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Plot development: Which paragraph contributes to the Climax of the text?

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Plot development: Which paragraph contributes to the Climax of the text?

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Point:

Evidence:

Explain:

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Written by Jack London

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Character traits of the protagonist: List 3 and support with evidence from the text.

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Character traits of the protagonist: List 3 and support with evidence from the text.

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1. Walt Masters

2. Mazy May Creek

3. Dawson

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How is the theme developed in the text? 

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How is the theme developed in the text? 

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Provide examples and paragraph numbers

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Who is the antagonist in the story?

the antagonist of this story is Walt Masters he has a lot of struggles in this story.

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The author's purpose for writing the short story is to entertain, but he also writes to give information on what topic?  that Walt Masters was a young boy traveling in the snow by himself and he was a really brave kid

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The author's purpose for writing the short story is to entertain, but he also writes to give information on what topic?  that Walt Masters was a young boy traveling in the snow by himself and he was a really brave kid

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Objective Summary: Write a 5 sentence objective summary.  Be sure to use correct sentence structure

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Objective Summary: Write a 5 sentence objective summary.  Be sure to use correct sentence structure

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Theme development:  How is the theme being developed?

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Theme development:  How is the theme being developed?

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Who is the protagonist in the story?

the protagonist in the story is Walt Maters because he leads a lot in the story and he is the main character in the story.

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Simile: Locate a Simile in the text.  Provide the paragraph # and explain the meaning.

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Simile: Locate a Simile in the text.  Provide the paragraph # and explain the meaning.

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Theme: “Stand up for what is right”Write a P.E.E paragraph explaining the theme of the story.

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Theme: “Stand up for what is right”Write a P.E.E paragraph explaining the theme of the story.

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What effect does the title of the text have on the tone?

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What effect does the title of the text have on the tone?

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Explain your answer and select 5-7 words to support your answer.

the tone i say that is going on in this text is sad i say it is like sad because it uses the words manliness wilderness and wilderness is like in a forest your in the middle of no where and he was a brave young kid,and uses more words like darkness and loneliness.

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Text Structure:  What is the organizatial 

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Text Structure:  What is the organizatial 

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the text is organizatial because it puts the words in order where they should be.

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Metaphor: Locate a metaphor in the text, provide the paragraph # with figurative language, and meaning

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Metaphor: Locate a metaphor in the text, provide the paragraph # with figurative language, and meaning

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1. Which evidence from the movie and/or text Best supports  the idea that the author was very determined  to be a writer?

2.  What is the central idea of the text?

3. How does paragraph 5 contribute to the plot of the story?

your turn:
Create at least 4 question based on the text and the video.
Topics:
tone, mood, connotation, author's purpose, text structure, compare and contrast. point of view, passage summary.

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Which paragraph from the text contributes to the theme "Stand up for what you believe in?

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Which paragraph from the text contributes to the theme "Stand up for what you believe in?

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Suspense:  How does the author create suspense in the text?  he creates suspense by telling us what will happen next in the story.

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Suspense:  How does the author create suspense in the text?  he creates suspense by telling us what will happen next in the story.

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the author puts in things you would not expect and that's callled suspense he out something in the text no where.

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A frame from the 1919 film Suspense.

Suspense is a state of anxiety or excitement caused by mysteriousness, uncertainty, doubt, or undecidedness. In a narrative work, suspense is the audience's excited anticipation about the plot or conflict (which may be heightened by a violent moment, stressful scene, puzzle, mystery, etc.), particularly as it affects a character for whom the audience feels sympathy. However, suspense is not exclusive to narratives.

In literature, films, television, and plays, suspense is a major device for securing and maintaining interest. It may be of several major types: in one, the outcome is uncertain and the suspense resides in the question of who, what, or how; in another, the outcome is inevitable from foregoing events, and the suspense resides in the audience's anxious or frightened anticipation in the question of when. Readers feel suspense when they are deeply curious about what will happen next, or when they know what is likely to happen but do not know how it will happen. Even in historical fiction, with characters whose life stories are well known, the why usually brings suspense to the novel.

An adjunct to suspense is foreshadowing, as found in hints of national crisis or revolution in Isabel Allende's House of the Spirits (1991).

In Sophocles' Oedipus Rex (429 B.C.), suspense is achieved through a withholding of the knowledge that Oedipus himself has killed Laius, his father. During the play, the spectators, aware that Oedipus will eventually make the discovery, share the hero's uncertainties and fears as he pursues the truth of his own past.

In George Washington Cable's story "Jean-ah Poquelin" (1875), the reader wants to know the cause of the strange smell and the unexplained disappearance of a brother.

In Mark Twain's Pudd'nhead Wilson (1895), the reader anticipates the outcome of the switching of a black infant with a white infant.

In Ernest J. Gaines's A Gathering of Old Men (1983), the reader waits for the court's decision at a murder trial.

Some authors have tried to explain the "paradox of suspense", namely: a narrative tension that remains effective even when uncertainty is neutralized, because repeat audiences know exactly how the story resolves. Some theories assume that true repeat audiences are extremely rare because, in reiteration, we usually forget many details of the story and the interest arises due to these holes of memory; others claim that uncertainty remains even for often told stories because, during the immersion in the fictional world, we forget fictionally what we know factually or because we expect fictional worlds to look like the real world, where exact repetition of an event is impossible.

The position of Yanal is more radical and postulates that narrative tension that remains effective in true repetition should be clearly distinguished from genuine suspense, because uncertainty is part of the definition of suspense. Baroni proposes to name rappel this kind of suspense whose excitement relies on the ability of the audience to anticipate perfectly what is to come, a precognition that is particularly enjoyable for children dealing with well-known fairy tales. Baroni adds that another kind of suspense without uncertainty can emerge with the occasional contradiction between what the reader knows about the future (cognition) and what he desires (volition), especially in tragedy, when the protagonist eventually dies or fails ( suspense par contradiction).

Baroni, R. (2007), La tension narrative. Suspense, curiosité, surprise, Paris: Éditions du Seuil

Beckson, Karl; Ganz, Arthur (1989), Literary Terms: A Dictionary (3rd ed.), New York: Noonday Press, LCCN 88-34368

Brewer, W. (1996). "The Nature of Narrative Suspense and the Problem of Rereading". In Vorderer, P.; H. J. Wulff; M. Friedrichsen (eds.). Suspense: Conceptualizations, theoretical analyses, and empirical explorations. Mahwah: Lawrence Erlbaum Associates.

Carey, Gary; Snodgrass, Mary Ellen (1999), A Multicultural Dictionary of Literary Terms, Jefferson: McFarland & Company, ISBN 0-7864-0552-X

Gerrig, R. (1989). "Suspense in the Absence of Uncertainty". Journal of Memory and Language. 28 (6): 633-648. doi:10.1016/0749-596X(89)90001-6.

Harmon, William (2012), A Handbook to Literature (12th ed.), Boston: Longman, ISBN 978-0-205-02401-8

Walton, K. (1990), Mimesis as Make-Believe, Cambridge: Harvard University Press

Webster's Seventh New Collegiate Dictionary, Springfield: G. & C. Merriam Company, 1969

Yanal, R. (1996). "The Paradox of Suspense". British Journal of Aesthetics. 36 (2): 146-158. doi:10.1093/bjaesthetics/36.2.146.

Baroni, R. (2009). L'oeuvre du temps. Poétique de la discordance narrative, Paris: Seuil.

Brooks, P. (1984). Reading for the Plot: Design and Intention in Narrative, Cambridge: Harvard University Press.

Grivel, C. (1973). Production de l'intérêt romanesque, Paris & The Hague: Mouton.

Kiebel, E.M. (2009). The Effect of Directed Forgetting on Completed and Interrupted Tasks. Presented at the 2nd Annual Student-Faculty Research Celebration at Winona State University, Winona MN. See online [1].

McKinney, F. (1935). "Studies in the retention of interrupted learning activities", Journal of Comparative Psychology, vol n° 19(2), p. 265-296.

Phelan, J. (1989). Reading People, Reading Plots: Character, Progression, and the Interpretation of Narrative, Chicago, University of Chicago Press.

Prieto-Pablos, J. (1998). "The Paradox of Suspense", Poetics, n° 26, p. 99-113.

Ryan, M.-L. (1991), Possible Worlds, Artificial Intelligence, and Narrative Theory, Bloomington: Indiana University Press.

Schaper, E. (1968), "Aristotle's Catharsis and Aesthetic Pleasure", The Philosophical Quarterly, vol. 18, n° 71, p. 131-143.

Sternberg, M. (1978), Expositional Modes and Temporal Ordering in Fiction, Baltimore and London: Johns Hopkins University Press.

Sternberg, M. (1992), "Telling in Time (II): Chronology, Teleology, Narrativity", Poetics Today, n° 11, p. 901-948.

Sternberg, M. (2001), "How Narrativity Makes a Difference", Narrative, n° 9, (2), p. 115-122.

Van Bergen, A. (1968) Task interruption. Amsterdam: North-Holland Publishing Company.

Vorderer, P., H. Wulff & M. Friedrichsen (eds) (1996). Suspense. Conceptualizations, Theoretical Analyses, and Empirical Explorations, Mahwah: Lawrence Erlbaum Associates.

Zeigarnik, B. (1927). Das Behalten erledigter und unerledigter Handlungen. Psychologische Forschung, 9, 1-85.

Zeigarnik, B. (1967). On finished and unfinished tasks. In W. D. Ellis (Ed.), A sourcebook of Gestalt psychology, New York: Humanities press.

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Suspense is a state of anxiety or excitement caused by mysteriousness, uncertainty, doubt, or undecidedness. In a narrative work, suspense is the audience's excited anticipation about the plot or conflict (which may be heightened by a violent moment, stressful scene, puzzle, mystery, etc.), particularly as it affects a character for whom the audience feels sympathy.