Analysis of Structure and Form in Chinese Cinderella
Explore the internal organization and prose style of the text "Chinese Cinderella" through an examination of structure, narrative form, dialogue usage, and character development. Dive into how the sections are divided, the use of dialogue to define characters, and the indicators that stand out in the narrative. Consider the narrative function of plain prose sections along with detailed ideas for discussion on character relationships and societal values portrayed in the text.
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REVISION AND REVIEW: CHINESE CINDERELLA Tuesday, 17 January 2017
Structure and Form Required as part of the Assessment Objectives Structure: Focus on an internal structure how the sections of the writing are organised Form: How does the PROSE look? is often an indicator Looking at this passage, do you see more dialogue or narrative?
Structure Divide the text up. All these texts are IED texts. Finding areas of each might be a good start lines IED 1-8 I,D 9-35 I,D 35-43 D 44-50 E (for the reader) D 52-57 I etc Not wholly satisfactory: but we see how highly descriptive the whole passage is
Better Organise in line with narrative form: Status Quo the opening establishes relationships and foreboding Development: The journey Crisis: The meeting Resolution: The Question Status Quo: The outcome Work out where these sections come Use them in your writing
FORM The bulk of the passage is in dialogue. Why do you think this is? How does it help to define character? How can the narrator indicate emotion and character when using dialogue? What indicators stand out? How can punctuation be used for effect? How does Sit Down! Sit Down! differ from sit down, sit down. How reliable is the dialogue as an accurate depiction of the meeting? What is the narrative function of the sections in plain prose narrative?
Ideas for consideration 13: It s a chauffeur rather than a family member who picks Adeline up. (Also signifies the wealth of the family) 15-16: Adeline s sense of foreboding. She assumes the worst. 20-1: Her feeling of dread and assuming that there will be bad news waiting for her. 23-6: Adeline s lack of recognition of the family home. 29: Mother (step mother?) does not know she is coming or is deliberately busy 30-5: Her family are too busy to greet her and Adeline has never been to her father s room. 35-38 Compare the descriptors of Adeline and father 38-40: Adeline is ill at ease with her father (who notices that she looks scared). She fears that her father is going to catch her out. 54-62: Her father is pleased with his daughter because she gives him face in front of a colleague. There s quite a lot to be said about his values and their relationship here. 67: Adeline s father is measured in his encouragement here. 77-81: Her father s cruel dismissal of her ambition ( scoffed and use of questions) and her silence (cultural honour codes). 82-89: His plans for Adeline (note the use of indicative future tense, the reasons he gives for going into obstetrics and the accompanying brother). Q: why is the reference to Wordsworth ironic? In groups, discuss these and work out which topic they provide evidence for: Relationships, character of Adeline/Father, Nature of Society, Nature of Family
