Answer:
<u>Analyze why the author uses literary devise such as foreshadowing, flashbacks, order of events to create mystery, tension, or surprise. Support the reasoning for the text structure with text based examples
</u>
The author uses literary devise such as foreshadowing, flashbacks, order of events to create mystery, tension, or surprise to make the story more interesting, and so the reader doesn't get bored of the story. For example, when Alexandra tells Atticus not to make comments like the one he just made about Mr. Underwood in front of "them" (16.8), i.e. Calpurnia, i.e. African-Americans.
Atticus says that it's nothing Cal doesn't already know, and that anything that can be said in table conversation is fit for Calpurnia's ears. Alexandra thinks it encourages gossip among the town's African-American residents. Well, says Atticus, if the white people didn't do so much that was gossip-worthy the African-Americans wouldn't have so much to talk about.s that Mr. Cunningham is a good man, he just has a few "blind spots" (16.18).Uh, okay.
Then Dill bounces in, saying that the gossip mill is having a field day about how three kids fought off a hundred men with their bare hands.The kids head out to the porch to watch people passing on their way to the courthouse. (not sure if this is 100% what you're asking but I tried)
<u>And the last one would be: Explain how the authors use of point of view or cultural experiences influenced the text. Support the influence with the text based support
</u>
<u />
To Kill a Mockingbird is written in the first person, with Jean “Scout” Finch acting as both the narrator and the protagonist of the novel. Because Scout is only six years old when the novel begins, and eight years old when it ends, she has an unusual perspective that plays an important role in the work’s meaning. In some ways, because she is so young, Scout is an unreliable narrator. Her innocence causes her to misunderstand and misinterpret things. She considers her father “feeble” because he is “nearly fifty,” which to a child seems ancient but to an adult is middle-aged. When Dill tells her he wants to “get us a baby,” Scout is unclear on how babies are made, thinking possibly God drops them down the chimney. The reader often has to do the work of interpretation to understand what characters are actually talking about, or judge the severity of a situation. At the same time, Scout’s innocence makes her more trustworthy as a narrator than an adult might be, in that she lacks the sophistication to shape her story or withhold information for her own benefit.
