Realism And Narrative Techniques In Short Stories

Realism And Narrative Techniques In Short Stories Alice Munro is one of the most well-known and highly praised representative of Canadian short fiction writing, both on the Canadian and on the international scale. As American writer Mona Simpson notes, [Munros] genius, has the simplicity of the best naturalism, in that it seems not translated from life, but, rather, like life itself. In other words, she is praised for being a realist writer. In another article, Canitz and Seamon showed what techniques Munro uses to create the impression of her stories not being stories, but truth, or the reality as such. Also, they comment on how the narrator in Munros stories reflects from time to time on the narrative technique or the plotline and the development of the story. However, they have omitted some aspects of Munros work which would, in fact, support the argument that despite her realism, her short stories are in fact very well-structured, and fit into the general pattern of traditional criteria towards short stories: they excessively us e foreshadowing technique, the opening sentence initiates the predesigned effect and every word has its place in the story line, they are indeed chosen very carefully in order to contribute to the effect that the author wants to create, and thus creating a dense text. (Critical perspective online) In this paper, I show how the techniques described by Canitz and Seamon can be depicted in Munros novella Miles City, Montana. Then the essay goes on to discuss the other techniques employed by Munro in this short story, including the ones that do not fit into this analysis of realist fiction. Canitz and Seamon explain how Munro, as all realists, must somehow persuade her audience that her fiction is not a product of imagination and creativity, but it is rather the truth. (Canitz and Seamon, 1996: 67) This is done in her writings through a variety of subtle strategies which she uses to build our faith in her reality. (Canitz and Seamon, 1996: 68) Moreover, as Munro is aware that including realistic details into her stories would not suffice to convince readers that the story presented to them is not fictional, she rather chooses, in a post-modern manner, to acknowledge that she is making up a story. So, we are not simply exposed to the story line, but we are included in a way in the process of writing down the story and creating the characters. Ironically, this technique is in fact a doubly-twisted tool: the fact that she drags the reader into the process of writing does not mean that the writing in fact happened in the way as she told us within the frames of the story. Ho wever, this is not obvious at the first glance, and is indeed an effective method to persuade readers on the reality of what they read. Interestingly, the short story Miles City, Montana, involves a triple twist as to the narrative technique: the narrator is also a character at the same time, who reflects on her story-telling. For example the narrator says at one point: It seems to me now that we invented characters for our children. (Munro, 1985: 661) And indeed, all happenings are told from one point of view, and we only know about other characters what the mother and wife, who is also the narrator, reveals about them. Moreover, this point of view is not consistent in itself: both childhood and adult memories are involved, (Tragedies that help online) which means a change in the way events are seen by the narrator, and also a change in her feelings. This fluctuating view-point, or in better words multiple perceptions of single events can be seen as a post-modern feature in the narrative construction. (New, 2003: 239) In other words, what we read is not the reality, but we are explicitly told that it is not real, th erefore we are more willing to trust the narrator. The second method used by Munro to create the impression of reality is, as the pair of authors point out that the storyline is not linear. Rather, it fluctuates in time and location and subject, and it is left to the reader to figure out the reasons why the shifts are made where and how they are made. (Canitz and Seamon, 1996: 69) Sometimes Munro reflects on the shifts I have forgotten to say that but in Miles City, Montana, the shifts are not explained. However, careful reading reveals why the chunks of paragraphs follow each other in the way they do. Steve Gauleys story is told first to open a frame structure, to set the tone and to begin the foreshadowing sequence that follows. The view of the landscape on their road trip to Ontario evocates childhood memories from the narrator, so this time, it is a stream of consciousness that links together the paragraph on their trip with the following sentences on her past. Then when the mother talks about her hope of Meg not having a tem perature, and then jumping back right next to her relation with her parents-in-law, it might be not too far-reaching to conclude that the link that bounds together these two events is the feverishness of the mother to meet up to Andrews parents expectations. I hope she isnt feversih, says she, and at the same time she herself is overly anxious about what opinion her husbands parents would have on their family life. She even compares herself and her husband to strenuous children. (Munro, 1985: 668) Finally, while she goes to get some drink in the park in Miles City, she observes the environment very carefully -as carefully as she is supposed to watch out for her daughters. [Y]ou feel their singleness and precise location and the forlorn coincidence of your being there to see them. (Munro, 1985: 670) This is the sentence that precedes her sudden thought of the children, and it can be interpreted in both ways: meaning the nature, and meaning Cynthia and Meg as well. So, Munros story-te lling is of a rambling nature (Canitz and Seamon, 1996: 68) which reminds the reader constantly that what he or she is reading is only a recollection, and successfully creates the impression that we are not being exposed to a story, but to a real, true event. Finally, the article notes that [m]any brief passages in Munros stories quietly create the reality effect she seeks. (Canitz and Seamon, 1996: 73) For example when the parents reflect on Megs accident, both reject its unnatural, or supernatural features. The mother denies that she would have a mothers instinct, and attributes her sudden thought about the children to mere luck. Similarly the husband does not recollect properly how he had jumped over or climbed the fence, but plainly states that he cannot understand it, rather than mythologize what had happened. Thus, the narration becomes free of legend-making. (Canitz and Seamon, 1996: 77) On the other hand, this episode could be also interpreted as a sign of the ambiguity and unreliability of experience, a sign of how à ¢Ã¢â€š ¬Ã… ¾events and memories, experience and fictional reconstruction, never precisely coincide which is also characteristic of Munros style. (New, 2003: 239 and 299) In addition, by the end of the short story, w hen we already know that Meg had survived the accident, we are nevertheless confronted with another possible ending to this story details of a tragic ending with Meg being dead are elaborated in a lengthy paragraph, at the end of which the narrator poses the question: Theres something trashy about this kind of imagining, isnt there? (Munro 1985: 673), again reflecting on the story-telling. Having showed all this, and before turning towards other techniques that are in contradiction with the claim of reality in the short story, let me point out some further evidence that support Munros realism, but are not elaborated in Canitzs and Seamons article: Firstly, Munros language is not very poetic or literal. She prefers to use everyday langauge, which adds to the real life taste of her stories. As one crticic puts it, Munros stories are translations into the next-door language of fiction of all those documentary details, those dazzling textures and surfaces, of remembered experience. (Ross, 112, quoted in Canitz and Seamon, 1996: 68) However, simple language does not exlude the use of lirical devices. All characters in the short story create images, and make lirical similes themselves. The narrator compares Steve Gauley to a heap of refuse (Munro, 1985: 656) and draws a parallel between the Gauleys tumbledown house and their shackly family life. The children, who play import ant, but not dominent [sic!] role (Jakabfi, 2003: 195) give an old-lady like image to their previous family car, and a sporty image to the new one. The parents make fun of their daughters by the father telling them about the beach which would be after the next curve and the mother pretending to produce some lemonade and grape juice with her magic wand. Cynthia adds that à ¢Ã¢â€š ¬Ã… ¾[i]n Miles City, there is a beautiful blue swimming pool for children, and a park with lovely trees. (Munro, 1985: 668) In short, it seems that they are creating reality around themselves. Canitz and Seamon claim that Munro creates the impression of realism [by giving] a significant place to improbability and contingency, elements that are opposed to the conventionally well-constructed realist narrative. However, some techniques utterly contradict the claim that this story would be developing before our eyes, with no obvious plotline at hand at the beginning, but through accidents rather. The most obvious such tool is that of foreshadowing. In Miles City, Montana, there are several hints in the story that imply what the readers can expect to happen by the end. Throughout reading the story, as soon as we learn about the road trip, we fear that one family member, possibly one of the children, will die. This impression is already created in the very first sentence of the novella: My father came accross the field carrying the body of the boy who had been drowned. (Munro, 1985: 656) Immediately, the tone is set: it is rather sinister. The narrator continues to give readers hints about an expected tragedy. Meg waves good-bye to the house, and although Cynthia, the elder girl assures her it is not forever that they are leaving it, the readers are left with a feeling of doubt and uneasiness whether the family would really return. On their way to Ontario, they see a dead deer on the road, which was probably hit by accident readers wonder is one of the family members going to suffer an accident? This fear of one character dying at the end is reinforced by Cynthia song, in which five little ducks go out, but only four come back. Then we learn about the narrator and her husband not living together anymore, which raises the question did their marriage got ruined because of the death of a child? This is followed by the recollection of the narrator and her father saving turkeys from drowning, and finally, the family plays Who am I?, and Cynthia is someone dead. This massive amount of hints indicate a very consciously used foreshadowing technique by the author. To sum up, I have showed in the above paragraphs how the narrative technique of Miles City, Monatana, is in accord with what the Canitz-Seamon article argued about Alice Munros techniques to create the sense of realism in fiction. I have added that language and creating imagery are also techniques used in this short story, while at the same time pointing out that the excessive use of foreshadowing technique does not fit into the line of argument about Munros realism and conscious restraint from linear story-telling. A look at other Munro short fiction could lead to a better understanding of Munros status as a realist writer.

From Strategy to Business Essay

Strategy scholars have used the notion of the Business Model to refer to the ‘logic of the firm’ e how it operates and creates value for its stakeholders. On the surface, this notion appears to be similar to that of strategy. We present a conceptual framework to separate and relate the concepts of strategy and business model: a business model, we argue, is a reflection of the firm’s realized strategy. We find that in simple competitive situations there is a one-to-one mapping between strategy and business model, which makes it difficult to separate the two notions. We show that the concepts of strategy and business model differ when there are important contingencies on which a well-designed strategy must be based. Our framework also delivers a clear distinction between strategy and tactics, made possible because strategy and business model are different constructs. Ó 2010 Elsevier Ltd. All rights reserved. Introduction The ï ¬ eld of strategy has evolved substantially in the past twenty-ï ¬ ve years. Firms have learned to analyze their competitive environment, deï ¬ ne their position, develop competitive and corporate advantages, and understand better how to sustain advantage in the face of competitive challenges and threats. Different approaches – including industrial organization theory, the resource-based view, dynamic capabilities and game theory – have helped academicians and practitioners understand the dynamics of competition and develop recommendations about how ï ¬ rms should deï ¬ ne their competitive and corporate strategies. But drivers such as globalization, deregulation and technological change (to mention only a few) are profoundly changing the competitive game. Scholars and practitioners agree that the fastest growing ï ¬ rms in this new environment appear to be those that have taken advantage of  these structural changes to innovate in their business models so they can compete ‘differently’. IBM’s Global CEO Studies for 2006 and 2008, for example, show that top management in a broad range of industries are actively seeking guidance on how to innovate in their business models to improve their ability to both create and capture value.1 In addition to the business model innovation drivers noted above, much recent interest has come from two other environmental shifts. Advances in ICT have been a major force behind the recent 0024-6301/$ – see front matter.interest in business model innovation. Many e-businesses are based on new business models e Shafer, Smith and Linder ï ¬ nd that eight of the twelve recent business model deï ¬ nitions they present relate to e-business.2 New strategies for the ‘bottom of the pyramid’ in emerging markets have also steered researchers and practitioners towards the systematic study of business models. Academicians working in this area agree that ï ¬ rms need to develop novel business models to be effective in such speciï ¬ c and challenging environments (see work by Thompson and MacMillan, as well as by Yunus et al. in this issue), and socially motivated enterprises constitute a second important source of recent business model innovations. Advances in ICT and the demands of socially motivated enterprises constitute important sources of recent business model innovations. While it has become uncontroversial to argue that managers must have a good understanding of how business models work if their organizations are to thrive, the academic community has only offered early insights on the issue to date, and there is (as yet) no agreement as to the distinctive features of superior business models. We believe this is partly because of a lack of a clear distinction between the notions of strategy, business models and tactics, and the purpose of this article is to contribute to this literature by presenting an integrative framework to distinguish and relate these three concepts. Put succinctly:  Business Model refers to the logic of the ï ¬ rm, the way it operates and how it creates value for its stakeholders; and  Strategy refers to the choice of business model through which the ï ¬ rm will compete in the marketplace; while  Tactics refers to the residual choices open to a ï ¬ rm by virtue of the business model it chooses to employ. To integrate these three concepts, we introduce a generic two-stage competitive process framework, as depicted in Figure 1. In the ï ¬ rst stage, ï ¬ rms choose a ‘logic of value creation and value capture’ (i.e., choose their business model), and in the second, make tactical choices guided by their goals (which, in most cases, entail some form of stakeholder value maximization). Figure 1 thus presents our organizing framework: the object of strategy is the choice of business model, and the business model employed determines the tactics available to the ï ¬ rm to compete against, or cooperate with, other ï ¬ rms in the marketplace. The article is organized as follows. In the next section we deï ¬ ne and discuss the notion of business models and present a tool to represent them, while the following section considers the stage two ‘choice’ in our framework, presenting and discussing the notion of tactics in relation to that of business model. The following section then moves back to examine the ï ¬ rst e strategy e stage, after which we revisit our process framework to integrate the three notions. We discuss the connection between strategy and business model, arguing that both notions can be clearly separated. A detailed example is developed in the following stage, followed by some concluding remarks. Business models Although the expression ‘business model’ has gained in prominence only in the last decade, the term has been part of the business jargon for a long time, its origins going back to the writings of Peter Drucker. Although (as Markides points out) there is no widely accepted deï ¬ nition, Magretta deï ¬ nes business models as ‘stories that explain how enterprises work’, and follows Drucker in deï ¬ ning ‘a good business model’ as the one that provides answers to the following questions: ‘Who is the customer and what does the costumer value?’ and ‘What is the underlying economic logic that explains how we can deliver value to customers at an appropriate cost?’ While not formal, her implicit idea is that a business model is about how an organization earns money by addressing these two fundamental issues e how it identiï ¬ es and creates value for customers, and how it captures some of this value as its proï ¬ t in the process. Amit and Zott’s deï ¬ nition, in contrast, is less broad (as it focuses on e-businesses) but more precise. Reviewing the contributions of several theories – including virtual markets, Schumpeterian innovation, value chain analysis, the resource-based view of the ï ¬ rm, dynamic capabilities,  transaction cost economics and strategic networks – they point out that each contributes elements to the notion, but that none, by itself, explains business models completely. They analyze a sample of U.S. and European e-business models to highlight the drivers of value creation, and present the following integrative deï ¬ nition: ‘A business model depicts the content, structure, and governance of transactions designed so as to create value through the exploitation of business opportunities.’ The content of a transaction refers to the goods or information exchanged, as well as to resources and capabilities required; the structure refers to the parties that participate, their links, and the way they choose to operate, and governance refers to the way ï ¬â€šows of information, resources and goods are controlled by the relevant parties, the legal form of organization, and the incentives to the participants.5 In this issue, they build on this deï ¬ nition to propose an ‘activity system perspective’ for the design of business models, arguing that activity systems capture the essence of business models and proposing two sets of aspects for designers to consider: design elements (content, structure and governance) that describe the activity system’s architecture, and design themes (novelty, lock-in, complementarities, and efï ¬ ciency) that describe its sources of value creation. The common thread across all of these approximations to the notion of busin ess model is well captured by BadenFuller, MacMillan, Demil and Lecocq in their deï ¬ nition ‘the logic of the ï ¬ rm, the way it operates and how it creates value for its stakeholders’, and we adopt their deï ¬ nition as the starting point for our argument. To make progress toward understanding business models, we ï ¬ nd it helpful to use the analogy of a machine e by which we mean a mechanical device that transmits energy to perform tasks. (Of course, real organizations are different from machines in many important respects, but the comparison is helpful, especially to our thinking in contrasting the notions of strategy and business models.) Any given machine has a particular logic of operation (the way the different components are assembled and relate to one another), and operates in a particular way to create value for its user. To be more concrete, different automobile designs have different speciï ¬ c logics of operation – conventional engines operate quite differently from hybrids, and  standard transmissions from automatics – and create different value for their ‘stakeholders,’ the drivers. Some may prefer a small car that allows them to navigate congested city streets easily, while others may prefer a large SUV with a powerful engine to enjoy the countryside to the fullest. Automobiles are made of parts – wheels, engines, seats, electronics, windshields, and the like. To assess how well a particular automobile works – or to create a new one one must consider its components and how they relate to one another, just as, to better understand business models, one needs to understand their component parts and their relationships. (We return to this analogy during the paper: readers will gain more value from it if they understand the design and building of the car as representing strategy; the car itself as the business model; and the driving of the car as the available set of tactics.)

Analysis Of The Sound Of Music - 1262 Words

At a period of time in the United States when the Vietnam War was rapidly escalating and gaining opposition among the younger generation, the film The Sound of Music was released. Directed by Robert Wise and released in 1965, The Sound of Music features musical numbers accompanied by the movement and dancing of the von Trapp family. The setting of the film is Salzburg, Austria in 1938 immediately following the start of German occupation due to the Anschluss. Ultimately, the reprise of â€Å"So Long, Farewell† in The Sound of Music subverts governmental authority over war by portraying a movement shift from being restricted and uniform to running away with hope of freedom. The reprise of â€Å"So Long, Farewell† features Maria von Trapp, Captain†¦show more content†¦As this pattern progresses, the children escaping the stage show more and more freedom of movement. The last set of two sibling is two of the oldest daughters who, right before their exit, make a small leap. This is the first time that enough excitement is shown that any of the family members actually leave the stage surface. At this point in the number, only the two adults and the youngest child are left on stage. The youngest von Trapp is ushered off stage to join the others before Maria and Captain calmly walk off stage, embracing each other. The most obvious subversion of war authority belongs to the setting of the movie-1938 in Salzburg, Austria, the year in which Germanic Nazi power took over Austria. In March of 1938, â€Å"Austria was the first victim of Hitler’s policy of aggression. The German domination of that country (the so-called Anschluss) heralded the beginning of a diplomatic demarche† (Clute VII). Specifics as to how this happened include a conspired alliance between Austrian Nazis and German Nazis who infiltrated their power into Austrian government. 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The more different types of music made, leads to having more genres of music to choose from. This begs the question how do we truly know what type of music we are listening too? With the way music is currently, putting music in the correct genre can prove to be troublesome. Reason being, the ideas of past genres are incorporated into current genres which makes labeling a song with the correct genre difficult. It takes a thorough analysis with strong

The Roman Empire And The Byzantine Empire - 792 Words

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