Stylistic Analysis & Interpretation Plan

I. Introduction

author

title

theme and idea

summary (plot and suspense)

II. Focus on discourse types

description

narration

commentary

dialogue

interior monologue

III. Focus on the narrator

first person

third person

IV. Focus on characterization

direct

indirect

types of characters (round/flat, static/dynamic characters)

Virtuous (good) characteristics: affable, amiable, good-natured, good-humoured, kind, kindhearted, communicative, sociable, friendly, modest, discreet, generous, considerate, attentive, thoughtful, earnest, sincere, enthusiastic, calm, quiet, composed, self-possessed, honest, merciful, impartial, just, patient, forebearing, sympathetic, respectable, cordial, broad-minded, witty, intelligent, dignified, capable, benevolent, philanthropic, scrupulous, consistent, easy-going, affectionate, devoted, loyal, courageous, persevering, industrious, hard-working, sweet, gentle, proud.

Evil (bad) characteristics: ill-natured, unkind, hard-hearted, reserved, uncommunicative, unsociable, hostile, haughty, arrogant, dashing, showy, indiscreet, unscrupulous, greedy, inconsistent, tactless, insincere, hypocritical, false, vulgar, double-faced, indifferent, dispassionate, fussy, unrestrained, dishonest, cruel, partial, intolerant, conceited, self-willed, willful, capricious, perverse, insensible, inconsiderate, servile, presumptuous, deceitful, harsh, sulky, sullen, obstinate, coarse, rude, vain, impertinent, impudent, revengeful.

V. Emotional Focus (the language, connotations, thematic groups)

imagery

level of formality (stylistic classification of language: written (formal) language and spoken (informal) language )

expressive diction (refers to "choice of words" and involves many problems of usage, such as stylistic stratification (formal diction/colloquial diction); language imagery; connotation/denotation; clichés and many more-anything, in fact, that pertains to word choices)

expressive syntax (good syntax implies the use not only of correct grammar but also of effective patterns. Among them are patterns that provide for the unity, coherence and emphasis, patterns of subordination and co-ordination; syntactical stylistic devices, i.e. detached constructions, parallelism, repetition, enumeration, gradation, climax, antithesis, asyndeton, ellipsis, breaks-in-the-narrative, rhetorical questions, exclamations, etc.)

VI. Conclusion

your point of view and impression

CHARACTER SKETCH

The character sketch like the description of a place is designed to evoke an impression (of excitement, enthusiasm, fury, admiration, etc.), to express an attitude, to produce an essentially emotional effect. In the character sketch the effect is likely to be somewhat more complex, because it is concerned with human personality.

The writer of a character sketch analyses the traits of the character and depicts them as vividly and concretely as he can. He does not merely inform the reader about them, but appeal to the reader’s senses and emotions.

The reader should come to fee that he knows the person who is subject of the sketch. If he does have the feeling, the character sketch is successful.

CHARACTER SKETCH PLAN

Appearance

Social position, occupation

The main traits of the character

His/her life’s credo

His/her attitude to other characters

The manner of speaking

The way he/she acts, behaves, sees the things

The actions of the character worthy of approval and disapproval