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It is vital not only to imagine space but also to follow the narration, the description, and the course of action, since all those may shape the fictitious reality by imposing the additional meanings on it. [7] Literary/cultural conventions constitute the second space-modelling code. This system is more abstract one than the previous one.
For example, T. S. Eliot typed rather than wrote the manuscript for his classic The Waste Land between 1920 and 1922, and used only English spacing throughout: double-spaced sentences. [ 6 ] There is, however, considerable variability in the use of the terms, to the extent that they are often used with the meanings reversed.
Standard word spaces were about one-third of an em space, but sentences were to be divided by a full em-space. With the arrival of the typewriter in the late 19th century, style guides for writers began diverging from printer's manuals, indicating that writers should double-space between sentences.
The story itself is considered a performance so there is a synergy among the aforementioned elements. [1] In the story, the narrator may draw attention to the narrative or to himself as storyteller. [2] The structure often includes the following: Tell riddles to test the audience. Audience becomes a chorus and comments on the story.
A story within a story, also referred to as an embedded narrative, is a literary device in which a character within a story becomes the narrator of a second story (within the first one). [1] Multiple layers of stories within stories are sometimes called nested stories .
Story structure is a way to organize the story's elements into a recognizable sequence. It has been shown to influence how the brain organizes information. [2] Story structures can vary culture to culture and throughout history. The same named story structure may also change over time as the culture also changes.
Sentence spacing concerns how spaces are inserted between sentences in typeset text and is a matter of typographical convention. [1] Since the introduction of movable-type printing in Europe, various sentence spacing conventions have been used in languages with a Latin alphabet. [2]
Oral literature is especially rich in chiastic structure, possibly as an aid to memorization and oral performance. In Homer's Iliad and Odyssey, for instance, Cedric Whitman finds chiastic patterns "of the most amazing virtuosity" that simultaneously perform both aesthetic and mnemonic functions, permitting the oral poet easily to recall the basic structure of the composition during ...