Fiction vs. Non-fiction Boundaries
Blurring the boundaries between Fiction and Non-Fiction has always been a great way for authors to make their points, yield their arguments, and to keep interest. Some may even be inclined to believe that there is not a definite boundary between the areas of fiction and non-fiction. Fiction is often used throughout non-fiction writings as more of a point of view than a character in itself. This voice is not exactly a character in the text, but it still exercises an attitude toward the material to help control the writing.
“Lola,” by Truman Capote is a great instance where these boundaries are so well mixed, that it becomes hard to tell the difference where one starts and another begins. This story is about a bird named Lola, and the main character. At first, Capote doesn’t like the bird and in fact despises it. However, towards the middle and towards the end of the story, he beings to care for the bird and treat it as a pet. This story does not state very many facts like one would expect throughout a non-fiction account, but rather tells a story like in fiction writing. By doing this, the reader would actually never suspect that the story was in fact non-fiction without being told so. It is a first person account of the events that unfold throughout the story. Capote does a fantastic job of revealing these events and holding the readers attention instead of boring the reader with the strict description, times, and dates such as one would find some non-fiction writings. He incorporates humor into the story to help with the excitement of these events. “The Kerry decided Lola was the latter. He tapped her with his paw. He chased her into a corner. She fought back, pecked his snout; her cawing were coarse and violent as the harshest cures words. It frightened the bulldog;…” This sentence revels some of the intermingling of fiction and non-fiction that Capote utilizes within the account. He is actually giving human characteristics to these animals where the dog “decides” and the bird begins to “swear”. Capote does not actually know what these animals are thinking so this is a perfect example of fiction controlling the tempo throughout a non-fiction writing.
The structure of “Lola” relates strongly to the structure of a fiction story. It includes an introduction, middle, climax, and ending. Similar to ficti...
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...ases. The reader does not know if Danny Deever is a real person or just some made up fictional character. The poem actually describes Danny and his death to the reader. “For they’re done with Danny Deever, you can hear the quickstep play. The regiment’s in column, and they’re marching us away.” These Sentences show how the poem rhymes and yet confuses the reader in the fiction or non-fiction account of the poem. The reader does never really discover what the poem is and this is the exact reason why the author made it this way. To keep the reader guessing and to hold the attention.
Blurring these boundaries between Fiction and Non-Fiction has always been a great way for authors to make their points, yield their arguments, and to keep interest. If authors did not utilize this particular technique, most non-fiction accounts would become boring and uninteresting to a reader who did not want to learn about the particular. It is completely acceptable as long as the readers are told of the fictional aspect of the work. This is not one of the easiest techniques to use but if written correctly, creating a fictional account cannot be considered anything but excellent writing.
In the fictional story the Scarlet Letter, Nathaniel Hawthorne tells the story of a woman tormented by the townspeople for committing adultery. With fiction the author can paint a story in any way to deliver the right emotion to the audience. However, nonfiction must stay to the actual facts of the story. Typically, nonfiction stories contain eye-opening details that wouldn’t be believable if written as fiction. For example, the story of Tonya Harding and Nancy Kerrigan were 2 olympic ice skating athletes trying to win gold. Tonya Harding had someone try to break Nancy Kerrigan’s legs so that she couldn’t compete. It is unbelievable as nonfiction, but as fiction it would seem too far out there to
In every short story there is always a deeper meaning to the literature work, any author wants to communicate a multi-layered idea, to their readers, they wants their readers to connect to the short story that they are telling. The authors of these types of literature writings are able to take their readers on a journey within their writings. When a person reads these literary works, they begin to unravel and interpret the symbolic nature of the character’s journey throughout the short story. Also, the journey is
"Unit 2: Reading & Writing About Short Fiction." ENGL200: Composition and Literature. New York: McGraw-Hill, 2011. 49-219. Web. 19 Apr. 2014.
Cherry, K. (n.d.). The stanford prison experiment an experiment in the psychology of imprisonment. Retrieved from http://psychology.about.com/od/classicpsychologystudies/a/stanford-prison-experiment.htm
Even the researchers themselves began to lose sight of the reality of the situation. Zimbardo, who acted as the prison warden, overlooked the abusive behavior of the prison guards until graduate student Christina Maslach voiced objections to the conditions in the simulated prison and the morality of continuing the experiment. "Only a few people were able to resist the situational temptations to yield to power and dominance while maintaining some semblance of morality and decency; obviously I was not among that noble class," Zimbardo later wrote in his book The Lucifer Effect (Zimbardo, 2007). According to Zimbardo and his colleagues, the Stanford Prison Experiment demonstrates the powerful role that the situation can play in human behavior. Because the guards were placed in a position of power, they began to behave in ways they would not normally act in their everyday lives or in other situations. The prisoners, placed in a situation where they had no real control, became passive and
The debate over prison systems in the United States has been a long controversy. The question as to; if stuffing a facility full with convicted criminals to be guarded by a flock of civilian employees will foster progress. But a main factor that contributes, is the line between guard and civilian. A guard, while trained, is not a military personal. The power given to them over the lives of others when they are simply a citizen is not normal for everyday citizens. This is one of the things Dr. Phillip Zimbardo wanted to test in his prison experiment at Stanford University, working on staff. Zimbardo created a mock prison in the basement, drawing psychologically fit young gentlemen to see what would happen. In a short
We know that people react differently than others, like the man who left early compared to all of the other men. Though the experiment only lasted less than a weeks’ time, it showed us that we cannot perform these kind of studies without someone on the outside looking in. It was a tough environment for all of the people involved. From Zimbardo right down to the prisoners, it was a tough time. They hadn’t even started to see the changes in themselves being so wrapped up in the study. People will react to certain situations how they seem fit, even when they don’t realize that they are hurting the people around them at the time. I don’t think that any of the guards made it their intention to hurt anyone, they just hadn’t realized it at the time that what they were doing was wrong. We cannot treat each other as less than human beings. Thanks to Christina Maslach, the project was ended early. Without her having seen what she had, who knows how much worse it would have been for everyone involved. We are all human, and no one deserves to be treated as anything less than so; prisoner or
When put into an authoritative position over others, is it possible to claim that with this new power individual(s) would be fair and ethical or could it be said that ones true colors would show? A group of researchers, headed by Stanford University psychologist Philip G. Zimbardo, designed and executed an unusual experiment that used a mock prison setting, with college students role-playing either as prisoners or guards to test the power of the social situation to determine psychological effects and behavior (1971). The experiment simulated a real life scenario of William Golding’s novel, “Lord of the Flies” showing a decay and failure of traditional rules and morals; distracting exactly how people should behave toward one another. This research, known more commonly now as the Stanford prison experiment, has become a classic demonstration of situational power to influence individualistic perspectives, ethics, and behavior. Later it is discovered that the results presented from the research became so extreme, instantaneous and unanticipated were the transformations of character in many of the subjects that this study, planned originally to last two-weeks, had to be discontinued by the sixth day. The results of this experiment were far more cataclysmic and startling than anyone involved could have imagined. The purpose of this paper is to compare and contrast the discoveries from Philip Zimbardo’s Stanford prison experiment and of Burrhus Frederic “B.F.” Skinner’s study regarding the importance of environment.
The idea of experimentation of prison life achieved by the Stanford University students was intriguing and the results were interesting. Haney, Banks, and Zimbardo’s study due to a result of their curiosity of the reactions of subjects when placed in prisoner or prison guard roles. Their inspiration for the study was somewhat unclear; however, hypothetically reasoning was placed on determining aspects of the actual reality of incarceration. The experimenters also strived to test the theory on whether prisoners face abhorrent conditions due to their interpersonal evils, or do to the aggressive and deviant behaviors of prison guards (Haney, Banks, Zimbardo, 1973).
As well as, remembering that mental health may or may not play a role in these conflicts. The counselor must first assess his or her own views regarding sexuality. Working with clients apart of the LGBT culture, the counselor should not consider homosexuality unnatural or immoral. A counselor has the skills necessary to create a positive and nonjudgmental environment, and will not feel uncomfortable discussing issues related to homosexuality. It’s important for counselors to support clients in the coming out process at a pace that is healthy for them. Also, to help the LBGT individual identify who they are, and assist in developing their coping skills. With the help of support groups and the counselor, many conflicts can be resolved (Sue & Sue,
Authors examine many different sources to become better writers. By drawing on the writings of another author one can enhance their current writing style and also learn new ways to write. The plot, conflict throughout the story and the relationships between the characters are some examples of the parts of a story that an author can look at.
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
If a non-fiction book was only filled with facts readers would quickly lose interest and not want to read it. Also, without personal opinions and anecdotes, the book would lack a purpose. Style is crucial to having a book that appeals to the reader’s attention span, and if there is no connection to the reader through the author’s personality, then this book is not successful due to the lack of a personal voice from the author.
A narrative is specified to amuse, to attract, and grasp a reader’s attention. The types of narratives are fictitious, real or unification or both. However, they may consist of folk tale stories, mysteries, science fiction; romances, horror stories, adventure stories, fables, myths and legends, historical narratives, ballads, slice of life, and personal experience (“Narrative,” 2008). Therefore, narrative text has five shared elements. These are setting, characters, plot, theme, and vocabulary (“Narrative and Informational Text,” 2008). Narrative literature is originally written to communicate a story. Therefore, narrative literature that is written in an excellent way will have conflicts and can discuss shared aspects of human occurrence.
“In my estimation a good book first must contain little or no trace of the author unless the author himself is a character. That is, when I read the book I should not feel that someone is telling me the story but t...