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3.Prose
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EverythingisconnectedWelookatproseafterpoetry
andbeforedrama,butplease
keepinmindthateventhough
thesearethreeseparate
sections,muchwhatwe
coveredinpoetrywillbe
importantinproseanddrama,
justlikemuchofwhatwewill
covernowinprosecanbe
appliedtotheothergenres.
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Forexample…Whatwestudiedabout
rhetoricaltechniques inpoetrywillbeimportantin
theproseanddrama
sections,andwhatwewill
studyaboutliterary
movementsinprosewillbe
importanttounderstand
poetryanddrama.
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3.1.Prose:whatisit?
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Whatisprose?It’snotpoetry:thereis
noversificationor
rhymeinitsform;
however,thereare
manysimilarfactorsto
consider,suchas
diction,syntaxand
literarydevices.
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Proseismost
everythingelsewe
readdaytoday:
magazinearticles,
commentaries,essays,
novels,shortstories,
memoirs,biographies,
textbooks…
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Wecanseparateproseinto
fiction andnon-fiction.Ingeneralterms,fiction iswhatisinventedandnon-fictioniswhatisrecorded.Novelsandshort
storiesareexamplesoffiction;
biographiesandmostessaysare
examplesofnon-fiction.There
canbe,nevertheless,
overlappingelementsoffiction
andnon-fiction(withhistorical
fiction,forexample).
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3.2.Prose:why?
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Whydopeoplewriteprose?
Basically,formanyofthe
samereasonswhy
peoplewritepoetry:
• Tomovethesenses
• Toprovokeemotions
• Tofindorder
• Toshowsomething
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Butpeoplewrite prosealsobecause:
• Theypreferonegenreover
another
• Itismorefamiliartothem
• Itismoreubiquitousand
thusperhapsmore
approachable
• Theybelievethatnarrative
flowsbetterinprosethanin
verse
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Butpeoplewrite prosealsobecause:
• Theyhaveastorytotell(shortstoryornovel)andnotasongtosing (poetry)
• Itisseenasmoredirectand
less“beataroundthebush”
• Whattheywanttosayisbest
doneinprose(criticism,
exposition,argument,etc.).
Afterall,newspapers,journals,
websites,textbooksandthe
likeareallwritteninprose.
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Sowhydopeopleread prose?• Becausetheyhaveto?(not
agoodreason– unlessyou
hatepoetry!)
• Becauseit’severywhere?–
alsonoagoodreason!
• Tobecomeinformed?Yes!
Likeyouarereadingthisto
getreadyfortheCLEPexam
• Butalsoforpleasure,
distractionandescape
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3.3.1.Prose:thenovel–origins
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ThenovelSolet’sstartwith
discussingthenovel.It
isalong,fictional
narrativeinprosethat
portraysdifferent
charactersinacomplex
seriesofsequential
events.
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Thenovel- originsEventhoughprosedatesbackto
theGreekera(Pherecydes of
Syros),rootsofthenovelare
foundinthe14th centurywith,
forexample,Bocaccio’s
Decamerone inItaly,DonJuan
Manuel’sElconde Lucanor in
Spain,andChaucer’sThe
CanterburyTalesinEngland.
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Thenovel– originsThesetextsarebasedona
seriesofshorttales,ornovelle,
strungtogetherbyanexternal
narrativeframe(therefore,a
novella islongthanashortstorybutshorterthananovel).
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Thenovel– originsTheoriginofthenovelalsostems
fromtheFrenchtalesofchivalry
thatwereoriginallyinverse
(ChrétiendeTroyes)inthe12th
century.ThemajorityofArthurian
legendsdevelopedfromthisand
wereputinproseafewcenturies
later(Amadís deGaula),precursorstoCervantes’sDonQuixote,whichiscalledthefirstmodernnovelby
some,andthebestnovelofall
timesbyothers.
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Thenovel– originsFromtheseearlytalesof
Arthurianromanceemerged
theromancegenre:long,
fictitiousstories(inverse)of
oftenfantasticaleventsinfar
offplaces.Fromthistheword
roman emerged,theFrench
andbase-rootwordfornovel
inmanylanguages(Albanian,
Danish,Dutch,Norwegian,
Romanian,Slovak,etc.).
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Thenovel– originsDonQuixote isarealistnovel,andtheArthurian
traditionisbasedon
fantasy.Thenovelhassince
beeninconstantdebate
betweentheseopposing
poles:somenovelsare
realistwhilstothershaveto
dowithimaginaryfaraway
placesandscenarios.
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3.3.3.Prose:thenovel–typesandmovements
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Typesofnovels(partiallist):• Fantasy
• Historicalfiction
• Romance
• Thrillers
• Sciencefiction
• Satirical
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Typesofnovels(partiallist):• Tragedy
• Mystery
• Picaresque
• Gothic
• Psychological
• Best-seller
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Literarymovements(notcomprehensive,butas
specificallyappliedtothe
novel):
• Renaissance
• Baroque
• TheEnlightenment
• Romanticism
• Transcendentalism
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Literarymovements(notcomprehensive,butas
specificallyappliedtothe
novel):
• VictorianLiterature
• Realism
• Modernism
• Existentialism
• BeatGeneration
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3.3.4.Prose:thenovel–analysis
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Analyzingthenovel.
Simplistically,it’s
lookingatthewho,what,where,when,howandwhy ofanovel,butlet’smake
moresenseofthat.
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Analyzingthenovel.Who- thecharacters
What – theplot inthenovel
Where – space inthenovel(setting)
When – time inthenovel
(setting)
How – language andnarration
Why – thetheme(s) ofthe
novel
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3.3.4.1.Prose:thenovel–analysisofcharacters
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Thecharacters inthenovelareprimordialpartofthis
literarygenre.Welookfor
onesthatchange(dynamic)throughtheonesthatdon’t
(static),andwefollowtheactionsoftheprotagonist,whodevelopsinacertain
way,againsttheopposing
forcesoftheantagonist.
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Weshouldn’tnecessarily
calltheprotagonistthe
“goodguy”andthe
antagonistthe“badguy”
becauseoftenthewriter
givesusadifferent
perspectiveonwhat’s
“good”and“bad”.
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Whenthecharactersserveto
contrastoneanotherto
highlighttheircharacteristics,
theyserveasfoils.Some
charactersmaybecommon
conceptionsormisconceptions
onpurpose,stereotypes thattheauthorusesareplotdevices
thathe/shemaywanttowork
withorredefine.
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Manytimesthesestereotypical
characters,orstockcharacters,reoccurinspecificliterary
movementsandareeasily
recognizable:thedamselin
distress,themadscientist,the
farmer’sdaughter,theabsent-
mindedprofessor,thevirgo
bellatrix (womanwarrior).
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Othertimes,charactersmay
serveasallegories byrepresentingabstract
concepts.Oneofthemost
salientexamplesisAnimalFarmbyGeorgeOrwell.Theanimalsonthefarmarea
representationofthe1917
Russianrevolutiononintothe
Stalinistera.Theanimals
showthecorruptionand
avariceoftherevolution.
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3.3.4.2.Prose:thenovel–analysisoftheplot
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Theplotcanbebrokendownintodifferentstages
ofdevelopment:
• Exposition
• Development
• Climax
• Denouement
(resolution)
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Somerefertothe plotas:• Introduction
• Complication
• Risingaction
• Climax
• Fallingaction
• Conclusion
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Theremayalsobe
subplots inthemain
plot,smallerstories
withtheirown
developmentand
resolution,butthereis
justusuallyonemain
setofevents.
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3.3.4.3.Prose:thenovel–analysisofsetting
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Whenwetalkaboutthespace ofanovelthereareafewthingsto
consider.Thespacecanbe
physical andmetaphorical:the
foodstoreon27BartonStreet
wheretheactiontakesplace,as
opposedtothesignificanceof
thestruggling,mom-and-pop,
neighborhoodgrocerystorewith
historicalandsocialsignificance
runningagainstthechokeholdof
thegrowingsupermarketchain
conglomerates.
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Thesameistruewhenwewe
talkabouttimeinthenovel.Thetimeiswhenthenovel
takesplaceinhistory,butit
alsoreferstothechronologyof
eventsinthenovel:arethey
sequential?Arethere
flashbacks?Isitfragmented?Is
itspeculative?Isitimmediate?
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Inadditiontospaceandtime,
otherconsiderationsfor
settingistolookatmood and
atmosphere.Isitpositiveor
negative?Isitcontrolledor
disordered?IsitGothicor
Realist?(thismayoverlapwith
itsliterarygenre).
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3.3.4.4.Prose:thenovel–analysisoflanguage
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Inregardtolanguage,wehavetoconsiderallthatanauthor
putsintoher/hisexpression:
diction (wordchoice),tone,syntax (grammarandsentence
structures),useofdialogue,narrator’s voice,etc.NathanielHawthorne,forexample,inTheScarletLetterusesaformal
stylewhichisverydifferent
fromtheinformalstylesof,for
example,JohnSteinbeckor
MarkTwain.
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Language:formalstyleFromp.1ofNathaniel
Hawthorne’sTheScarlet
Letter.Notetheuseof
thepassivevoice,the
formalwordchoice,the
syntax,thediction,the
distancedtone,etc.:
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Language:formalstyleInaccordancewiththisruleitmaysafelybeassumedthattheforefathersofBostonhadbuiltthefirstprison–housesomewhereintheVicinityofCornhill,almostasseasonablyastheymarkedoutthefirstburial–ground,onIsaacJohnson’slot,androundabouthisgrave,whichsubsequentlybecamethenucleusofallthecongregatedsepulchres intheoldchurchyardofKing’sChapel.
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Language:informalstyleFromchapter2ofMarkTwain’s
HuckFinn:
“Say,whoisyou?Whar isyou?Dogmycatsef Ididn’hearsumf’n.
Well,IknowwhatI’sgwyne todo:I’sgwyne tosetdownhere
andlistentellIhearsitagin.”
Notethecolloquiallanguage,the
reproductionoforalspeech,the
useofdialogue(muchmore
personal),thediction,etc.
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LanguageInregardtosyntax,
punctuation,sentence
lengthandsentence
structureallinfluence
one’swritingstyle.Here
aresomeexamples.Note
thedifferencebetween
them.
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Asegmentfromchapter18ofUlysses
byJamesJoyce:
andhersoulgreatestmisereverwas
actuallyafraidtolayout4dforher
methylatedspirittellingmeallher
ailmentsshehadtoomucholdchatin
heraboutpoliticsandearthquakes
andtheendoftheworldletushavea
bitoffunfirstGodhelptheworldifall
thewomenwerehersortdownon
bathing-suitsandlownecks ofcourse
nobodywantedhertowear
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Here,JamesJoycehasa“streamof
consciousness”style.Inthe40plus
pagesofthislastchapter,ifIamnot
mistaken,thereareonlytwo
periodsandonecomma.Thisnovel
isconsideredoneofthebestnovels
everwritten,butitisalsooneofthe
hardesttounderstand.
Hereisanexampleoftheopposite:
theuseofshortsentences.Thisis
ErnestHemmingway’s AFarewelltoArms:
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Hewasdressed,worehisblack
boots,andhishairshone.
“Splendid,”hesaidwhenhesaw
me.“Youwillcomewithmeto
seeMissBarkley.”“No.“Yes.You
willpleasecomeandmakemea
goodimpressiononher.”“All
right.WaittillIgetcleanedup.”
“Washupandcomeasyouare.”
Iwashed,brushedmyhairand
westarted.
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3.3.4.5.Prose:thenovel–analysisofnarration
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Inregardtonarration,thereisfirst,secondandthirdperson.
FirstpersonisI,we,my,etc.andismoresubjectivethanthird
person.Weonlyseethingsfrom
thatperson’sperspective,which
isgoodbecausewecan
understandhis/herinner
thoughts,buttherecanbelimits
toaone-personperspective,and
wedon’tknowifthatpersonis
reliableornot.
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Secondpersonisrare,
butgivesasenseof
immediacytothetext.
Itisuniquebutcanbe
unnaturalandstrange
ifusedtoomuch,
alwayssaying“you”
dothisand“you”do
that.
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Thirdpersonisusuallymore
objective.Thirdpersonisshe,he,
they,it,etc.,andisgenerally
moreobjectivebecausethere
aredifferentviewpoints.This
pointofviewcanbeomniscient
orpartiallyomniscient.
Sometimesthesestylesare
mixedinthesamenovel/short
story.
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Narration• Anexampleoffirstperson
narration isToKillaMockingbirdbyHarperLee.
• Anexampleofsecond
personnarration isAura byCarlosFuentes.
• Anexampleofthirdperson
narration isJaneAusten’s
PrideandPrejudice.
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3.3.4.6.Prose:thenovel–analysisoftheme
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Anotherstepin
deconstructinganovelisto
consideritsthemes.Thesearethemajoroverarchingideas
likecomingofage,justice
versusfamilyloyalty,change
versustradition,etc.
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Themotifsinanovel,detailsthatrepeatthemselves
(subject,idea,etc.),canhave
symboliceffectandaddtothe
depthofthetheme.Motifs
canbesounds,ideas,actions,
words,etc.,likeamoon,the
creakofadoor,asigh,etc.
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3.4.1.Prose:shortstories–origins
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Shortstories– origins
Theliterarygenreoftheshortstory
developedfromancientstorytelling
traditions(epic,romance)intoframed
stories(Bocaccio andChaucer)ofthe
15th century.Fromthere,through
popularfairyandfolktales,likethose
compiled/createdbyCharlesPerrault
(“SleepingBeauty”,“Cinderella”,“Little
RedRidingHood”),andthoseof
ArabianNightscompiledfromMiddle
EasternstoriesbyAntoineGalland,for
example,thegenregainedpopularity.
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Shortstories– origins
Itwasn’tuntilthe19th centurywhen
theshortstorywasarecognizedand
commonliterarygenre.Washington
Irvingstartedthecenturywith“Rip
VanWinkle”and“TheLegendof
SleepyHollow”.Inthemiddleofthe
19th century,EdgarAllenPoemade
thegenrepopularwith,forexample,
“TheCaskofAmontillado”and“The
PitandthePendulum”.
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Shortstories– originsExamplesofotherearly,
internationalauthorsare
Maupassant,Turgenev,Chekovand
ArthurConanDoyle.These19th
centuryshortstoriesareprimarily
realist,especiallybecausethey
coincidedwiththeliterary
movementofRealism,buttoday,
thegenreissodiverse,it’shardput
allshortstoriesintoonecategory.
Thereare,however,some
characteristicswhichmostshort
storiesshare.
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3.4.2.Prose:shortstories–characteristics
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Shortstories– characteristicsLikethenovel,westillneedto
consider:characters,plot,setting
(timeandspace),narration,
language,andthemes.Thereisnot
enoughtimetodevelopthesetoa
greatextentinashortstorylike
thereisinanovel,soweread
fragmentsofcharacteror
condensed, intensifiedevents.The
storymightevenstartinmediasres,rightinthemiddleofthe
action.
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Shortstories– characteristicsOneofthemostimportant
characteristicsforashortstoryis
thenarration.Allthecharacteristicsdiscussedinthe
novelonnarrationarealso
importantintheshortstory,but
withitsuniqueintensityoffocus
andbrevityofdevelopment,the
shortstory’spointofview,beit
objectiveorsubjective,firstperson
orthird.affectsthereaders’overall
understandingoftheother
elementsinplay(theme,plot,etc.)
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Shortstories– characteristicsSomeofthesemayberepetitionfrom
previoussections,butreviewalways
helps.Ashortstory:
• Prosefictionthatcanbereadin
onesitting
• Theplotismuchlesscomplexthan
anovel,butcontainsmanyofthe
sameelements
• Thereislittlecharacter
development,sometimeslittle
action
• Isoftenrealistandgivesusa
snapshotoflife
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Shortstories– characteristics• Thesetting takesintime,spaceand
mood
• Theplot isnormallysetupas
exposition,development,climax,
anddenouement
• Theconflict canbeinternalor
external
• Thecharacters areprotagonists
andantagonists,static
(stereotyped)ordeveloping.
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Shortstories– characteristicsThepointofviewcanbeomniscient,
ashavingaccesstothethoughtsand
understandingofcharacters.
• Omniscientlimited:Inthirdperson,
butweknowonlywhataparticular
characterknows
• Omniscientobjective:Inthird
person,goingfrompersonto
person,recordingwhatisseenand
heard,butnotenteringinthe
thoughtsofanyone.
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Shortstories– characteristicsThepointofviewcanalsobe• Firstperson:thestoryistoldfrom
theperspectiveoftheprotagonistor
fromanothercharacter.Itisinfirst
personandweknowonlywhatthat
personknowsandthinks.
• Streamofconsciousness: likeweare
intheheadofthecharacterwithno
syntacticalrestraints(likewesaw
withUlysses).
• Innocenteye:thestoryistoldfrom
theperspectiveofachild,likein
Montana1948byLarryWatson.
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3.5.Prose:essays
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EssaysLet’stakealookat
differenttypesof
essays.Afterall,you
mighthavetowrite
oneattheendofthis
exam.
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TypesofessaysSpeculativeessay – itlooks
atideasratherthan
explainsthem.Itmaynot
haveanexplicitthesislike
theothertypesofessays
do.Itmeditatesonideas–
itismeditative.An
interchangeofnarration
andresponsemayoccur.
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TypesofessaysExpositoryessay– an
explanationorclarification
ofanideaortheme.
Studentsmaybemost
familiarwiththistypeof
essay.Theremaybean
elementofnarrationtoit,
butdefinitelyanelementof
argumentation.
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TypesofessaysPersuasiveessay–
wherethewriter
triestoconvincethe
readerofher/his
pointofview.
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TypesofessaysAnalyticalessay–
whereaworkofart,
aplay,abook,etc.is
analyzed.
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TypesofessaysArgumentativeessay–
wherethewriterargues
thather/hisopinionor
theoryaboutanissueis
correct,abovetheopinionsofothersonthesameissue(itissimilar,butdifferent
formthepersuasiveessay
inthisway).
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Characteristicsofessays• Unlikenovelsand
shortstories,essays
arenon-fiction,thus
theform isdifferent.
Thewriteris
presentinganidea
(non-fiction) andnot
tellingastory(fiction)
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Characteristicsofessays• Thevoice isnotthatofa
narrator,buttheauthorherselfwhospeakstothereader.
• Thestructure issuchthatifchanged,theessaywouldloseitsmeaning.Theflowoflogicandpresentationofideasfollowasequencebestfittoitstype.