1 S T C E N TURY LI T E RA TURE

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L I PP I N E S A N D T H E W OR L D
FROM T HE P HI
D C O MMO N L ITEVICES
ERARY D
CONTEXT AN
CONTEXT
Context originates from the notion of weaving together. It is defined as the
circumstances that form the setting of events, statements, or ideas and in the
way of which it can be fully understood and assessed. Reading a literary piece
may contribute to the production of the author and the reception of the
reader as they appreciate and explore.
The writer's context is knowing
about the writer's life, values,
assumptions, gender, race, race,
sexual orientation, and the
political and economic issues
related to the author.
Reader's context is
about the reader's
previous reading
experience, values,
assumptions, political
and economic issues.
The text's context is about its publishing history. It is part of the
larger text such as newspaper, history, events, translated in it.
Social context and socio-cultural of a text feature the society in
which the characters live and in which the author's text was
produced.
LITERARY DEVICES
A literary device is a writing technique that writers use to express ideas, convey meaning, and highlight
important themes in a piece of text. A metaphor, for instance, is a famous example of a literary device.

They also work subtly to improve the flow and pacing of your writing.
ALLEGORY - an allegory (AL-eh-goh-ree) is a story within a story. It has a “surface
story” and another story hidden underneath. In most allegories, the hidden story
has something to do with politics, religion, or morality — complex subjects that
are difficult to understand directly.

Ursula le Guin has a short story called “The Ones Who

Walk Away from Omelas.” On the surface, it’s a
description of a magical city that hides a terrifying secret.
But its hidden story is a sharp critique of utilitarian
philosophy, or the idea that what’s right is whatever
makes people happy. Le Guin challenges this idea by
describing a city in which nearly everyone is happy, but
still things don’t seem to be morally right.
https://literaryterms.net/allegory/
Life of Pi by Yann Martel

In Life of Pi, the main character is a child who’s stuck

on a boat with a tiger. At first, he doesn’t realize the
tiger’s there because it’s under a tarp. As soon as he
becomes aware of the tiger, he tries to get away from
it. In the end, the two develop a tight bond.

The allegory is knitted throughout the novel and it’s

meant to mirror a relationship with God. The author,
Yann Martel, would argue that we don’t always realize
God is present. When we do, we often try to escape
Him by living according to our own will. But, in the end,
a life lived in union with God is a happier one.

https://examples.yourdictionary.com/examples-in-books-of-allegory.html
Anthropomorphism - to anthropomorphize is to apply human traits or qualities to a
non-human thing such as objects, animals, or the weather. But unlike personification,
in which this is done through figurative description, anthropomorphism is literal: a sun
with a smiling face, for example, or talking dogs in a cartoon.

In Disney’s Beauty and the Beast, Mrs.

Potts the teapot, Cogsworth the clock,
and Lumière the candlestick are all
household objects that act and behave
like humans (which, of course, they were
when they weren’t under a spell).
Archetype - An archetype is a “universal symbol” that brings familiarity and context
to a story. It can be a character, a setting, a theme, or an action. Archetypes
represent feelings and situations that are shared across cultures and time periods,
and are therefore instantly recognizable to any audience — for instance, the
innocent child character, or the theme of the inevitability of death.

Superman is a heroic archetype: noble,

self-sacrificing, and drawn to righting
injustice whenever he sees it.
Flashback - Flashbacks to previous events split up present-day scenes in a story,
usually to build suspense toward a big reveal. Flashbacks are also an interesting way
to present exposition for your story, gradually revealing to the reader what
happened in the past.

In the film Slumdog Millionaire, Jamal Malik is

competing on “Who Wants To Be A Millionaire” and
about to answer the last question, however, the
film soon flashes to Jamal being held captive and
being interrogated on how he cheated.

Slumdog Millionaire, 2009

Viewers are then treated to what
can be called an
“Inception Flashback,” which is a
flashback inside of a flashback.
Probably only a handful of movies
to do so, the film follows Jamal as
he flashes back to the game show
where he's being asked the
question, and then to his childhood
to showcase who's his childhood
presented him with the answers to
these questions. 
 The story that broke everyone's hearts and became
the seminal chick flick of our generation, “The
Notebook” proved to be an immense success for both
Ryan Gosling and Rachel McAdams. The story begins
in the present with an old man telling a story to an
older woman about a couple who fell in love in the
1940s. It's not until later that we find out that the old
man and woman are actually the aged version of the
younger couple in the tale, and that the man is
recounting their story to his dementia-ridden wife.
It's every bit as tear-jerking as it sounds, and is
guaranteed to leave even the biggest cynic choked
up.
The Notebook, 2004
Foreshadowing - Foreshadowing is when the
author hints at events yet to come in a story.
Similar to flashbacks (and often used in
conjunction with them), this technique is also
used to create tension or suspense — giving
readers just enough breadcrumbs to keep
them hungry for more.

Sometimes a future event is mentioned earlier

in the story, like a comment about a meeting
between characters. The reader already knows
that issues will be discussed later.
Coraline, 2009
Show but don’t tell.
What will most likely to happen?
What will most likely to happen?
Juxtaposition - Juxtaposition places two or more dissimilar characters, themes,
concepts, etc. side by side, and the profound contrast highlights their differences.
Meet your groupmates and finalize the story that you
will be writing.

On Monday (October 10, 2022), you will be

presenting your story and I’ll give my decision if it’s
approved or if it needs improvement.

PLEASE WORK QUIETLY!

Point of view - Point of view is, of course, the mode of narration in a story. There are
many POVs an author can choose, and each one will have a different impact on the
reading experience.

Types of Point of View

1 First Person Point of View - This is the most easily recognized kind of point of view as it uses
first-person pronouns like “I,” “me,” and “my”. this kind of perspective comes from an individual,
whether the poet themselves, a child, a mentally ill patient, a dying woman, or even an animal,
object, or creature from another realm, or any combination of those, the variations are endless.
There are countless ways a writer can imbue a character with features and beliefs that bleed
through into their understanding of a scenario.
2 Second-person Point of View - The least used of the three kinds of perspective, second-
person point of view, uses pronouns like “you,” “yours,” and “your”. Poems written this way are
directed at a specific listener, or towards the reader in general. Oftentimes storytellers will use
this kind of perspective to implicate the reader in the story they are telling. “You” will be the
source of the story’s drama and “you” will face the consequences of “your” actions.

3 Third-person Point of View - The third-person point of view is quite popular as it allows the
writer to convey ideas, experiences, and beliefs from multiple perspectives. This point of view
uses pronouns like “she,” “he,” and “they”. From this perspective, a reader can hear from
various characters while also judging the narrator who is conveying the thoughts of those same
characters. The narrator has a very important role in this style of writing. Just as with first-
person perspective, there is the chance that the speaker is not objective. Their own opinion
about events, if they witnessed them, might influence the way they convey a story.