed within the diegesis of the narrator as it becomes in the final coda of Briony added at the end of Atonement.

         “If you only had written It down you could have the world”  It becomes;

         “If we only  wrIte It down we can have the world”

Now a zero condition comes up with the pragmatic signals- the narrator addresses an addressee using the second person pronoun “you” We are forced to draw an inference having face-to-face with the narrator in a strange manner we can not easily define the narrator in the sense we got used considering the previous and subsequent mood on the novel. I will later show the differences between the focalization and this case of shift. But firstly ask the question “Who is speaking to the reader? I will propose a different kind of narrator and communicative level in response to the argument and try to define their characteristics and principles.  I will call this new voice “ trans or inter-narrator” and will term this specific involvement where the internarrator emerges as “the jamming” and its level “prediegetic level”

One can understandably claim that the jamming appears to be some kind of autobiographical fiction. I will respond that this is not the case by reminding them how the distance and the voice of the narrator prevail at the beginning in the narrative level of autobiographies and how the narrator introduces himself to the reader is clear and eloquent. Let’s remember Charles Dickens’ David Copperfield or Great Expectations and Franz Kafka’s Metamorphosis. All revelations manifest themselves in the settling of background and in the course of the unfolding plot definitely not on the narrative level. But this doesn’t mean in these autobiographical fictions there is no trace of the transnarrator. Of course, there are and have to be traces of the transnarrator at the points where the jamming can be detected. However, the differences come up in the way that autobiographical analysis is concerned with the past of the author by drawing analogies between the characters, narrators, and the author’s own life. But in our case, the matter that concerns us is not the past of the author but the present existence and involvement of the author and I will debate these possible complications of the presence of an internarrator by analyzing Atonement as a model of jamming in the distance, focalization and voice of its narration. I will also apply the jamming and the transnarrator to Gerard Gennette’s three narrative levels; intradiegetic, metadiegetic, and extradiegetic.

In response to  Roland Bartnes’s assertion “ the death of the author” which has been held in high esteem for a long time, I suggest that it is time to reverse this mythic commonplace during the postmodernism by the indelible changing attitudes of the writers towards the authorships. The tradition what the writers try to conceal and exclude themselves from the narrative was regarded as a special talent and gift to confuse and startle the reader since the onset of the written narrative but in time after as every tradition prevails enough and completes itself according to the codes of the culture pertains to its own era, this attitude starts to leave its function to another counter attitude. The table below shows the traditional communication of the narrative instance;

In this frame, there are three levels of communication. The first level between the author and reader is the “extratextual” level. The latter two levels is the “intratextual” level which is one between the narrator and addressee and the other between the characters themselves. The question is here whether we can add an additional level by transposing the communicative frame and if possible where the transnarrator should be positioned.  Also, I am sure that “Implied author and reader” had come to mind already pages ago before this question. As a fact of the matter, I deliberately saved this highly controversial argument for chapter two before plumbing the technical terms getting harder. Since the preconceptions of which conceive the implied author as a reader-generated entity  Implied author and implied reader seem to have assessed wrong and excluded from narrative frames without having developed terminologically sufficient, I would prefer to say in fact “without giving a chance, focus and attention inevitable no means of finding a place in such an anticipation”  Now lets have a deeper look at our arguments on narrative analysis of Atonement and see what Ian McEwan presents us in order to test our claims and how the attitude of distancing and concealing the writer itself from the reader is changing into “ the desire of the writer is to come back to its reader, is to resurrect its importance and thus reveals itself to the reader after his/her long enduring absence by stylistics and pragmatics codes left behind herself /himself

1.2. Narrative level

Ian McEwan’s Atonement with its complex storyline will present us with a practical field of study which will encompass all narrative levels. The narrative level is an analytic device that helps us to distinguish the relations between the characters and narrators in a story within the main plot or different embedded stories within another story. The narrative levels Gerard Genette introduced are composed of three different levels. These are “extradiegetic level”,  “intradiegetic or diegetic level”, and “metadiegetic level”. We will also need to understand the concept of “matric” (see Table 3). First is the extradiegetic level; it is the level of the narrative’s telling and by definition, it must be external to at least one diegesis. The second is the intradiegetic or diegetic level; it is the level of characters so it describes how the characters interact with each other and this level must be embedded in an extradiegetic narrative. The third one is the metadiegetic level; it is embedded within the intradiegetic level and is part of diegesis. This level is usually misunderstood and it is the part of the level when a character starts to tell a story as it happens in Atonement. I will analyze three different passages from the novel for each level in order to determine the framework of Atonement on the narrative level. This will help us to see what kind of techniques and strategies were applied in the course of the story by Ian McEwan and to find on which narrative level jamming occurs if there is any involvement of the writer in narration. But, we should learn about the narrative matrix in advance so we will be ready for our analysis of Atonement.

1.3. Matrix

             Matrix is an important frame for us in order to understand the complex narrative instances and narrative shifts such as presented in the storyline of Atonement. let us have a look at this table below and answer the questions;

Who is the one who takes photos? Whose photo is taken? Is anybody else who takes the whole picture? How can we differentiate the actuality of the real photographer from its reflections without having present if our photographer is pictured by someone else? These questions become more challenging problems when you begin to read a story within another story and after all, if you realize towards the end of it in fact all you read was a part of another story of someone else.  In such circumstances, the original narrative level –  the last level which is understood by the final revelation – becomes a “matrix narrative” and the story what you have previously read and told by the former narrating character becomes “embedded or hyponarrative” The word “matrix” goes back to ancient times and originated from the latin word “womb” and according to the Oxford Dictionary, it means that “the cultural, social, or political environment in which something develops:” and “ late Middle English (in the sense ‘womb’): from Latin, ‘breeding female’, later ‘womb’, from mater, matr- ‘mother’”  A matrix narrative must include a hyponarrative which means an intradiegetic narrator will participate in extradigetic level of the story. This is the hardest and most momentous part for a writer to create these levels in a harmonious relationship between the narrators and characters. Ian McEwan presents us the matrix narrative and hypo-narrative at this beginning of the first paragraph below;

“WHAT A STRANGE time thIs has been. Today, on the mornIng of my seventy-seventh bIrthday, I decided to make one last vIsIt to the ImprerIal War Museum lIbrary In Lambeth. Is  suIted my peculIar state of mInd. The readIng room, house rIght up in the dome of the building, was formerly the chapel of the Royal Bethlemen HospItal – the old Bedlam. Where the unhInged once come to offer theIr prayers, scholars now gather to ressearch the collectIve insanIty of the war ”

We immideately discover who speaks to us so far throughout the story as a 3rd. person heterodiegetic omniscient narrator who knows everything is in fact a delusion and not was it but only a covert form of our latent narrator. Furthermore, we also realize that we know a lot about our new narrator since the three parts what we read were just telling the story of our new narrator. The first what we need to do is to draw the frame of these three parts and the final coda. The paragraph below I cited from the Prologue of “The Name Of The Rose” by Umberto Eco and I will use its frame in order to show the complications in the frame of Atonement by comparing and applying them.

“Perhaps, to make more comprehensIble the events In whIch I found myself Involved, I should recall what was happenIng In those last years of the century, as I understood It then, lIvIng through It, and as I remember It now, complemented by other storIes I heard afterward—if my memory still proves capable of connectIng the threads of happenings so many and confused. In the early years of that century Pope Clement V had moved the apostolIc seat to AvIgnon, leavIng Rome prey to the ambItIons of the local overlords: and gradually the holy cIty of ChrIstIaniIy had been transformed Into a cIrcus, or into a brothel, rIven by the struggles among Its leaders; though called a republic, It was not one, and It was assaiIed by armed bands, subjected to violence and looting”

The change is temporal considering the rest of the novel but, let us suppose this is all. We have five “I”, and one “my” which project the vocal quality of a homodiegetic first person overt narrator who has a limited capacity until the lines which start with“ In the early years…”. The rest of the paragraph is told by the third-person heterodiegetic narrator. The homodiegetic narrator who takes part in action starts to tell according to his memories something else who does not take action but narrates everything omnisciently by knowing the reasons for the actions, the correct sequences of the events, and of course as a covert narrator. But I need to remind you once more according to the whole of the prologue the narrator’s level does not change but I deliberately cited from The Name of the Rose in order to show that there are also temporal diegesises independently from the primary levels. In fact, it could start with a character saying directly “Let me tell you a story” or “Okay then, tell me your story” but for a deeper understanding such a tentative and specific example will be more practical in our frame below.

In the first narrative instance, A; N1 is the extradiegetic level and the narrator is the extradiegetic narrator. It has a homodiegetic voice. S1 is the intradiegetic level which means the world of the characters. When our narrator who is present in action begins to tell a story, S1 intradiegetic level changes into S2 as a metadiegetic level and becomes a hyponarrative in other words “story within the story”. N2 is the first person heterodiegetic narrator who is absent in action and also N2 level becomes a matrix. This frame is pretty simple and can be easily applied to all embedded narrative instances.

On Atonement now, we will face a narrative instance and frame their complexity comparatively risen by a notch. In Atonement, there are three parts and a final coda at the end of the novel so we must carefully determine which paragraphs must be taken and would be exquisitely beneficial to our frame. Besides, we have also different frame options since we have now four different parts of narrative instances on hand. But we have two distinctive parts and I will draw a narrative frame according to these parts. As to paragraphs, I will cite one paragraph from both parts and the first of these paragraphs will be the beginning sentences of the first paragraph of part one. The second paragraph will come from the last closing sentences of the last paragraph and the novel in the final coda. These two paragraphs also have special bonds between them that the discriminating readers immideately will notice how The Trials of Arabella straddles a thin narrative line between the diegesis of the first three parts and the diegesis of the final coda. Here is the first paragraph below from the beginning of the novel.

“THE PLAY- for whIch Briony had desIgned the posters, programs, and tIckets, constructed the sales booth out of a foldIng screen tipped on Its sIde, and lIned the collectIon box In red crepe paper- was wrItten by her In two–day tempest of composItIon, causIng her to mIss aa breakfast and lunch. When the preparatIons were complete, she had nothIng to do but contemplate her finished draft and waIt for the appearance of her cousIns from the dIstant north”

In our frame; N is a covert and omniscient third-person heterodiegetic narrator. There is no metadiegetic level. Everything seems to be causal. Our narrator appears to have the capacity for insight into the minds of the characters. He knows everything and has access to the thoughts of the characters. While everything is going on its way, we surprisingly come across the title “LONDON, 1999”. The first impression on the reader is a possibility of a flashback or a more possible time-lapse. Let us have a look at the closing sentences of the last paragraph in the coda below and see how the reality is different.

“I lIke to thInk that Isn’t weakness or evasIOn, but a fInal act of kIdness, a stand agaInst oblIvIon and despaIr, to let my lovers lIve and to unIte them at the end. I gave them happiness, but I was not so self-serving as to let them forgIVe me. Not quIte, not yet. If I had the power to conjure them at my birthday celebratIon…Robbie and Cecilia, still aliIe, stIll IN love, sIttIng sIde by sIde In the lIbrary, smIlIng at The TrIals of Arabella? It’s not ImpossIble.”

Now we are getting the whole picture in order to be able to draw a complete narrative frame of Atonement. But things will be getting harder this time in comparison with our first narrative instance. Let us define what it is like.

It seems likely a pretty easy one on the way coming. N is a homodiegetic narrator on the extradiegetic level and also is an overt narrator. We can also say that the capacity of the narrator is rather limited with an indecisive tone. N 2 is the intradiegetic level and this time narrator also exists as a character who directly takes action in the intradiegetic level.  Now according to our narrative principles, we are supposed to merge our two instances frame into one frame as follows;

We have now a matrix narrative and hyponarrative. N1 is the extradiegetic level on the first-person homodiegetic voice. N2 is the intradiegetic level and our intradiegetic N2 narrator is also a homodiegetic narrator who has taken action in the narrative as a character. However, we should pay attention to the fact that N2 is changing into a heterodiegetic covert narrator in the act of telling the story of Briony in the intradiegetic level on the complete frame so in the intradiegetic level the homodiegetic narrator coexists with the heterodiegetic narrator according to the final frame in normal circumstances. However, as I have just mentioned above, the reality is surprisingly different and the whole frame is a misguided attempt to draw as we do not have normal circumstances on Atonement which can easily apply to the narrative frame in such a way. Normally, we could conclude that Atonement is a metafictional novel which is told by a homodiegetic first person and overt narrator in which has another story embedded which is told by a heterodiegetic third person and covert narrator. But this conclusion will be wrong by definition as the frames have one serious oversight which is forgotten in the schemes of the events.

The oversight which is omitted to mention is the fact that we have never a narrator or a character on the coda who starts the act of telling a story or the act of writing a story. Therein lies the problem. Our homodiegetic narrator can narrate a story becoming a heterodiegetic narrator at the intradiegetic level but in this case, it does not and the complications of this shortcoming bring some questions as a fact of matter. We know that Briony is the writer of the first part – the first three parts- of the novel but we do not have any transitional moment which indicates the metalepsis- narrative change-. So, one can suggest that the narrator of these three parts is in fact not the heterodigetic but is the same homodigetic narrator of the Coda and vice versa; the narrator of the Coda is in fact not the homodigetic but is the same heterodiegetic narrator before the Coda.

It is now time to remember the picture of the narrative matrix. Whose narrative did we read before the Coda if we have a writer and narrator at the intradigetic level who does not tend to start to tell the story to us? More importantly, then who read the first part to us as a heterodiegetic narrator? Let us remember well on any narrative level; intradiegetic, extradiegetic, or metadiegetic all narrators have the privilege to change the narrative voice. This is an essential part of all narrative instances for this reason, the same principle can be hypothetically applied to this case by anyone who examines these two main parts- the parts before the coda and the coda itself-  In order to highlight the problem let us imagine a moment where the narrator of the narrative X and the writer of the narrator of the same narrative X come across with each other within the same narrative level or diegesis. Could you figure out what it would be like? It sounds like traveling in time. If we had a time-traveling machine, we could have gone to see ourselves in a different time independently from where we exist at present in other words, if we have a traveling device in narrative levels, we could see then by whom we are told will be us.  Can it be possible to come across at the same narrative level? You will remember that I mentioned underlining the specific reason for my aim to choose The Name Of The Rose before Atonement. In the narrative of The Name Of The Rose, our narrative instance was an example of Metalepsis in which the narrator shifts a level and tries to communicate with its reader.  However, the narrative voice did not come across with its writer in the same narrative level. In fact, we can explain this paradoxical situation in a more simple frame for example; you can tell a story to your friends about an incident that you have witnessed as an outsider or taking part in it two days ago. You become a narrator of the story that you have just told to your friends. But, this happens only within the diegesis what you will create in other words in your own imaginary world. On the other hand, the incident that you remember can not belong to the same diegesis because as a narrator you were in the extradiegetic level whereas you were present, you were in the intradiegetic level as a character who takes place in it. So it is impossible for you to exist at the narrative level. However, on Atonement now let us have a look at again the frames below what happens in fact this time by discriminating and labelling who where is.

This frame can be accepted only on condition that the narrator will never take action at the intradiegetic level. The first or third-person pronouns such as “ I, my, he, she..” do not determine the real narrator. The only thing that can determine whether a narrator is homodiegetic or heterodiegetic is the relation of the narrator to the relevant text. It means that if a narrator is present in action, it is homodiegetic; on the contrary, if it is not present in action, it is a heterodiegetic narrator. We should not forget at this point our writer is Ian Mcewan so we exclude him from the narrative frame and also we have only two narrative levels. But when we label the characters according to the coda we will face a different framework.

So we can draw such a frame on the base of this principle as follows according to the revelation on the coda.

it seems like everything unusually changed. We have a homodiegetic narrator now. As you remember well, a homodiegetic narrator can tell a story in a heterodiegetic voice and vice versa. But the problem is that on the coda we face author Briony as a homodiegetic narrator in which level? Let us see how we can combine the frame of the coda with the frame of the first part of the novel to arrive at a final frame of the novel. Here is a new frame of the coda this time its characters are labeled below.

Now, our paradox is how our homodiegetic narrator of the coda if it is the author of the first part can be a heterodiegetic narrator at the extradiegetic level. The paradox stems from the fact that the author Briony in instance 1 is also the same character in the intradiegetic level of the coda. This means that a character turns into the diegesis of the narrative level in which it is told. It sounds implausible. Normally a character in the same narrative level can change its narrative voice from homodiegetic to heterodiegetic and create a metadiegetic level and hyponarrative as has been in the table below. Follow the principal steps in the changing narrative levels on our frame and compare them with the steps on Atonement.

Now let us examine very carefully once more instance 1 of the first part and answer the following questions.

1. Where is the third person heterodiegetic narrator of the first part we read in the novel throughout the first three parts according to this frame?
2. Can World 2 “embedded world” be placed at an extradiegetic level above World 1? If it can be on Atonement
3. whose narration did we read in the first part and in the coda?
4. Is there anyone else who can be involved at an extradiegetic level?
5. How can the world 2 be above the world 1?
6. Can it be possible that an extra level exists above the extradiegetic level?

CHAPTER II

NARRATIVE SITUATIONS AND THE JAMMING

 2.1. THE JAMMING AND TRANSNARRATOR

The first answer is palpably “the extradiegetic level” –see instance 1 the first part –  while it is normally supposed to be in the intradiegetic level as it has been in table 4. It is unlikely true, furthermore, both the heterodiegetic narrator and our extra homodiegetic narrator seem indisputably to be on the extradiegetic level. There is a clear violation of the created principles of the diegesis of the narrators and the principles of the narrative communication of the writers. In the narrative configuration, you will remember that I had mentioned a specific narrative situation that I called “narrative jamming or the jamming” and I devised a new kind of narrator what I called “transnarrator”. Now it is time to see whether it will have an applicable function to solve the abnormality in the narrative frame of Atonement according to our new findings. The main problem above was that World 2 which can only be created at the intradiegetic level seems to be created at the extradiegetic level on Atonement.

As it seemed, we added a “prediegetic level” as a matter of fact, for our transnarrator to place in it, there is a  more distinguishable change comes to view.

It is, of course, the author himself/herself who takes the place directly within the analytic narrative structure. Now let us check all the levels to find out whether there is any violation of the narrative principles. In our checklist, the problematic third-person narrator of the first part which distorts the narrative frame of the novel as it seemed in the extradiegetic level comes first whereas it should have seemed in the intradiegetic level to the classical narrative frame. In our new frame below we see how they are placed.

And it is finally Ian Mcewan himself is present in the narrative structure taking the most crucial role as a transnarrator. The table can be drawn in various forms of frame according to one’s reading comprehension but, whatever we draw, we must have a model which will be based on and meet with certain principles of narrative situations.  Now, in our checklist, (1) the problematic heterodiegetic third person narrator seems in the extradiegetic level where it should be according to the jamming frame as it is present in the extradiegetic level in the first three parts of Atonement. So, it does not pose a problem anymore. It is present where it should be. (2) Briony becomes a narrator twice and both narrators are present at the same level, extradiegetic where they should be placed. (3) This time Briony becomes a character as a writer and becomes again a character as an implied writer in a way which are present in the same l intradiegetic level. Also, the World 1 and World 2 of the characters are on the same level. And finally  (4) Ian Mcewan – transnarrator, the homodiegetic narrator- heterodiegetic narrator, and young Briony- mutual Briony of them, all meet on the same matrix as a reflection of each other as they look at themselves in the mirror ( see table 3: narrative matrix)  This is the predominant effect which distorts the verisimilitude of the accounts in the storyline. Each role exquisitely meets its reflective opposite role at the same level but of course, this is not happening by sheer coincidence with a freak narrative of nature. It comes to light with the extra intervention of the transnarrator Ian Mcewan put in. The two worlds which are supposed to be embedded within each other since the distorted frame, by the abnormality of the location of the third person heterodiegetic narrator, violates and contradicts the layout of the accepted norms on the narrative frame, they run parallel to each other on the same level. This parallelism leads to the absolute necessity to form the jamming frame as a solution to the shortcomings and incongruities in the practical applicability of the currently well-recognized narrative frame. There is an author-narrator involvement which in return, we come across with a textual battle of wits between the operating factors which postulate the relevant referential pillars of the narrative in relation to their own intertextual realities that form the unity of the novel.  The author’s extra-interference can be likened to the touch of the god. But, it is not a simple tender touch because it also leads to the author losing its distance.  Aristotle, in Poetics (chap.17)  makes clear the distance of the author as one of the main reasons for the inconsistencies. It is well worth quoting:

“In constructIng the plot and workIng It out wIth the proper dIctIon, the poet should place the scene, as far as possIble, before hIs eyes. In thIs way, seeIng everythIng wIth the utmost vIvIdness, as If he were a spectator of the action, he wIll discover what Is In keeping wIth IT, and be most unlIkely to overlook InconsIstencIs.”

2.2. The Unreliability of Narrative Situations

 In narrative where the problem of reliability arises is on the communicative function of the text. Idealogic, historical, and political intentions of an author or a narrator including implied author within the textual product are always open to transgression when they have been read in the different mechanisms of another culture. Yacobi Tamar in his work “fictional reliability as a Communicative Problem”( 1981: 113-26.) underlines five basic principles; (1) the genetic; (2) the generic; (3) the existential; (4) the functional; (5) the perspectival.  The violation of these principles inevitably brings inconsistencies and irrelevant elements to the fictive and the real composition of the text. Among these principles, the perspectival one plays the key role in Atonement. Tamar explains the perspectival principle as follows:

“the perspectival prIncIple, whICh brIngs dIvergent as well as otherwIse unrelated elements Into a pattern by attrIbutIng them, In the whole or In part, to the peculIarItIes and cIrcumstances of the observer through whom the world Is taken to be refracted”.

On Atonement when we come to the coda, refractional abnormality immideately manifests itself by the question “Who read the first part to us” A narrator of the world and the narrator of the first part as an independent book seem to have overlapped with each other. By employing The Jamming frame and transnarrator we solved the problem of the communicative narrative frame. However, the problem of unreliability still exists in its author and narrator. You will remember that a matrix on each level loomed large in our jamming frame and on each matrix two binary opposites came to face to face as it has been on the picture of the narrative matrix ( see Table 3) thus, it occurs in such a formulation as follows;

This formula goes on throughout the novel by repeating itself again and again within each temporality of the accounts. We can call this manifestation which occurs on each level of Atonement “matrixel effect”.  The coincidence of the two binary opposites can be easily detected through the pragmatic markers and intentional focalization as it is detected in the paragraph given below from the coda.

“Not my best, I thought. But the whole room, except for Leon, PIerrot and myself, rose for the applause. How practIced these chIldren were, rIght down to the curtaIn call. Hand In hand, they stood In lIne abreast, takIng theIr cue from Chloe, stepped back two paces, came forward, bowed agaIn. In he uproar, no one notIced that poor PIerrot was completely overcome and put his face In hIs hands.”

As it seems it is more likely as if our homodiegetic narrator seems to exceed her limited capacity and tries to turn to the heterodiegetic omniscient narrator who can access the minds, feelings, and perspectives of the other characters “No one noticed that poor Pierrot was completely overcome and put his face in his hands”. And also there is a quite distinctive retrospective act of thinking “ Not my best, I thought” which indicates a strong clash between the homodiegetic first-person overt narrator and the heterodiegetic third-person covert narrator.  Especially in part one at the beginning of Atonement, a considerable amount of examples which will verify the matrixel effect and its complications on the verisimilitude of the accounts on narrative. Writer versus Narrator by each page and line and by each level and world the author tries to resurrect the phantom of what Roland Barthnes gave a ceremonial funeral in his essay.

2.3. Criticism: The Implied Author Dispute and The Transnarrator

In narratology, the concept of Author-narrator first introduced by Booth (1961) closely seems to resemble our transnarrator. It is for this reason, I needed to cite a passage from “The Implied Author” written by Schmid, Wolf (Paragraph 2, the living handbook of narratology)

“The concept of ImplIed author refers to the author-Image contaIned In a work and constItuted by the stylIstIc, IdeologIcal, and aesthetIc propertIes for whIch IndexIcal sIgns can be found In the text. Thus, the ImplIed author has an objectIve and a subjectIve side: It Is grounded In the Indexes of the text, but these Indexes are perceIved and evaluated differently by each IndIvIdual reader. We have the ImplIed author In mInd when we say that each and every cultural product contains an Image of Its maker. The ImplIed author Is therefore not a category specIfIc to verbal narratIon; IT IS however, most often discussed In relatIon to lInguIstIc texts, partIcularly In narratologIcal contexts.”

In Wolf Schmid’s definition of the implied author, two characteristics are underlined; the first is the author-image constituted by the indexical signs and the second is that the implied author is perceived and evaluated differently by each individual reader. This definition is usually known as a reader-created concept. In this regard, (1) the transnarrator differs distinctively from the implied author because, first of all, the transnarrator comes into view as a compensatory actor and a stabilizer in direct relation to the parameters of narrative diegesis. It is an element that recovers and restores the abnormalities of the text. (2) The transnarrator can not be perceived differently by each reader since its presence is only seen and detected on the structural frame of the narrative. It has no direct pragmatic and intentional function. It is constituted by default from the paradoxical clash between the author and the narrator by the contribution of the extra-embedded fictive worlds

However, in terms of efficacy on the problem of reliability, the implied author and the transnarrator are common to each other but, they diverge from each other in which they originated. The implied author leads to the unreliability through the messages encoded which implies the author’s ideology and concentration against the different ideologies. But the reason behind the transnarrator leads to the unreliability lies on the balance of power between the author and narrator on a textual level.

CONCLUSION  

In this study, I have tried to illuminate how the possible incongruities and some inconsistent parameters emerge in the narrative approaches that are applied to the narrative analysis in direct reference to the text of Atonement. In narrative respect, I have opened three points to debate; the first is the significance of the narrative understanding in our daily life, the second is the narrating jamming and the transnarrator, and the third is the matrix ( and matrical effect) and the unreliability as a ramification of the matrix. In my first argument, I hope that narrating understanding will provide a stimulus step to narrative analysis.

The second argument I worked on put forward a proposal to revise the communicative and the textual level. Some new terms are examined in the field of narrative terminology and their practical applicability is analyzed. These are (1) The Jamming is employed to mean the occurrence of intertexual abnormality. (2) The Transnarrator where the jamming is found, is employed as a device to symbolize the textual self-reaction against the abnormality as an equalizer. (3) The prediegetic level is utilized as a necessity for the transnarrator locating in it.

Finally, the problem of reliability is transferred to the analytical fields of narrative. I tried to prove that the reason for the unreliability is not only the author’s ideological traces left behind the text but also the natural result of the matrical effect which can be drawn and analyzed. I have not touched on the ethics of authorships although the unreliability and the ethics of authorships have much in common, I wanted the scope of the work to be confined to the narrative analyses.

References

1. Aristotle   (1969), “Poetics”  translated by Ingram Bywater Oxford at the Clarendon         press
2. H.Porter Abbot  (2008), “The Cambridge Introduction to Narrative”, second edition  Cambridge University Press) pp 01-24, 67-79
3. Roland Barthes (1968), “The Death of The Author”
4. Roland Barthes (1975), “An Introduction to the Structural Analysis of Narrative” ( The Johns Hopkins University Press pp 237-272
5. Donald Braid (1996), “Personal Narrative and Experiential Meaning” (The Journal of American Folklore) pp5-30
6. L.B. Cebik (1986), “Understanding Narrative Theory” ( History and Theory, Vol,25)pp. 58-51
7. Umberto Eco (1990), “The Name of The Rose” ( Warner books edition)
8. Gerard Genette (1972) “Narrative Discourse” (Cornell University Press) pp 212-263
9. Ian McEvan (2002) , “Atonement” (NAN A. TALESE)
10. Oddee, (2008) Prehistoric Cave Paintings (published under Amazing Art) 
11. Schmid, Wolf (2010), “The living handbook of narratology”: “Implied Author”, Paragraph 2. In: Hühn, Peter et al. (eds.): Hamburg: Hamburg University Press.
12. The first People – The Legends,
13. The Internet Encylopedia of Science,
14. Tamar Yacobi (1981), “Fictional Reliability as a Communicative Problem” (Poetics  Today, Vol.2 pp 113-126 

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İngilizce kişisel görüşlerin ifadesi nasıl yapılır? Giving opinions örnekleri. Expressing opinions için kullanabileceğiniz ingilizce ifadeler nelerdir? Responding to Opinions örnekleri.

İyi bir iletişim kurabilmek için fikirlerimizi karşı tarafa doğru ve etkili bir şekilde aktarmalıyız. Bu fikirlerimiz bazen bir onaylama, bazen bir karşı görüş, bazen oldukça kişisel bir bakış açısı, bazense oldukça genel bir görüşü aktarabilir. Bu nedenle kişisel görüşlerimizi açıklarken doğru ingilizce kelime ve ifade seçimi oldukça önemlidir. Şimdi senaryolara göre giving opinions için kullanabileceğimiz ingilizce ifadeleri tek tek örneklerimizle inceleyelim.

Expressing Personal Opinions

Kişisel Fikirlerin İngilizce İfadesi

1. I think that…
2. I (strongly) believe that…
3. Personally, I feel that…
4. For me…
5. I bet that…
6. In my opinion…
7. My (point of) view (on this) is …
8. From my point of view…
9. From my perspective…
10. In my view…
11. According to me…
12. I would say that…
13. I’d like to point out that…
14. I’ve come to the conclusion that…
15. I am (pretty) sure that…
16. I assume that…
17. I guess that…
18. My impression is that…
19. What I mean is…
20. What I’m trying to say is that…
21. Well, if you ask me…
22. As I see it…
23. I’m positive that …
24. It seems to me that …
25. It’s a complicated/difficult issue, but …
26. Obviously, …
27. As far as I’m concerned…
28. Correct me if I’m wrong, but …
29. Frankly, …
30. Honestly…
31. I am not very familiar with this topic, but …

Expressing General Opinions

Genel Fikirlerin İngilizce İfadesi

1. According to scientists/researchers…
2. It appears that…
3. It suggests that…
4. You would think that…
5. You would believe…
6. People think that…
7. Many/Most people think/believe that…
8. Everyone understands that…
9. Some people say that…
10. Everybody knows that…
11. The thing is that…
12. The point is that…

Bazı durumlarda karışınızdaki kişinin belirttiği bir fikre karşılık vermek isteyebilirsiniz. Bu genellikle aynı fikirde olduğunuzu ya da aynı fikirde olmadığınızı belirtme ihtiyacı duyduğunuzda ortaya çıkan bir ihtiyaçtır. Şimdi bunlara bir göz atalım.

English Phrases to show agreement

1. So do I.
2. Me too.
3. Exactly
4. Absolutely.
5. Definitely.
6. I agree.
7. I couldn’t agree more.
8. I concur.
9. I couldn’t agree with you more.
10. I couldn’t have said it better.
11. You put my thoughts into words.
12. You hit the nail on the head!
13. You got a point!
14. I don’t think so either.
15. That’s true.
16. That’s just what I was thinking.
17. That’s exactly what I think.
18. I guess you’re right
19. We share the same opinion.
20. I agree to a certain/some extent.
21. I am with you up to a point.
22. I agree partly.

English Phrases to show disagreement

1. I don’t think so
2. I think you’re wrong.
3. Yeah, but…
4. I totally disagree.
5. I disagree entirely.
6. I’m afraid I can’t agree with you there.
7. I can’t go along with that at all.
8. With respect, I have to say I don’t agree.
9. It’s out of the question.
10. I understand what you are saying, but I have a different opinion.
11. I’m not entirely convinced that…

Asking for someone’s opinion

1. Do you agree (with that)?
2. What’s your idea (on…)?
3. What do you think (about that/it)?
4. What do you think about … (this)?
5. Is that right?
6. Do you think that’s right?
7. What’s your view?
8. Are you OK with that (this)?
9. Is that what you think?
10. Have you got an opinion about it?
11. How do you feel about it?
12. Do you agree with the opinion that …?
13. Do you share the/my view that …?
14. What are your feelings about …?
15. Do you have anything to say about it?
16. And you? What do you think?

Kişisel fikir ve bakış açımızı paylaştıktan sonra karşılıklı iletişimin seyrinde bazı tavsiyeler vermemiz gerekebilir. Bu durumda kullanmanız gereken English phrases örneklerini görmek için giving Advice konu anlatımı sayfamızı ziyaret edebilirsiniz.

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Writing an email, no matter professional or friendly is a critical skill in both college and business life. Especially, if you are an international student or in an overseas job, writing an email may be a part of your daily routine.  I will try to guide you through this lesson to write formal and informal emails in English.

About formal and informal Emails

Despite all the differences, both email types have some similar structures in common.

Email Structure

• Greetings: This is where you greet the recipient(s)
• Body: This is the main paragraph of your email. The language you use here may change according to the message you want to send.

There are 3 important parts in the body.

1. Introduction: This is a polite starter before you talk about the reason.
2. Development: This is the part where you start to show clearly the reason for what you are writing about.
3. Final statement:  The body usually finishes with a final request, invitation .. etc sentence at the end.

• Closing: It is a way of showing courtesy that indicates the end of the email.

1. Greetings in Emails

We can’t use the same greeting statements in both formal and informal emails.

Sometimes, you may have more than one recipient. In this scenario, you can use the email starters given below.

We haven’t forgotten our friends. These are the greeting examples for informal emails.

İngilizce Email Nasıl Yazılır?

Elements in an Email

2. Body in Emails:

A.  Introduction of the body in Emails

This is the first sentence of your body in the email. After “Greeting”, you can write the body of your email. Before stating a reason or asking any question, you’d better use these polite starters at the beginning of your body. Pay attention please, some examples indicate a response to another email previously received.

• I hope this email finds you well.
• I hope all is well with you.
• Thank you for your prompt response.
• I hope your week has been great so far.
• I hope you are having a pleasant day.
• Good morning/afternoon/evening.
• I hope your week started well.
• Thank you for the timely response.
• Thank you for getting in touch with…
• Allow me to introduce myself briefly.
• It’s great to hear from you.
• I hope you had a nice weekend.

B. Development of the body in Emails

After you used a polite starter, now it’s time to mention the reason you wrote about. This is the main paragraph of your email. Mostly one paragraph is enough for an email. To learn more about writing a strong paragraph you can read our article, how to write a paragraph?

• I’m reaching out to you because…
• I am extending a hand for partnership…
• I am pleased to inform you that you have won our grand prize
• I am writing to you in relation to…
• I’m emailing you to…
• I’m writing to inform you…

C. Final statement of the body in Emails

This is the last part of your body in the email. After all, you wrote, you should provide a “thank you” or “call to action” statement at the end of the body. If your email consists of more than one paragraph, use that at the end of your last paragraph.

• Thank you for your assistance with…
• Thank you for your time and I look forward to hearing back from you.
• Please feel free to call or email me if you have any questions.
• I would appreciate it if this could be taken care of promptly
• Don’t hesitate to get in touch if you have any questions.
• Thank you for your consideration, and I hope that you will approve my request.

3. Closing in Emails (Sign-off words)

Another key point is to choose the right sign-off in email closing. The sender’s relationship with the recipient shapes the format in Sign Offs. They are followed by the sender’s full name and a professional signature or contact info as follows;

Sincerely,
Julia Corlett
Senior English Teacher
ST GEORGE INTERNATIONAL
bookings@stgeorges.co.uk

İngilizce email nasıl yazılır?

Formal email örneği:

Subject: Application for Marketing Assistant Position

Dear Hiring Manager,

I hope this email finds you well. My name is [Your Name], and I am writing to apply for the Marketing Assistant position at [Company Name], as advertised on your website.

With a background in marketing and a keen interest in digital media, I believe I am a strong candidate for this role. In my previous job at [Previous Company], I successfully managed several social media campaigns and contributed to the development of marketing strategies that increased brand awareness and customer engagement.

I am particularly drawn to [Company Name] because of your commitment to innovative marketing techniques and your impressive portfolio of clients. I am excited about the opportunity to bring my creativity and digital marketing skills to your team.

Enclosed is my resume for your review. I am looking forward to the possibility of discussing my application with you further.

Thank you for considering my application. I hope to hear from you soon.

Best regards,

[Your Name]
[Your Contact Information]

İnformal Email örneği:

Subject: Our Amazing Holiday!

Hey [Friend’s Name],

Hope you’re doing great! Just wanted to share some awesome news. We’re finally planning that beach holiday we talked about. It’s happening next month!

We’re thinking of going to [Beach Destination]. It’s got beautiful beaches, great food, and lots of fun activities. How does that sound to you?

We need to start planning ASAP, so let me know your thoughts. Can’t wait to spend some quality time chilling by the sea and catching up.

Let’s chat soon to work out the details.

Take care,

[Your Name]

Blog index sayfasına geri dön>

Credits:

• Science-people
• wikiHow

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Adım adım ingilizce bir paragraf nasıl yazılır? Topic Sentence nedir? Controlling idea nedir? Supporting sentence ve concluding sentence örnekleri.

Organizing a strong paragraph. Step by step writing a paragraph. What is the topic sentence in a paragraph? Writing supporting details and concluding sentences.

What is a paragraph?

A paragraph is a group of sentences that are intentionally related and focus on a single topic to develop an idea. There are different kinds of paragraphs such as narrative paragraphs, descriptive paragraphs, expository paragraphs, and persuasive paragraphs.

PARAGRAPH STRUCTURE
You can see this three-part structure in most paragraphs.

Introduction: the first section of a paragraph; should include the topic sentence and any other sentences at the beginning of the paragraph that give background information or provide a transition.

Body: follows the introduction; discusses the controlling idea, using facts, arguments, analysis, examples, and other information.

Conclusion: the final section; summarizes the connections between the information discussed in the body of the paragraph and the paragraph’s controlling idea.

We should learn about these steps before organizing a paragraph
1. Topic sentence: Statement of the main idea.
2. Supporting sentences: Elaboration of the main idea and supporting details.
3. Concluding sentence: Restatement of the main idea.

İngilizce paragraf yapısı nasıl olmalı?

Paragraf ile anlatmak istediğimiz konuyu etkin bir şekilde aktarabilmek için paragrafın bütünlüğünü sağlayan öğeleri doğru yerde ve biçimde kullanmalıyız. Bu öğelerin başında tabiki topic sentence geliyor.

What is a Topic Sentence?

A topic sentence is a sentence that gives the main idea of the paragraph by presenting the topic and the controlling idea. That is the most important sentence in the paragraph as it makes the main idea open to debate.

Every topic sentence has two parts:

1. A topic (what the paragraph is about)
2. A controlling idea (the direction the paragraph will take).

While the topic tells your reader what the paragraph will be about, the controlling idea tells them how you will connect them in the body of the paragraph.

Take a look at these topic sentence examples to examine the topic and controlling ideas

• Horses and humans have always shared a special bond since ancient times.

Topic: Horses and humans

Controlling idea: Special bond.

• Human and natural factors both influence the Earth’s climate.

Topic: Earth’s climate

Controlling idea: Human and natural factors.

Topic sentence ve controlling idea kavramlarını şu şekilde de özetleyebiliriz. Diyelim ki cep telefonları hakkında bir paragraf yazmanız gerekli. Ancak cep telefonu kendi başına oldukça geniş bir kapsama sahiptir. Yazacağımız yazı cep telefonlarının fiyatları hakkında mı olacak, özellikleri hakkında mı, gözlerimize etkileri ve sağlık sorunları hakkında mı ya da iletişimi ne kadar kolay bir hale getirdikleri hakkında mı olacak… vs uzatabiliriz. Gördüğünüz gibi burada bir çok alt başlık açılabilmektedir. İşte controlling idea dediğimiz şey tam da burada devreye giriyor.  Örneği inceleyelim;

• Cep telefonu fiyatları bu ay sonunda yükselecek.

Bu örnekte gördüğünüz gibi topic sentence bize paragrafımızda cep telefonu (topic) başlığını, fiyat (controlling idea) değişimleri açısından ele alacağımızı gösteriyor. Bu topic sentence okunduktan sonra okuyucu paragrafta cep telefonu fiyatlarının nasıl ve neden artacağını (supporting sentence) örneklerle görecektir.

Topic sentences should:

• consist of one single topic,
• be located at the beginning of the paragraph, usually in the first sentence,
• not be vague, rambling, too narrow, or too broad

What are the supporting sentences?

The sentences that come after the topic sentence are called supporting sentences. Supporting sentences give details, reasons, and examples about the main idea in the paragraph. They make up the body of a paragraph.

In your supporting sentences, you may need some linking / transitional words and sequence adverbs to organize the structure of the body.

Here are some linking words:

Here are some sequence adverbs:

To see more details for sequence words visit our sequence of adverbs page, please.

What is a concluding sentence?

A concluding sentence indicates that you are coming to the end of the paragraph. That is also the last sentence in a paragraph used to summarize the main idea of the paragraph. To conclude your paragraph, you can use the concluding sentence starters. Some of them are given below:

İngilizce paragraf örnekleri

Şimdi örneklerle beraber doğru bir paragrafın nasıl olması gerektiğini görelim.

İngilizce paragraf örneği-1

Oil prices have a big impact on the global economy. When oil prices go up, it usually costs more to make and transport goods. This can make things like food and clothes more expensive. High oil prices can also make it more costly to travel by car or plane. Sometimes, countries that produce a lot of oil can influence the price. They might decide to produce more oil or less, which changes the price. However, when oil prices are low, it can be cheaper to buy things and travel, but countries that rely on selling oil might make less money. In conclusion, the cost of oil affects many parts of daily life and the economy around the world.

• Topic Sentence with Controlling Idea: “Oil prices have a big impact on the global economy.” (This sentence introduces the main topic and the controlling idea that oil prices significantly affect the economy globally.)
• Supporting Sentences:
  1. “When oil prices go up, it usually costs more to make and transport goods.” (Explains one effect of rising oil prices.)
  2. “This can make things like food and clothes more expensive.” (Further details the impact on consumer goods.)
  3. “High oil prices can also make it more costly to travel by car or plane.” (Describes the effect on transportation costs.)
  4. “Sometimes, countries that produce a lot of oil can influence the price.” (Points out how oil-producing countries can affect prices.)
• Concluding Sentence: “In conclusion, the cost of oil affects many parts of daily life and the economy around the world.” (Summarizes the main points and reiterates the wide-ranging impact of oil prices.)

This structure effectively introduces, supports, and concludes the topic of oil prices and their impact.

İngilizce paragraf örneği-2

Jack London was a famous American writer. He was born in 1876 in San Francisco. London wrote many books about adventure and nature. His most famous book is “The Call of the Wild.” This book tells the story of a dog named Buck. London liked to write about his experiences in the outdoors. He traveled to many places like Alaska and the Pacific. His stories are still popular today. They teach us about survival and bravery. In conclusion, Jack London’s life and writing had a big impact on American literature. He is remembered for his exciting stories about nature and adventure.

• Topic Sentence with Controlling Idea: “Jack London was a famous American writer.” (This introduces the main topic of Jack London and the controlling idea that he is notable in American literature.) Örnekte gördüğünüz üzere bazen “Jack London” gibi bir kişi tarifi de karşımıza topic sentence olarak çıkabilir.
• Supporting Sentences:
  1. “He was born in 1876 in San Francisco.” (Provides background information.)
  2. “London wrote many books about adventure and nature.” (Highlights the themes of his writing.)
  3. “His most famous book is ‘The Call of the Wild.'” (Mentions his well-known work.)
  4. “He traveled to many places like Alaska and the Pacific.” (Describes his experiences that influenced his writing.)
• Concluding Sentence: “In conclusion, Jack London’s life and writing had a big impact on American literature.” (Summarizes the main points and reaffirms London’s influence in literature.)

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The post İngilizce Paragraf Yazım Kuralları appeared first on ingilizcepedia.

Teknolojinin tuzaklarına düşmeden uzaktan eğitim nasıl verilmeli? Uzaktan eğitimde zorluklarının çözümü için ne yapılmalı? Bu haftaki Blog English sayfamız için özel yazımız Ryerson Üniversitesi İletişim Fakültesinden Yrd.Profesör Louis Etienne Dubois tarafından kaleme alındı.

Yazar: Louis-Etienne Dubois Assistant Professor, School of Creative Industries, Faculty of Communication and Design, Ryerson University, Canada.

Yine uzaktan yapılacak sanal bir eğitim-öğretim yılına adım atıyoruz. Yorgunluk, bıkkınlık ve giderek artan memnuniyetsizlik ekranın her 2 tarafında da artık daha güçlü hissediliyor.

Bir taraftan aldıkları derslerin kalitesi hakkında endişe duyan öğrenciler. Derslerini her ne kadar alıyor olsalar da bu kampüs ve onun getirdiği sosyal hayattan uzak bir şekilde gerçekleşiyor. Diğer tarafta ise soluk almadan kaynak arayan, egzersizlerini bir gecede yeniden adapte edip evlerinden ders anlatmaya çalışan öğretmenler var.

Pedagojik etkilerin de ötesinde, insanların zihinsel sağlığı da artık bu yeni yaşam biçiminden ciddi bir şekilde etkilenmeye başladı. Geçtiğimiz haftalarda 250’den fazla lisans öğrencime vermiş olduğum online derslerde bunun etkilerini ve bu eğitim modelinin sınırlarını gözlemleme fırsatı buldum.

İnternet fenomeni mi akademik bir uzman mı olacağız?

Öğrencilerin dikkatini bir dizi teknolojik araç ile çekerek katılımlarını arttırmak öğretmenlerimiz için ilk başta baştan çıkarıcı gibi dursa da çoğu zaman büyük baskı haline gelebiliyor. Tabiki bir sınıfı Twitch ya da Minecraft gibi kurgusal bir dünyada yaşatarak öğretip ardından da Discord ve Slack ile tartışmaya devam etme fikri kulağa oldukça heyecan verici gelebilir. Ancak yaratılan bu sanal bağlamda öğretmen bazen akademik bir eğitimci olmaktan ziyade bir web fenomeni kimliği kazanabiliyor.

Halbuki bu teknolojik tercihler öğretmenleri hem lojistik hem de insanlara ulaşım anlamında sınırlandırmaktadır. Vermiş olduğumuz online derslere, sadece cep telefonlarından ya da yeterli bir performansa sahip bilgisayarı ve internet bağlantısı olmadan erişmeye çalışan öğrencilere ne söyleyebiliriz?

Peki, çalışma alanını ailenin geri kalanıyla paylaşmak zorunda olan, bu farklı araçları iyi anlamayan veya her dersi için bir dizi farklı uygulamayı nasıl kullanacağını öğrenmek zorunda olan öğrencilerle ne yapmalıyız?

Bu sorunlar aynı zamanda eğitimin önüne yeni engeller koyabilecek risklerin de birer resmini çiziyor.

Bu nedenle, bu tür uygulamalara geçmeden önce, yalnızca öğrencilerin onu kavrama becerilerinin değil, aynı zamanda öğretmenlerin de kendilerine olumlu bir öğrenme deneyimi sunma becerileri önemli olduğunu unutmamak gerek.  Daha da önemlisi, bu aynı zamanda diğer uzaktan eğitim yöntemleri hakkında bilgi edinmek için önemli bir fırsattır.  Böylelikle daha da fazla aşırı uyarılma ve araç gerektirecek bir vizyondan da uzaklaşılmış olur.

Ya uzaktan eğitimde zorlukların çözümü; temellere geri dönerek daha az teknolojinin var olduğu daha fazla insani bağlamlar oluşturmaksa?

Yakın zamanda Harward Business Review Joseph Pine ve Jim Gilmore tarafından hazırlanan “misafirlerin” (mağazalardaki tüketiciler veya müze ziyaretçileri olarak) deneyimlerine dayanarak nasıl değer yaratılabileceğini üzerinde durulduğu bir çalışma yayınladı. Yapılan çalışmada araştırmacılar dört farklı kategori öneriyor. Bunlar; eğitim, eğlence, romantik ve estetik. “Estetik” deneyimler, katılımcıların düşünceli bir duruş sergilemeye davet edildikleri deneyimlerdir. Bu deneyim ile duyuların uyumu ve bir tür bireysel farkındalığa ulaşmak hedefleniyor.

İnsanların önce dolaşarak, sonrasında ise bir yerlerde oturarak kendi düşüncelerinde kaybolduğu bir müze gezisi bunun için harika bir aktivite örneği olabilir. Bu örnek, müzik şovu veya eğlence parkı gibi eğlence deneyimleriyle keskin bir tezat oluşturuyor. Aynı zamanda sadeliğin, daha incelikli ama teknoloji olmadan da aynı derecede etkileşimli bir uyarım olabileceğini gösteriyor.

Daha yavaş ancak daha samimi bir pedagojik yaklaşıma sahip olunması için için bu tür bir çağrılar aslında ilk kez yapılmıyor. Esasen öğrenmeyi daha iyi kılmak için, kalitesini etkilemeden hızı düşürme ve müfredatı daraltma fikri, pandemiden çok önce zemin kazanmaya başlamıştı.

Öğrenilenlerin yansıtabileceği bir ortam yarat

Öyleyse, bir Zoom dersi sırasında başka bir ortak çalışma aracı kullanmak yerine, neden sıcak bir dekor, küçük bir doğa, izlenecek bir şey veya dinlemesi hoş bir müzik aracılığıyla düşünmeye elverişli bir atmosfer yaratmayı denemiyoruz?

Benzer şekilde, daha rahat bir ortamda bilgi alışverişinde bulunmak isteyenler için sanal odaları neden daha önce açmayalım? Etkileşimde bulunmak ve insan sıcaklığı katarak “eşzamanlı anlardan” biraz daha fazla yararlanmak için neden içeriği önceden göndermiyoruz?

Teknolojinin Tuzaklarına Düşmeden Uzaktan Eğitim

Son olarak, öğrencilerin kısa bir an için bile ekranlarından uzaklaşarak ara vermelerini sağlamak için görsel olmayan uyaranları geliştirmek mümkündür. Örneğin podcast dinleme bölümleri kaydedilerek değerlendirmeler ses yoluyla iletilebilir. Bu yöntem öğrencilerin yalnızca gözlerine bir mola vermekle kalmaz, aynı zamanda içeriği ne zaman ve nerede görüntüleyebilecekleri konusunda daha fazla esneklik sunar. Bu şekilde herkes için başka bir video konferans yerine basit bir telefon görüşmesinin cazibesini yeniden keşfetme fırsatı da sunabiliriz.

Bu sanal öğretim tarzının en azından gelecek sonbahar veya kışa kadar devam etmesi ve pandemiden sonra üniversite müfredatında daha büyük bir rol oynaması bekleniyor. Bu nedenle bireysel kısıtlamalara daha duyarlı olan katılım öğretim metodalarını hayal etmek için çok geç değildir.

Pine ve Gilmore’a göre, gerçekleşen iyi deneyimlerimizin bağlamları daha geniş düşünülmeli.  Bu yüzden, çevrimiçi bir dersin eşdeğerine güvenmek yerine, yeniden düşünmeyi tercih edelim. İçinde bulunduğumuz anın kısıtlamalarını bir kenara koyalım.  İster ateşin yanında ister yorganın altında olsun, kendinizi içine çektiğiniz dünyaları çeşitlendirmeye ve zengileştirmeye izin veren dersler hayal edin!

Bu makale yazarın yazılı izini ile Mahir Barut tarafından edit edilerek Türkçeye çevirilmiştir.  Ryerson Üniversitesinden Yrd. Prof. Louis-Etienne Dubois tarafından yazılan makaleyi orijinal  dilinde theconversation üzerinde okumak için Distance learning: How to avoid falling into ‘techno traps’ bağlantısına tıklayabilirsiniz.

The post Teknolojinin Tuzaklarına Düşmeden Uzaktan Eğitim by Louis-Etienne Dubois appeared first on ingilizcepedia.

Akademik kelimelerin eğitim hayatındaki önemi nedir? Hepimizin aşina olduğu “method, analyze, conversely” gibi ingilizce akademik kelimelerin hiç sandığımızdan daha önemli olduğunu düşündünüz mü? İngilterede Essex üniversitesinden uygulamalı dil bilimi bölümü akademisyeni Sophia Skoufaki yazıyor. 

Yazar:  Sophia Skoufaki, Associate Supervisor in Applied Linguistics, University of Essex

Akademik sözcükleri herhangi bir disipline bağlı kalmaksızın okulda ve diğer tüm eğitim ortamlarında kullanıyoruz.  Hem yazılı hem de konuşma dilinin önemli bir parçası olan akademik kelimeleri bir araştırmayı tanımlamak ya da konuşma ve yazmayı yeniden yapılandırmak için kullanabiliriz.

Öğrencilerin akademik sözcüklere olan yatkınlığı ilkokul, ortaokul ve lise performanslarını da direk olarak etkilemektedir. Başka bir deyişle öğrenciler akademik kavramları ne kadar iyi bilirlerse okuldaki başarıları da o kadar artmaktadır. Ancak akademik kelimeler genel olarak ilk bakışta sadece okulda öğretiliyor gibi gözükse de durum böyle değildir. Öğrenciler okul dışında da bu kelimeleri öğrenmeye devam etmektedir. Sanırım işin zor kısmı da burda başlıyor.

Akademik Kelimelerin öğrenilmesinde karşılaşılan zorluklar nelerdir?

Öte yandan ana dili ingilizce olup sadece tek bir dil konuşan insanların da çoğu zaman “summarise ve contribute” gibi kelimelerle sorunlar yaşadığı görünüyor. Yukarıda bahsettiğim araştırmalar ayrıca ana dili ingilizce olanların kelime bilgisinin de hiç de sanıldığı gibi iyi bir seviyede olmadığını gösteriyor. Araştırmalar sosyo – ekonomik profil düşük olduğunda dil gelişiminin hem ilkokulda hem de ortaokulda zayıflamakta olduğunu göstermektedir.

Aslında ingilizce akademik kelimelerin bazılarıyla günlük hayatta da karşılaşmaktayız. Ancak, çoğu zaman onları doğal olarak fark edemeyebiliyoruz. Örneğin diyelim ki bir öğrenci “reliable” kelimesini daha önceden günlük hayatında “dependable” olarak biliyor. Bu öğrenci bu kelimeyi bilimsel bir makalede gördüğünde “of consistent quality” ifade ettiğini anlamada başarılı olamayacaktır. Hong Kong ve Yeni Zelandada yapılan bu araştırmalar da öğrencilerin bu yeni kelimelerin farklı anlamlarını anlamakta güçlük çektiğini göstermiştir. Araştırmacılar bunun sebebini öğrenilmiş kalıplar olarak gösteriyor. Öğrencilerin aynı kelimeler hakkında daha önceden öğrenmiş oldukları anlamlar birer öğrenilmiş kalıba dönüşmektedir. Bu durum ise bu kelimelerin yeni ve farklı anlamlarının analaşılmasını güçleştirmektedir.

Akademik kelimeleri öğrenmek neden zor?

Öğrencilerin öğrenmesi gereken yeni anlamlar beraberinde öğrenilmesi gereken yeni bilgileri de getirir.

Tüm diğer kelimelerde olduğu gibi akademik kelimeleri anlamak demek, o kelimelerin tanımı bilmek demek değildir. Akademik kelimeleri anlayabilmemiz için onların yanlarında kullanılan diğer kelimelerle olan ilişkilerini ve zamanlarını da iyi bilmemiz gerekiyor.

Akademik kelimeleri öğrenmenin zor olmasının bir başka nedeni de, bazılarının mesleki bir dile yani jargona ait olmasıdır. Örneğin, “Function” kelimesinin farklı anlamlarla kullanıldığı birçok disiplin mevcuttur. Fonksiyonlar matematikte bir işlem türü anlamına gelirken bilgisayar alanında ise programların yapı taşlarını temsil etmektedir.

Akademik kelimlerin eğitim hayatındaki önemi

Öğrencilerin akademik kelimeleri öğrenirken karşılaştıkları en büyük güçlüklerden biri de maruz kalma biçimleridir. Bilimsel jargon gibi akademik kelimeler yalnızca okullarda öğrenilmiyor.

Akademik kelime çalışmaları

Amerikada ilkokul ve ortaokullarda verilen akademik kelime eğitimi üzerine yapılmış birçok araştırma vardır. Bunlardan biri de; Nonie K. Lesaux, Michael J. Kieffer, Joan G. Kelley, Julie Russ Harris tarafından yapılan “Effects of Academic Vocabulary Instruction for Linguistically Diverse Adolescents: Evidence From a Randomized Field Trial” isimli araştırmadır.

Bu araştırmada yaygın olarak kullanılan kelime eğitiminin yani yazım ve telaffuz çalışmalarının dışında çok farklı şeylere de bakıldığı görünüyor. Nasıl mı? Örneğin; öğrencilerin farklı bağlamlarda aynı kelimeyle karşılaşmaları sağlanmıştır. Ardından, her kelime için birden fazla anlam öğretilmiş. Son olarak da öğrencilerden anlam tahmin etme ve kelimeleri anlamlı parçalara ayırma gibi etkinlikler yapmaları istenmiş.

Burada uygulanacak sıradan eğitimlerin işe yaramayacağını unutmamak gerekiyor. Genel kelime egzersizlerinin aksine bu çalışmalar bir kelimenin tetafuz ve anlamından çok daha fazlasını sunuyor. Örneğin; American Educational Research Journal tarafından yayınlanan    “Word Knowledge and Comprehension Effects of an Academic Vocabulary Intervention for Middle School Students” isimli başka bir çalışmada öğrenciler önce aynı kelimelerle değişik kontekstlerde karşılaştırıldı. Bu şekilde her bir kelime için birden fazla anlam öğrendiler. Son olarak da anlam tahmininde bulunma ve ve sözcükleri anlamlı parçalara bölme egzersizleri yaptılar.

Yapılan bu çalışmada araştırmacılar öğrencilerin yaş ve ingilizce yeterlilik seviyelerinin akademik kelimeleri öğrenme becerileri üzerinde nasıl bir etkisi olduğunu anlamaya çalışıyor. Böylelikle farklı öğrencilere hangi kelimeler ve bu kelimelerin hangi özelliklerinin öncelikli olarak öğretilmesi gerektiği gibi sorular daha kolay yanıt bulacak.

Uygulamalı dilbilimi üzerine yapmış olduğum “Spanish L1 EFL learners recognition knowledge of English academic vocabulary: The role of cognateness, word frequency, and length” isimli çalışmamada bu konuyla ilgili dikkat çekici sonuçlar aldım. Örneğin; iki dilde eğitim veren üniversitelerin öğrencileri İngilizce akademik sözcükleri daha kolay ayırt edebiliyorlar. Özellikle aynı kökenden gelen “cognate words” yani “English university” ve Spanish universidad” gibi kelimeleri ne kadar az karşılarına çıkarsa çıksın oldukça kolay fark edebilmektedirler.

Akademik kelimlerin eğitim hayatındaki önemi

Bununla birlikte tüm iki dilde eğitim gören öğrencilerin soydaş kelimeleri kolaylıkla tanıyabildiğini söyleyemeyiz. Öğretmenlerin burada öğrencilerin aynı kökten gelen kelimelerle ilgili farkındalıklarını kelimelerin iki farklı dildeki benzer kısımlarına işaret ederek arttırmaları gerekmektedir. Ayrıca öğrencilerin İngilizce okuma ve dinleme çalışması yaparken bu aynı soydan gelen kelimelerle ilgili bildiklerini kullanmalarını sağlayabiliriz.

İlgilinizi çekebilecek bir içerik: 9.sınıf 8.ünite ingilizce kelimeleri

Sonuç olarak, öğrencilerin akademik kelimeleri gerçek anlamda tanımaları oldukça büyük bir öneme sahiptir. Ancak bu şekilde okuma ve yazma çalışmalarını doğru bir şekilde tamamlayarak onları konuşma ve yazma etkinlerinde doğru bir şekilde kullanabilirler.

Son olarak şunu da eklemek istiyorum; tabi ki tüm akademik kelimeleri sınıf ortamında bu kadar derinlemesine öğretemeyiz. Bu nedenle bu kelimelerin öğretimi öğrencilerin bireysel ihtiyaçlarına göre planlanırsa işimiz çok daha kolay ve etkili olacaktır.

Bu makale, yazarın yazılı izin ile Mahir Barut tarafından edit edilerek Türkçeye tercüme edilmiştir. Makaleyi orijinal dilinde theconversation üzerinde okumak için “Why Students need to learn academic words” bağlantısını tıklayın.

The post Akademik kelimelerin eğitim hayatındaki önemi nedir? by Sophia Skoufaki appeared first on ingilizcepedia.

Analysis of I Hear America Singing by Walt Whitman. Commentary on “I Hear America Singing” Which arguments does Whitman use for America? What does Whitman think about ordinary people?

The emergence of the poem that comes up in the first chapter of Leaves of Grass coincides with the economic growth before the great depression in America. Its tone is highly patriotic but in a different way from its contemporaries of which is known conventionally. Because there is no visible hint on political issues including racial and religious ones. And despite the lack of all these political issues, it brings us a perfect harmony of a nation. But somehow the questions which are brought by the poem crystallizes the place of the proletariat in the daily life of America

I Hear America Singing Walt Whitman (1819–1892). Leaves of Grass. 1900

I HEAR America singing, the varied carols I hear;
Those of mechanics—each one singing his, as it should be, blithe and strong;
The carpenter singing his, as he measures his plank or beam,
The mason singing his, as he makes ready for work, or leaves off work;
The boatman singing what belongs to him in his boat—the deckhand singing on the steamboat deck; 
The shoemaker singing as he sits on his bench—the hatter singing as he stands;
The wood-cutter’s song—the ploughboy’s, on his way in the morning, or at the noon intermission, or at sundown;
The delicious singing of the mother—or of the young wife at work—or of the girl sewing or washing—Each singing what belongs to her, and to none else;
The day what belongs to the day—At night, the party of young fellows, robust, friendly,
Singing, with open mouths, their strong melodious songs.

Analysis of I Hear America Singing

Of course, for any poems that are not the angle we used to look through and know well so far. In fact, it sounds a bit difficult to analyze it properly. Therefore, it will be wise to remember shortly the social and artistic background at the very time of the poem in order to unravel the meaning behind the words.

First of all, America is then at the pinnacle of its economic growth, and by extension social life began to heal up itself especially in terms of visual arts and musical forms. This improvement can be seen in the poem by means of provided inspiration.

How about reading Utopia Analysis? So, follow Thomas More’s Utopia Analysis.

What does Whitman think about ordinary people?

Secondly, Whitman uses his arguments wittily. There are many figures from every walk of the working class. He deliberately avoids mentioning the upper class in the poem.  Most importantly, he believes that the miracle that reinforces the constitution of America can not be found in the minority who leads the country but comes from the majority within the ordinary people. This was pretty romantic but a powerful notion.

Whitman says “but the genius of the United States is not best or most in its executives or legislatures, nor in its ambassadors or authors or colleges or churches or parlors, nor even in its newspapers or inventors … but always most in the common people” ¹ That explains how the poem appeals to musical industries and became favorable to the whole nation.

Above all, the figures in the poem remind us of the figure of Willy Loman in the death of Salesman by written Arthur Miller. he writes in his essay “It is time, I think, that we who are without kings took up this bright thread of our history and followed it to the only place it can possibly lead in our time–the heart and spirit of the average man.”²  So, the common man and woman, like “Willy ^Loman”3, in the poem is the most endearing quality makes the poem a roaring success in the view of Americans.

The Triumph of The Ordinary People

Finally, The members of the working class are likened to the members of an orchestra. This happens like in an opera in which every individual has a special instrument and plays a different melody, but in this variety of tune. Thus, a more harmonious piece of art emerges in the whole. In the poem Whitman also underlining that this harmony depends on the strength and tenacity of the working class. In addition, the words “robust/blithe and strong” are simply a testament to that desired effect.

Consequently, in the last couplet his arguments, the triumph of the ordinary people, are corroborated by the joyfulness of the new generations and thus creates a poem as he wrote “The United States themselves are essentially the greatest poem”⁴ by making the ordinary people the True Heroes Of America, not the kings, inventors or writers. Thus, I think the reverence what these unforgettable lines deserved is quite understandable in this regard.

Would you like to read another commentary on I Hear America Singing? So, I advise you to read this article by Kresh, David

WORKS CITED
1. “Preface to Leaves of Grass” in 1855 Walt Whitman
2. “Tragedy and the Common man” Arthur Miller in 1949
3. The character in The death of Salesman whose writer is Arthur Miller. He sacrifices himself for the betterment of his family
4. The preface to Leaves of Grass in 1855 Walt Whitman

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Atonement movie analysis. Adapted movie analysis by analogy with its original book. Atonement characters, Ian McEwan’s Atonement.  Briony, Cecilia Tallis, and Robbie Turner. Movie adaptation Jone Wright’s Atonement.

THE TRIALS OF ARABELLA

“THE TRUTH THAT BECOMES AS GHOSTLY AS INVENTION” by Mahir Barut

I am sure that most of you watched at least once Atonement which is adapted by Joe Wright or read the novel by Ian McEwan. In this post, we will talk about impartial psychological realism and the narrative structure embedded in the plot.

The movie starts  -in tune with its original book-  with the completion of “The trials of Arabella”, Briony’s first play. In the immediate opening, this play gives us a significant hint about the beliefs and attitudes of the narrator in a form of a brief critique. In this first part, our narrator is the heterodiegetic narrator, and the point of view is the 3rd. Person and Godlike omniscient narrator however this will not permanently posture throughout both movie and novel. In the same manner, the movie also keeps the same perspective without changing the point of view.

Side Reader in Atonement

As I mentioned above, The Trials of Arabella plays a key role as it opens a gate from the Auto diegetic narrator to the heterodiegetic narrator. This happens via the voice of the narrator and meanwhile, we are becoming inadvertently secondary readers or we can call it “side reader” but it is too early for any acknowledgment of this hidden frame. But this critique, at first reading, if you have not watched the movie yet may have been misinterpreted through the first part of the novel. Our heterodiegetic narrator is presumably absent from the narration but there is an obvious interference in the psychological implications of the failure in Briony’s tentative attempt to act out her first play.

Atonement Character Analysis

In the movie, this is presented to the audience by means of the voice of the typewriter in accordance with particular moments of tension. But the scene in which Robbie typed a pathetic excuse for Cecilia, with a cunning addition what Director of the movie, Joe Wright skillfully added in, disperses the focus on Briony’s writing and helps the conjuncture of the story by springing out a surprise for the audience at the last part of the movie in a way which will be congruent with the original book. It is for this reason in the movie to comprehend this fact- the connection and the gate between the two different narrator- is really hard.

On the other hand in the novel, we are facing with deep insights which directly implies a strong emotional turmoil in a non-specific point that is reflected from a remote future with the sudden state of impulses to interfere with the internal feelings and motives of the characters by adding strong arguments upon realism which seems to be irrelevant to the simplicities of most scenes. For example, this paragraph cited from Part-1, chapter three is a perfect testimonial to the fact how a hidden auto diegetic narrator interferes in the narration of a heterodiegetic narrator.

Atonement Character Analysis

“ A story was direct and simple, allowing nothing come between herself and her reader – no intermediaries with their private ambitions or incompetence, no pressure of time, no limits on resources. In a story you only had to wish, you only had to write it down and you could have the world;…”

Needless to say, of course, this is not a premature confession of a regrettable mistake or a preposterous attribute because she is solely the narrator of her own world in her own book, and it is not… because she is herself also in the third part who will join to the narration and identifies herself as a narrator and writer.

Thus as a natural consequence, we are also losing our narrative voice as our storyteller voice suddenly metamorphoses into a protagonist who tells the story from the first-person point of view. Therefore these interferences are not premature but are utilized to form the groundwork for a logical transition but also they have a more remarkable function in rationalization and justification of her mistakes and ignorance before making amends in front of the audiences. All these answers can be shown in the realms of possibility. Now let’s turn back to Arabella’s story.

Atonement Movie Analysis

In Joe Wright‘s movie, the scenes in relation to the play  Arabella omit some vital fragments which will show the audiences the strong aspirational perspectives at the frontiers of imagination what a little girl put into action with play in which she aspires to participate as both an author and actress in an uncompromising manner. But when the book was reread after watching the movie and witnesses all climatical moments, each discriminating reading easily makes the reader got gripped on an exquisite retrospective rework on her advent of writing talents by means of The Trials of Arabella.

“ the whole thing’s a mistake. It’s the wrong… It’s the wrong genre! ”  ( cited part 1 chapter four)

She is sulking and Cecilia seems pretty indifferent and busy with her own affair.  If she is able to externalize so emphatically there must be really something amiss with the play or writerness. And if so what may infuriate her to the point of making her a malicious, undesirable, and unwelcomed girl?

Impartial Psychological Realism

She is describing the play as her first excursion into the drama that was written for Leon’s homecoming. Of course first of all we have to grasp the story of the real “Arabella” which is a lyric comedy in 3 acts and was first performed on 1 July 1933. We can easily deduce that in her play there are plagiarisms in light of many such as this fragment below cited from part 1, chapter one

“at the age of eleven she wrote her first story- a foolish affair, imitative of half a dozen folktales and lacking, she realized later,…”

Firstly, the gravity of the problem is not confined to these signs of plagiarism. We do not have a complete text of her play but we have a chance to take the “Arabella” as a point of departure to clarify the alterations and implications of these changes on her authorship career. Arabella also fits the plot with its timing of first performing 11 July 1933. This date coincides with a time unsurprisingly –stupendously–  in which Briony finishes The Trials of Arabella” two years later.. deceptions, misunderstandings, marriage affairs.

The most striking evidence which establishes a link between Arabella and Briony is presented with the three playlets in part 1, chapter one; At first, he, Leon, the prince suffers in grief as Arabella sank in loneliness and despair. In second, he is boasting of his younger sister, “Briony Tallis the writer, you must surely have heard of her.” In a third, she dreams that he punches the air in exultation as the final curtain fell.

Atonement Character Analysis

She should and has to be Arabella because; She was an incurable control and harmonious freak. In her room, for example, animals on the window ledge, all of them were angled to face their owner and even hens were delicately enclosed. Another detail she has a notebook written in a special code which is invented by herself although she has nothing to keep it secret and she has no one to learn about it. When Lola asked her about her role, she can not resist Lola’s implicit demand and she let her be Arabella but with a sulk and grudge in her mind which is echoed that she herself could only be Arabella because her thoughts were Briony’s thoughts.

As it is understood she was completely closed to the realities of the others- she was living in self-imposed –deception-inflicted and always self-righteous in the isolation of Tallis house with no pears who can play together and remains one option to prove herself in the adult world was that she had to invent the other minds in order to bear the idea of other minds were also equally alive. So her insufficiency in creating specific plays and acting out leads her to overcompensate for her delusions by adopting a sagacious posture what she will able to understand years after scarcely that impartiality was imperative for a moral point of view. So her desire to become both writer and Arabella was extremely preposterous just as it was the case of her last novel “Atonement” she had to conceal herself.

Being Revealed

“she could write a scene like the one by the fountain and she could include a hidden observer like herself”, cited page 38.

“If her cousin was not able to command the truth, then she would do it for her. I can. And I will.”  Cited from page 158

Until she finished and published her last novel “ Atonement” she skillfully manages to conceal herself from the reader, but unfortunately also the truth. As a result, the final revelation proves the impartial psychological realism ends with a calamity. The saga that starts with the substitution of the roles for Arabella between Lola and Briony preceded with concealing herself and finished skillfully with rendering herself back as a writer to us and as a hidden observer to her own reader in anticipation of … still in impartial point of view- incapable of sensing the beauty and the truth.

“Self-exposure was inevitable the moment she described a character’s weakness; the reader was bound to speculate that she was describing herself” cited from page 6

Whereas Arabella finishes with a happy ending the trials of Arabella was full of ugliness in infinitive variation. It ıs for this reason – cos of the prospect of being speculated, being revealed- is still the point where she reached at is not beyond the impartial point of view but far away from a moral point of view.

Would you like to read another after Atonement movie analysis? Then, follow Invictus and Goodbye Bafana link.

Pictures from Movie: By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=24106031

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Invictus Movie Analysis and Goodbye Bafana. Nowadays I think in order to plumb the realities behind the scene when we look at Africa it will always be wise to remember George Orwell’s conviction in his this humble proclamation: “It strangely seems justice can never prevail in this continent and in the foreseeable future or horizon because I personally see no prospect as people do not change the things can never.” But this speech in fact carries also a great national confession on failures in Africa colonies and points out all possible political and sociological implications. And today’s disturbances and each elaborate stir -I opted “elaborate” because it would be naive to think there could be any stir not caused by design – apparently as it seemed in these movies go on in this same manner with one-sided accounts via the media forces in a different dimension. Now let’s review our movies.

Invictus Movie Analysis and Apartheid

“In the age of the tank and the bombing plane, backward agricultural countries like India and the African colonies can no more be independent than can a cat or a dog.”¹Cited from Horizon, December 1940. England Your England, George Orwell  1940

Goodbye Bafana starts with a setting in South Africa in 1968. In the early minutes, we face one of the starkest and brutal realities of the country.

The first striking moment comes on the scene between Mrs. Gregory and her child. We are learning Anglo –Saxon definitions of Criminal and Terrorist and we are discriminating Criminals from Terrorists by trying to subdue our feelings as much as we can in the face of this nonsense. Mrs. Gregory clarifies the differences by answering her children’s questions saying that “black people can not be carried on the same ship with white prisoners because they are not criminal, they are terrorist, they are savages, they are naked, they are black..!” of course needless to say I could not find yet from which dictionary she drew these definitions.

Goodbye Bafana Movie Analysis

When Mr. Gregory had had a promotion to censorship at Robben island we are beginning to witness a change via Mr. Gregory on political order and increasing tension in the country by the years passed meanwhile simultaneously Nelson Mandela’s strict prison conditions changes positively. Throughout the movie, there is no scene that is centered outside because the focus point of the movie is the dogged determination Nelson Mandela performed behind the enclosures.

This tenacious stance does never lose its sustainability. Many times during his prison years, he is being offered pact but he never accepts as he finds them expedient not a real solution. He says in the movie “ I am waiting for anyone to come to talk about peace but they are only interested in power”

Maybe it is for this reason he was held inside so long for this anti-submissive.

This stance in fact manifests itself in the second movie with the poem “Invictus”

Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.

by William Ernest Henley

Invictus Movie Analysis

This poem openly proves how he is imposed to the implicit treats during his prisoner years. Especially the scene the Rugby teams visited his prison hints many details.  When Mr. Pienaar entered his prison cell we are hearing the poem with Nelson Mandela’s voice. I think this scene is filmed in a way that can be opened to analysis at a two- dimensional angle. One of them, of course, the inspirational spirit for the team and country that says we are the only one who can put the limits the capacity of what we can do,  identify the boundaries who we are, and determine what we will have.  But another message is that he was offered to compromise his principles and one-sided reconciliation. When we analyzed the poem, therefore, in fact, we also analyzing human rights abuses that is acted by the Apartheid regime.

    When Nelson Mandela won the presidential election he does not only end up Apartheid regime but also brings a new life-spring to the country in which a new social order will be able to spring out. Because he is completely aware of all possible counter-attacks which may be intended to prove the black fiasco on governing the country.  In the movie, he is rationalizing and justifying perfectly the reasons in his acts. When he enters the presidential compound he does not change anything and in his office confides that country needs all citizens, black and white and significantly even half of his bodyguards are appointed white to prove the trust between the races in front of all country.

The movie also shows us to which extent a sporting game can be influential upon a nation with its unifying power and a leader not only of a team but all country can utilize this power for the betterment of his people.

 THE END

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