High School Statutory Authority: All expectations apply to ESOL I students; however, it is imperative to recognize critical processes and features of second language acquisition and to provide appropriate instruction to enable students to meet these standards. ELLs' abilities to meet these standards will be influenced by their proficiency in English.
While this trope can come into play unintentionally, for example as a side effect of Faux Symbolismit's normally intentionally played by the authors.
This can be done to make the story more interesting in general, as a way of Getting Crap Past the Radaror simply to appeal to several audiences at the same time—each of them likely to interpret the situation in whatever way they are most familiar with.
Either some vital piece of information is missing, or we are left with contradicting information and no definite verification about what is correct and what is not. When played straight, the characters probably but not necessarily know what they are talking about, but they're not giving the audience all the information needed to know the situation for sure.
When invoked or debated, the characters themselves ponder the nature of the situation they are in. This only applies to cases where they don't know that the trope is—say for example that they are having a strong emotional reaction and are pondering whether it's The Power of Love or The Power of Friendship.
In a detective story, the detectives might be unsure or disagreeing - not merely about whether or not a certain suspect is guilty or not as a simple "who did this" level, but about the the basic nature of the situation they are investigating.
Note that examples only count if the uncertainty is left unresolved: Brief uncertainties stop being this trope when they get a definite answer. Only add examples where the alternatives are reasonable.
If needed, make an argument for why it's a viable interpretation. Also, don't add situations that are only temporarily ambiguous: If the situation is clarified after a little while then it is not an example.
So only add such examples if you have a good argument for why the option is relevant. May be a Riddle for the Ages. Superdickery If the ambiguity concerns whether a character lived or died, you're probably looking at Uncertain Doom or one of its subtropes. Contrast Epileptic Treeswhich are conclusions that viewers draw when they don't limit themselves to information objectively present within the work.
If the ambiguity is whether or not something was a dream, then the trope is Or Was It a Dream? See also What Happened to the Mouse? Unmarked spoilers, since they are often vital parts of the analysis.
After laying flowers at his parents' grave, Gunzou turns around to face the camera and welcomes someone back. Who exactly he is talking to is never shown, though a Not Quite Dead Iona seems likely.
Cowboy Bebop ends with Spike, grievously wounded, collapsing in front of what remains of Vicious's gang. The creator said that whether he lives or dies is entirely up to the viewer. One of the continuing points of crisis between Ian and Jeremy in A Cruel God Reigns is whether or not the car crash that killed their father and mother step parents respectively was caused by an error in Greg's driving, a faulty car attribute, or Jeremy's tampering.
Because it is never solved and could have been any of the three reasons, heavy strain is placed on Ian's willingness to try to forgive his stepbrother and later on his budding romantic feelings for him.
Even more strain is placed on Jeremy because he can't be sure whether or not he accidentally killed his mother, and therefore he can't put the guilt behind him or forget about what Greg did to him to make him sabotage the car in the first place.
In Destruction Flag Otome it's not really clear if Katarina is actually Katarina like she thinks or just her past life having completely replaced who Katarina was supposed to be. She does identify as Katarina, have her memories and her father thinks she's similar to her mother, but she seems unfamiliar with some really basic things that Katarina ought to know.
But then again Katarina was always as dumb as a box of rocks, now she's just dumb in a different way. In Devilman vs Hades a large portion of the story is focused on the revival of two women the hero and the villain dearly love.
For Akira it's Miki, who is still dead from the events of the original manga, and for Hades it's Persephone, his wife from Greek mythology, who Akira killed when he came to save Miki's soul. Hades having power over the dead, promises Akira that he could bring the woman he loves back from the dead; given certain conditions are met.
Ironically, despite having mastery over death, Akira's Devilman powers have corrupted Persephone's soul, and has made it near impossible to repair. The final scene of the manga leaves it ambiguous as to which of the two women were revived, as either Miki or Persephone's eyes open up as Akira and Hades fight to the death.
Making it even more ambiguous, is the fact that Persephone and Miki have different colored eyebrows, and that is obscured from view, making it impossible to tell which one of them is being revived. In 5 Centimeters per SecondTakaki sees a woman in his dreams that looks like Akari, and he later sees her while awake in the final part.
She never speaks, however, which makes it unclear whether she's actually Akari, a lookalike he's projecting her likeness onto out of his longing for her or, given that they cross paths at a place that was significant to their childhoods that he just coincidentally happened to be atan outright hallucination.The narrator of "The Tell-Tale Heart" is unreliable.
He is trying from the very beginning of the story to make a case for his sanity, but the very story he tells completely undermines and is at.
Point to details in the story that identify its speaker as an unreliable narrator. Provide actual textual support and citations. 3. What do we know about the old man in the story? What motivates the narrator to kill him? 4. In spite of all his precautions, the narrator does not commit the perfect crime.
The Hollywood Reporter is your source for breaking news about Hollywood and entertainment, including movies, TV, reviews and industry blogs. Guide to Theory of Drama. Manfred Jahn. Full reference: Jahn, Manfred.
A Guide to the Theory of Drama. Part II of Poems, Plays, and Prose: A Guide to the Theory of Literary Genres.
English Department, University of Cologne. Narrative point of view. Narrative point of view or narrative perspective describes the position of the narrator, that is, the character of the storyteller, in relation to the story being told. It can be thought of as a camera mounted on the narrator's shoulder that can also look back inside the narrator's mind.
Point to details in "The Tell-Tale Heart" that identify its speaker as an unreliable 2 educator answers Why did Poe create an unreliable, first-person, participant narrator to tell the story in.