Chat with us, powered by LiveChat Write a thesis statement that includes: (1) the author's name, (2) the story's title, and (3) an arguable, supportable claim regarding the narration of the story. Your claim should emph | Wridemy

Write a thesis statement that includes: (1) the author’s name, (2) the story’s title, and (3) an arguable, supportable claim regarding the narration of the story. Your claim should emph

 Write a thesis statement that includes: (1) the author's name, (2) the story's title, and (3) an arguable, supportable claim regarding the narration of the story. Your claim should emphasize how the narrative structure create or reinforce meaning in the story.

Some questions to help guide your answer:

1. What purpose does the narrative structure serve?

2. Does the story have an reliable/unreliable narrator?

3. How do you know (how will you support yourself)?

INSTRUCTION AND DETAILS ARE IN UPLOADED FILE. PLEASE OPEN LINKS.

MLA FORMAT 300 WORDS

COLLEGE ENGLISH LITERATURE

Lesson 7: Overview and To Do List

Overview

Lesson 7 explores thesis statements and the Unreliable Narrator in literature.

Learning Outcomes

Upon completion of this lesson, the student will be able to do the following:

· Demonstrate an understanding of different narrative styles.

· Analyze, interpret, and evaluate a variety of texts for the ethical and logical uses of evidence.

· Respond to literature with rational judgments supported by evidence.

To Do List

In order to successfully complete Lesson 7, please do the following:

Readings

· Review: Chapter 3 – Narration and Point of View (textbook)

· Read:

· "The Cask of Amontillado" by Edgar Allan Poe (textbook)

· "The Yellow Wallpaper" by Charlotte Perkins Gilman (textbook)

· "The Tell-Tale Heart" by Edgar Allan Poe (see module)

Assignment Activities

· Complete discussion: "Unreliable Narrators"

· Complete assignment : "Thesis Practice Arguing the Narrator".

LESSON Presentation: What is Narration?

What is narration?

To know what an unreliable narrator is, it is important to be familiar with how narration works.

· Narration is the process of telling a story or recounting an event. 

· The narrator determines what details are included and how they are arranged.

· The narrator is, essentially, the one determining point of view and the facts (or lies) that the reader gets to know. 

The different kinds of common narration, or point of view (POV) in literature are:

· Third-person: This kind of narrator is not typically a character in the story, but instead is outside of the characters. This type of narration allows the reader insight to the action from several different perspectives.

· There are three types of third-person narrations:

· Omniscient (all-knowing): This type of narrator is able to give insight and perspective from several characters, mostly just the main characters (but a few minor characters as well).  Because they are not a character in the action, they are not limited to any one character's perception. 

· Limited omniscient: This narrator is generally tells the story around one of the major characters, focusing primarily on what this one character sees, feels, and perceives. There is very little revealed that this particular character does not know. 

· Objective: Objective narrators tend to tell just the action of the story without focusing on any specific character and without revealing the characters internal thoughts. Stories with objective narration use dialogue and action to reveal how the characters think and feel, much like a movie. 

· First-person: This narrator is typically a major or minor character telling their own story or the story of someone. This narrative style is mostly commonly uses the pronoun "I" .

· First-person narration reveals the internal thoughts and perspectives of only one character.

· The action of the story is clouded by the opinions of this one particular character and how they experience things. 

· Unreliable narrators: The unreliable narrator tends to also be first-person and often uses the pronoun "I".

· Unreliable narrators are often insane, unstable, and, intentionally or not, tend to mislead the reader. Or they could be incredible brilliant. 

· This type of narration forces the reader to come to their own conclusions about the action of the story once they figure out that the narrator is compromised.

· These stories could be told from the perspective of the "bad" guy, or villain. 

· Sometimes the reader doesn't know that they have been deceived until the very end of the story when it takes a twist and gives an unexpected ending like in Ambrose Bierce's "Occurrence at Owl Creek Bridge".

· Unreliable narrators aren't always crazy or bad. Sometimes they are sheltered or naïve. For example, the story could be told from the perspective of a child or someone innocent that doesn't know the value of what they are telling. 

https://poemuseum.org/the-tell-tale-heart/

Individual Assignment: Theme Analysis

Assignment (Thesis Practice Arguing the Narrator)

Assignment Overview

Respond:

This week, you will write a thesis statement that could be used to lead a four-to-five-page fiction analysis essay over the narrator. Remember that a thesis statement is also a roadmap sentence, informing your reader of your intention and direction with the paper. For this thesis practice, choose a short story we've read during this unit and consider its use of narration. Write a thesis statement that includes: (1) the author's name, (2) the story's title, and (3) an arguable, supportable claim regarding the narration of the story. Your claim should emphasize how the narrative structure create or reinforce meaning in the story.

Some questions to help guide your answer:

1. What purpose does the narrative structure serve?

2. Does the story have an reliable/unreliable narrator?

3. How do you know (how will you support yourself)?

Here is an example submission: "In Edgar Allan Poe's "The Cask of Amontillado," the theme of revenge and its consequences is conveyed through an unreliable narrator and the use of irony in a setting that progressively intensifies the feeling of confinement."

Be sure you include the names of the stories and authors. If you use quotes from the stories, be sure to include page numbers. Do not consult or use outside sources for this assignment. Be sure you follow the assignment, proofread carefully, use complete sentences, and include details to support your points.

Be sure to follow MLA formatting guidelines. 

Your journal entry should be a strong, cohesive thesis statement.  

Guidelines

Your response should be cohesive (in paragraph form, not as a list). Use academic writing conventions and proofread before submitting. For journal entries, always copy and paste text into the journal entry (do not attach files; do not write in the comments box). Don't consult any outside sources. If you'd like to quote an article, be sure to include an MLA-style citation. All quotes should be in quotation marks (see MLA Help in Resources area for advice on this). 

THESIS STATEMENT GUIDELINES

Thesis statement = Observation + Analysis + Significance. I like to simplify this by defining a thesis as topic + lesson learned. Observation and Analysis is the topic. What are we writing about and why? Significance is the “lesson learned”. Why is this important to us? What are we supposed to learn from this? If you can identify the lesson or significance, you will have a much stronger thesis.

https://human.libretexts.org/Bookshelves/Literature_and_Literacy/Writing_and_Critical_Thinking_Through_Literature_(Ringo_and_Kashyap)/12%3A_Writing_About_Literature/12.06%3A_Literary_Thesis_Statements#:~:text=Contributors%20and%20Attributions-,The%20Literary%20Thesis%20Statement,essay's%20main%20argument%2C%20or%20interpretation.

STORY FROM TEXTBOOK (The Norton Introduction to Literature (Shorter Thirteenth Edition) by Kelly J. Mays 2018).

The Cask of Amontillado by EDGAR ALLAN POE (1809–49)

174 CH. 3 | naRRaTIon and PoInT oF vIeW

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitively settled—but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribu-tion overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation. He had a weak point—this Fortunato—although in other regards he was a man to be respected and even feared. He prided himself upon his connoisseur-ship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practice imposture upon the British and Austrian millionaires. In painting and gemmary, Fortu-nato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially;—I was skilful in the Italian vintages myself, and bought largely whenever I could. It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress,1and his head was surmounted by the conical cap and bells. 5 I was so pleased to see him that I should never have done wringing his hand. I said to him—“My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe2 of what passes for Amon-tillado, and I have my doubts.”

“How?” said he. “Amontillado? A pipe? Impossible! And in the middle of the

carnival!” “I have my doubts,” I replied; “and I was silly enough to pay the full Amontil-lado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain.”

“Amontillado!” “I have my doubts.”

10

“Amontillado!” “And I must satisfy them.”

“Amontillado!”

Page 175

“As you are engaged, I am on my way to Luchresi. If any one has a critical

turn it is he. He will tell me——” “Luchresi cannot tell Amontillado from Sherry.”

“And yet some fools will have it that his taste is a match for your own.” “Come, let us go.”

“Whither?” “To your vaults.”

“My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi——” “I have no engagement;—come.”

“My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre.”3 “Let us go, nevertheless. The cold is merely nothing. Amontillado! You have

been imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado.” Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire4 closely about my person, I suffered him to hurry me to my palazzo. There were no attendants at home; they had absconded to make merry in honour of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned. I took from their sconces two flambeaux,5

and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cau-tious as he followed. We came at length to the foot of the descent, and stood together upon the damp ground of the catacombs of the Montresors. The gait of my friend was unsteady, and the bells upon his cap jingled as he

strode. “The pipe,” said he.

“It is farther on,” said I; “but observe the white web-work which gleams from

these cavern walls.” He turned towards me, and looked into my eyes with two filmy orbs that distilled the rheum of intoxication. “Nitre?” he asked, at length.

“Nitre,” I replied. “How long have you had that cough?” “Ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!—ugh!

ugh! ugh!” My poor friend found it impossible to reply for many minutes. “It is nothing,” he said, at last.

Page 176 CH. 3 |

35 “Come,” I said, with decision, “we will go back; your health is precious. You

are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchresi——”

die of a cough.”

“Enough,” he said; “the cough is a mere nothing; it will not kill me. I shall not “True—true,” I replied; “and, indeed, I had no intention of alarming you

unnecessarily—but you should use all proper caution. A draught of this Medoc6 will defend us from the damps.” Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.

40

“Drink,” I said, presenting him the wine. He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled.

“I drink,” he said, “to the buried that repose around us.”

“And I to your long life.” He again took my arm, and we proceeded. “These vaults,” he said, “are extensive.”

“The Montresors,” I replied, “were a great and numerous family.” “I forget your arms.”

“A huge human foot d’or,7 in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.”

“And the motto?” “Nemo me impune lacessit.”8

“Good!” he said. The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through long walls of piled skeletons, with casks and puncheons9 intermingling, into the inmost recesses of the cata-combs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow. “The nitre!” I said; “see, it increases. It hangs like moss upon the vaults. We are below the river’s bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough——” “It is nothing,” he said; “let us go on. But first, another draught of the Medoc.” I broke and reached him a flaçon of De Grâve. He emptied it at a breath. His

eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand. I looked at him in surprise. He repeated the movement—a grotesque one. “You do not comprehend?” he said. “Not I,” I replied.

“Then you are not of the brotherhood.” “How?”

Page 177

“You are not of the masons.”1 “Yes, yes,” I said; “yes, yes.”

“You? Impossible! A mason?” “A mason,” I replied.

“A sign,” he said, “a sign.” “It is this,” I answered, producing from beneath the folds of my roquelaire a 65 trowel. “You jest,” he exclaimed, recoiling a few paces. “But let us proceed to the

Amontillado.” “Be it so,” I said, replacing the tool beneath the cloak and again offering him my arm. He leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame. At the most remote end of the crypt there appeared another less spacious. Its

walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior crypt or recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite. It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. Its termination the feeble light did not enable us to see. “Proceed,” I said; “herein is the Amontillado. As for Luchresi——” “He is an ignoramus,” interrupted my friend, as he stepped unsteadily for-ward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, hori-zontally. From one of these depended a short chain, from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess. “Pass your hand,” I said, “over the wall; you cannot help feeling the nitre.

Indeed, it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I will first render you all the little attentions in my power.”

“The Amontillado!” ejaculated my friend, not yet recovered from his

astonishment. “True,” I replied; “the Amontillado.”

Page 178

As I said these words I busied myself among the pile of bones of which I have

before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche. I had scarcely laid the first tier of the masonry when I discovered that the

intoxication of Fortunato had in great measure worn off. The earliest indica-tion I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibration of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within. A succession of loud and shrill screams, bursting suddenly from the throat of

the chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs and felt satisfied. I reapproached the wall. I replied to the yells of him who clamoured. I re-echoed, I aided, I surpassed them in volume and in strength. I did this, and the clamourer grew still. It was now midnight, and my task was drawing to a close. I had completedthe eighth, the ninth and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as that of

the noble Fortunato. The voice said—“Ha! ha! ha!—he! he! he!—a very good joke, indeed—an excellent jest. We

will have many a rich laugh about it at the palazzo—he! he! he!—over our 80

wine—he! he! he!” “The Amontillado!” I said. “He! he! he!—he! he! he!—yes, the Amontillado. But is it not getting late?

Will not they be awaiting us at the palazzo—the Lady Fortunato and the rest? Let us be gone.”

“Yes,” I said, “let us be gone.” “For the love of God, Montresor!”

85

“Yes,” I said, “for the love of God!” But to these words I hearkened in vain for a reply. I grew impatient. I called aloud—“Fortunato!”

No answer. I called again—“Fortunato!” No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick; it was the dampness of the catacombs that made it so. I hastened to make

Page 179

an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat! 2

https://learning.hccs.edu/faculty/emily.klotz/engl1302-6/readings/the-cask-of-amontillado-edgar-allan-poe/view

Our website has a team of professional writers who can help you write any of your homework. They will write your papers from scratch. We also have a team of editors just to make sure all papers are of HIGH QUALITY & PLAGIARISM FREE. To make an Order you only need to click Ask A Question and we will direct you to our Order Page at WriteDemy. Then fill Our Order Form with all your assignment instructions. Select your deadline and pay for your paper. You will get it few hours before your set deadline.

Fill in all the assignment paper details that are required in the order form with the standard information being the page count, deadline, academic level and type of paper. It is advisable to have this information at hand so that you can quickly fill in the necessary information needed in the form for the essay writer to be immediately assigned to your writing project. Make payment for the custom essay order to enable us to assign a suitable writer to your order. Payments are made through Paypal on a secured billing page. Finally, sit back and relax.

Do you need an answer to this or any other questions?

About Wridemy

We are a professional paper writing website. If you have searched a question and bumped into our website just know you are in the right place to get help in your coursework. We offer HIGH QUALITY & PLAGIARISM FREE Papers.

How It Works

To make an Order you only need to click on “Order Now” and we will direct you to our Order Page. Fill Our Order Form with all your assignment instructions. Select your deadline and pay for your paper. You will get it few hours before your set deadline.

Are there Discounts?

All new clients are eligible for 20% off in their first Order. Our payment method is safe and secure.

Hire a tutor today CLICK HERE to make your first order

Related Tags

Academic APA Writing College Course Discussion Management English Finance General Graduate History Information Justify Literature MLA