TMA 1: Summarise the main points of Mary Bock’s ‘Telling truths: perspectives on a human rights violation’ and evaluate, with reference to other material in the module so far, the extent to which it helps you understand how to identify creativity in everyday language.
Although the narratives that Mary Bock analyses in her article can be said to be anything but ‘everyday’, given that they are testimonies on the killing of seven people by police officers in apartheid era South Africa, she does succeed in illustrating the use of creativity used in narrative even in examples where we may feel that it is least appropriate; the purpose of the testimonies was hear the unadulterated truth. To clarify, Bock shows that both narrators, to different degrees, adopt Labov’s standard narrative structure (Toolan, 2006 [pp 55-58]) in their retelling of events and that both are contextually bound to the events in their narratives making them emotionally and socio-culturally involved and leading to interference from notions of identity and afiliation. As Toolan points out narrative is always identified by its ‘… (emphasizing or downplaying) certain events and representing these from a partial perspective. In all these ways, everyday storytelling can be seen as a creative activity’ (pp. 54-55), and Bock does illustrate this creative processes taking place in both narratives. a productive querying of the terms of the question
The Term Paper on Interesting Narrative
“Who are we looking for, who are we looking for? It’s Equiano we’re looking for. ” –those are the words from a chant about the disappearance of an African boy. The disappearance of Olaudah Equiano has become a subject for a national folklore. All along the sixteenth – nineteenth centuries thousands of Africans captured in West Africa had been shipped to be sold in slavery. Many of them ...
The first issue I would like to address in this essay is that of the distinction between everyday storytelling and the highly unusual narratives used by Bock in her article, and to give some context so that the two men’s narratives can be better understood in terms of storytelling. Secondly, I will look at notions of creativity and try to identify what this means I linguistic terms. I will then go on to look in more detail at how Bock manages, quite successfully in my opinion, to demonstrate that both of the men, journalist Chris Bateman and policeman Thapelo Mbelo, use creativity in their narrative in subtly, ‘making and remaking’ (ibid) their identities and perspectives. This will mainly be done by evaluating how successfully she relates Labov’s model of narrative structure, but also by looking at what creativity means in this context and how speakers use it, even if on a largely subconscious level. ok, though you have quite a long introductory part to this essay in relation to the length of your answer as a whole
Mary Bock chose to examine the testimonies given at the 1996 Truth and Reconciliation Commission hearing into the deaths of seven anti-apartheid activists in Cape Town at the hands of policemen ten years earlier. The two men, Bateman and Mbelo, were asked to give uncontested narrative accounts of what had happened from their perspectives in order to try to uncover the truth of the incident without distraction. This is an important issue when addressing the essay question, in that the narratives are therefore explicitly not everyday language as they are not being aided in their creativity by the contribution of other speakers. This meant that much of Joan Swann’s analysis of creative language in Chapter One had little relevance for these narratives. [not sure about that -see PT3 for comment on this] Indeed it demonstrates part of the problem that Bock faces in her analysis – how can we identify creativity in these narratives when their purpose is to uncover one of the Commission’s ‘four notions of truths’ (quoted in Bock p.84), that of personal or narrative truth. Yet, Bock clearly demonstrates in her analysis that both of the men follow Labov’s narrative and also notions of restructuring their identity as discussed by Toolan in Chapter Two. I will begin by looking at Chris Bateman’s narrative and discussing the points raised by Bock regarding these theories, before moving on to Mbelo’s version as she perceives it.
The Term Paper on Promote Creativity And Creative
1.1 – Analyse the differences between creative learning and creativity. Creative learning is about how children are actively involved in their own learning, and their ability to make choices and decisions. This can be achieved through providing a creative environment, allowing exploration through play and praising creative efforts. Creativity is about risk taking and making connections, ...
Bock decides to use a mixture of Gee’s ordering of a narrative into lines and stanzas in that it, ‘reveals the patterns of repetition and contrast which… indicate recurring themes and preoccupations of the narrator.’ I agree that it does highlight the poetic qualities of the narrative, but I am not wholly convinced by the technique. I feel that it disrupts the speech pattern of the speaker to [too?] overtly and we are forced to see what Gee want us to see rather than view the speech more objectively, and I feel that a more straightforward representation of Bateman’s pauses and emphasis may have given a clearer indication of his speech and therefore meaning. However, it is Bock’s choice of using William Labov’s analysis of personal narrative that we can see a common creative process occurring. Labov attests that personal narratives will usually follow a standard structure which contains the elements of orientation, complicating action, evaluation and resolution (in Toolan p. 57); these may also be sandwiched between an abstract and coda. [I don’t personally mind the use of the stanzas layout, – it is clearly an interpretative method, and seems reasonably transparent to me – as you say, it is overt; perhaps you could have linkde to the study guide, where the advantages and disadvatages of diffferent transcription methods are explored?]
This storytelling model imposed upon testimonies on a fatal shooting at first seem incongruous, but Bock manages to clearly demonstrate that Bateman does indeed follow the pattern, and also includes more striking creative features. The first of these is the asides that Bateman regularly makes in his speech, to the supposed Commissioners present, in which he clarifies his position and explains himself. Although this is very human, it is striking that Mbelo in his narrative does not do this. Bock explains these asides by highlighting Bateman’s desire to present himself as professional and a ‘reliable observer’ (p. 88).
The Term Paper on Points of Concern in the Company’s Evaluation Form
The evaluation form currently being used by the company has many points of concern. First, it takes a look at the personal characteristics of the employee such as friendliness and attitude towards work. These criteria must be taken into account, however, results / accomplishments of the employee must be considered. It must be noted that assessing characteristics of the person in relation to the ...
She then goes further to illustrate the use of evaluation in his narrative, Labov’s theory is that evaluation is an essential part of a narrative (p. 57) and Bock demonstrates Bateman’s use of internal, external and embedded evaluation – this is explained by Toolan as the narrator overlaying his story with implicit, explicit [word missing? unclear] and quotation from others involved in the story as a means of evaluating the events as they unfold. Bock shows that Bateman uses all three with regularity. Bock makes the distinction between Bateman’s ‘overarching narrative’ (p. 88) and these ‘meta-narratives’ (ibid.) to demonstrate the complexity of Bateman’s evidence in from of the TRC. This is not to suggest that Bateman was in any way being dishonest, and the publication of his accounts of events gained from both the police and witnessed in the Cape Times testify to his journalistic integrity, however, they do provide clear evidence of his creativity in narrative. [yes, Labov certainly didn’t imply that the structures were consciously used or were manipulative; rather, that they were commonly-found structures]
Bock admits that Thapelo Mbelo’s ‘position is more ambiguous’ (p. 89) as he was one of the policeman who shot the activists, but is also a black man. We might expect that his narrative would be more explicit in the creative aspects outlined in Bock’s analysis of Bateman, but his (subconscious) manipulation of his narrative is more difficult to define given that he does make the same degree of evaluation of events. Again, I think that Bock has done a very convincing job of showing that Mbelo is also utilizing creative language in speech and that, ‘What makes Mbelo’s narrative so interesting are the ambivalences… he distances himself subtly through various features of the discourse,’ (p. 94) His story too follows Labov’s structure as Bock clearly shows, but she also highlights Mbelo’s use of shifting personal pronouns ‘we’ and ‘us’ to either distance himself from the police or to seek solidarity with the activists. She also mentions his use of Afrikaans when using embedded evaluation to show the linguistic divide between himself and the white police officers. [ok – a good opportunity here to link the Bock with the parts of chapter 3 on language crossing] She shows that although Mbelo’s creative elements in his narrative are less apparent than Bateman’s, they can be subjected to similar analysis and important questions about that creativity raised. [good – but now you needed to link in to other aspects of the course to evaluate Bock’s approach in the context of others]
The Essay on Example Of Evaluation Analysis For Film Studies Gcse
Through writing my pitch, I’ve learnt several things about the film industry. I’ve realised that a pitch is the very first thing we need to do before proceeding to any preproduction or production tasks and that the purpose of a pitch is to attract development finance to pay for the production of the film. Therefore, a pitch should be marketable and interesting. As pitching is commonly known as “ ...
As Toolan writes in his introduction to Chapter Two, ‘We use stories… to explain ourselves to others and to ourselves, to distance ourselves from some people (usually physically absent) and to get closer to others… thus storytelling is directly connected to our making and remaking of our identity and our relationships.’ (p.54) Mary Bock has demonstrated in her analysis – and the application of others’ analysis – of the narratives of Chris Bateman and Thapelo Mbelo’s that this is not only true in an abstract notion, but can be quantified and linguistic terms also. ok, lots of good things here, but doesn’t quite focus on the question as asked: see PT3 for further general comment
References
Maybin, J. and Swann, J. (eds.) (2006), The art of English: everyday creativity, Basingstoke, Palgrave Macmillan in association with The Open University
Toolan, M. (2006) in Maybin, J. and Swann, J. (eds.) (2006), The art of English: everyday creativity, Basingstoke, Palgrave Macmillan in association with The Open University [pp 54-102]
referencing pretty well done
