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Buronson and structure of stories

In this article I would like to point out how much attention Buronson has poured in setting the saga Hokuto No Ken on a solid structure, that of the novel. Also note the almost full use of the functions of Propp (as you will see later).

STRUCTURE OF THE NOVEL

The narration of the following stages:

1. INITIAL SITUATION or DEBUT - it is said the situation from which they take off all events

2. COMPLICATION OR BREAK BALANCE INITIAL - something happened which was interrupted or complicates the initial situation (the discovery of a manuscript, death of a character ...)

3. DEVELOPMENT OF EACH OTHER - the story develops through events, which can lead to an improvement or a worsening of the initial situation

4. CONCLUSION O EPILOGUE - the story ends

The story, the subject of narration, can be real, plausible, or completely fantastic, invented, is what allows us to classify the novel

THE NARRATOR

• The writer is the author of the novel.

Not always the author, however, coincides with the narrator.

• The narrator is a character in the novel, which has the task of narrating the events.

These events can be narrated in the first person, through the words of a character, which may be the protagonist or a witness ... and then you say that the novel has an internal narrator.

The story can be told in the third person. The narrator does not appear in the text, the story is apparently impersonal, none of the characters seem to have a relationship with the narrator: in this case we speak of external narrator.

FABULA AND STRAW narrative structure / time of the narrative

The author when it is about to write a story chooses what order to tell, what news to give first and which keep aside, then create special effects.

If the facts are exposed respecting the temporal order of development, we have the fable.

When you do not respect the temporal order is instead the plot. Rarely an author narrates the events of a story in their real logical and temporal sequence, thus with intertwining term refers to the order in which the author, the writer has in his narration of the facts.

The plot can be:

• Linear plot - the story told is one, that of the protagonist

• Interlacing interlocking - it includes a main story, which contains other minor

• Interweaving parallel stories - it is to tell more stories simultaneously, now abandoning one or other interruption to resume them later.

THE POINT OF VIEW

The author also decides the point of view, that is the perspective from which you look at the facts narrated.

• The point of view is internal said, when the story is seen through the eyes, or the thought of a character in the story.

• If she plays, however, the narrator of a character, but the observation Angola is out of the picture, as if the narrator could see everything from above, then the viewpoint is outside.

INGREDIENTS OF THE NOVEL

SPACE

In a novel there are two types of places:

1. The place where you set the novel as a whole: exotic countries, metropolitan cities ... The descriptions of these places must be consistent with the geographical, historical and cultural.

2. The place where takes place every single sequence: a room, a field, the train ....

• In a novel the description of the spaces has a dual function:

1. The backdrop to the action - that highlight the natural and historical elements that frame the events

2. create the atmosphere - that highlight items that can capture and guide the emotions of the reader. The descriptions may, for example, to interrupt the story in a critical point, after rich sequences of movement and tension, to relax the player; or, to dwell on a few elements to create suspense ...

• The description can be:

1. Subjective - where the author communicates meanings, feelings, thoughts of the various characters that go beyond the mere observation of space

2. objective, rarer, in which the writer tries not to show feelings and emotions. Normally, the authors use the technique of objective narration when they want to emphasize that the environment is not relevant to the action, or when you want to maintain the separation of character

• The description is guided by the senses and depending on the channels of perception most frequently can be:

1. a visual dominance

2. Odour dominance

3. tactile dominance

4. auditory dominance

5. a gustatory dominance

THE WEATHER

The time of the narrative is almost always very small compared to the real-time; events that take place in the months or years may be reduced in a few pages and, sometimes, even just a few lines.

Also the timing of the narrative may not have the same succession of the times of history. (See story and plot).

time order of the narrative of the story = = time order fabula

time order of the narration = / = time = order of the story plot

On the level of discourse:

• Descriptions and reflections slow down the story time

• Summaries and abstracts shorten the time of the story

• In the dialogues, the actual time coincides with the narrative

Time is divided into:

1. External time period in which the events take place, and that affects all the ingredients of history: the environment, characters, language ...

2. internal time: the duration of each individual and which regulates the elements "atmospheric" on setting: light / shade, day / night ...

CHARACTERS

The characters are the "actors" of the novel, that is, those are figures that speak and act on the scene as human beings, revealing feelings, thoughts ...

• To describe the characteristics of the individual characters, writers can choose from two forms:

1. an analytical description, name, surname, age ...

2. the description "portrait", that is, a description can highlight the important characters, the ones that characterize the character: physical appearance, ideas, behavior ...

If the representation is based on a few characters, traits, it is said that the character is "flat", that refers to fixed stereotypes (eg. Princess or Prince fairy tale); If the representation is more detailed results in well-shaped characters, characters with their own personalities that you can modify and enrich the course of history.

Among the techniques of representation of a character, the most common are: A. freestyle, that is what the character says and thinks B. dialogue, both directly and indirectly C. the interior monologue, that is the transcription of thought as is formed in the character's mind, in clear and coherent manner. D. the stream of consciousness, that is, the transcript of the character's thoughts in his unceasing flow of sensations, sounds, colors, not yet ordered

• According to their importance in the narrative text, the characters can be divided into primary and secondary

• Depending on their role in the story, the characters are divided into:

1. protagonist, the character who directs the action narrative

2. the antagonist, the one who hinders the protagonist

3. the object of contention, motive and objective of the protagonist

4. aide, the character that makes "tip the balance" on one side rather than the other

5. the recipient, the recipient of the desired object

THE TONGUE

The language used by the writer varies depending on the type of novel, the social class of the characters, the era and the place where the events take place.

(source: www.valsesiascuole.it/smsgattinara/...2/struttura.htm )

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Scheme Propp From Wikipedia, the free encyclopedia.

The Propp's scheme is the result of the study on the linguist magic tales and Russian Vladimir Propp anthropologist. He studied the historical origins of the fairy tale in the tribal society and in the initiation rite and took out a structure that also proposed as a model of all narratives. In his Morphology of the Folktale written, he proposed this scheme, identifying 31 sequences (also known as Propp sequences) that make up the story. Each sequence is a typical situation in carrying out the plot of a fairy tale, referring in particular to the characters and their precise roles (eg. The hero or the villain).

NOTE: I have taken care to point out the most obvious similarities, but you can find others.

Characters

Propp identified 7 characteristic fairy tale characters:

• Hero: the protagonist who, after finishing a business, will triumph; ( Kenshiro )
• Antagonist: the hero's opponent; ( Raoh and all the other enemies of the series)
• False hero: the hero is replaced by deceit; ( Jagi , Kaioh )
• Principal: whoever pushes the hero to leave for his mission; (in our case the will of Heaven by Shin )
• Donor: the hero's guide, which gives it a magical gift; ( Toki )
• helper: who helps the hero to complete the mission; ( Rei , Shu , Orca and other)
• sought Person: loving final award for the hero; (of course Julia , replaced by Lynn in the second part dellla series)

Sometimes the donor can be the helper, as the principal may also be antagonistic depending, of course, of the story.

Scheme The general scheme of a fairy tale according Propp is as follows:

1. Initial Balance (start) 2. Initial balance breaking (motive or complication) 3. Hero's adventures 4. Restoring balance (conclusion)

functions

These are the 31 functions identified by Propp:

1. Removal: one of the members of the family moves away from home - eg. Prince goes to war 2. Ban (or order): the hero is a ban ( "Hokuto and Nanto should never collide" and even "The Divine School of Hokuto has been handed down to a single successor to generation" ) 3. Offense: the ban is broken (Shin attacks Kenshiro / Raoh, Toki Jagi and continue to use the Hokuto) 4. Investigation: the villain is the hero of the research 5. Denunciation: the villain receives information 6. Pitfall: the antagonist tries to deceive the hero 7. Collusion: the hero falls into the trap 8. Damage (or lack thereof): the antagonist is causing harm to the hero (or is missing something) - (Shin kidnaps Julia) 9. Mediation: the damaged or missing are disclosed 10. Consent: the hero reacts 11. Departure: the hero of 12. The donor function: the donor tests the hero (Toki tests Kenshiro before his decisive battle with Raoh) 13. Reaction: the hero passes the test 14. Supply: the donor gives the hero magical item (the Toki teachings: "transforms your sadness into anger" ) 15. Transfer: the hero moved, or is conducted at the place where lies the object of his research (Fudo Kenshiro leads to the city of Nanto) 16. Fight: the hero and the antagonist directly engage the struggle 17. Branding: the hero is given a label (no need to specify which marking is to Kenshiro?) 18. Victory: the antagonist has won 19. Removal: the hero is freed from the damage or from the initial lack (Kenshiro rejoins Julia) 20. Return: returns the hero (Second series) 21. Persecution: the hero is subjected to persecution (The Jako empire prosecuted anyone tied in Hokuto and Nanto, besides that sends Soria and Falco eliminate Kenshiro) 22. Saving: the hero is saved 23. Check in disguise: the hero comes incognito at home or in another country (Land of Shura) 24. Unfounded claims: the false hero advancing unsubstantiated claims (Jagi claims the succession / Kaioh wants to become the sole heir of Hokuto) 25. Try: the hero has imposed a difficult task, a test to pass 26. Fulfillment: The difficult task is performed 27. Identification: the hero is recognized ( "The man with seven scars !!" ) 28. Unmasking: the false hero or the villain is unmasked 29. Transfiguration: the hero takes on a new appearance 30. Punishment: the antagonist is punished 31. Happy ending: the hero gets the ultimate prize; often marries or gets a kingdom

Not all sequences can be found in all fairy tales, on the other hand the scheme can also be associated to other types of stories: think of the Odyssey as regards the breaking sequences.