Plan Main part. Circular narrative structure and its importance in teaching foreign language 3 The implementation of the circular narrative structure by May Sinclair in English classes 20 Conclusion 27 References 30 Introduction

The object - firstly understanding the precise meaning of the topic, analyzing and reading one of the book of May Sinclair. When reading the book understanding and examining the narrative structure and connecting it to English classes.
The subject - reflecting on the implementation of narrative structure in English classes for those who are especially in B2 level. Encouraging students to read and understand the context as well as improving spoken and written language.
The actuality – teaching students how to read stories or novels, of course, by mentioning the benefits of them. Providing the strategies for facilitating reading novels in order overcome potential problems. The main aim of the narrative structure is that it allows a deeper exploration of themes and character development for language learners.
The structure - the structure of this coursework consists of introduction, main part and my personal view in conlusion.

Main part. 1.1 Circular narrative structure and its importance in teaching foreign language

Traditionally, the purpose of learning to read in a language has been to have access to the literature written in that language. In language instruction, reading materials have traditionally been chosen from literary texts that represent «higher» forms of culture. Reading to learn the language: Reading material is language input. By giving students a variety of materials to read, instructors provide multiple opportunities for students to absorb vocabulary, grammar, sentence structure, and discourse structure as they occur in authentic contexts. Students thus gain a more complete picture of the ways in which the elements of the language work together to convey meaning.²
Circular narratives cycle through the story one event at a time to end back where the story originated. Rather than provide a clear conclusion tying together the remaining pieces of the story, a circular narrative will provide closure through a return to the opening material. For example, repeating lines found at the beginning of the piece, concluding in the same setting, and ending in the same moment that opened the tale are potential conclusions. Circular narratives often utilize flashback and dream sequences to create a sense of departure from and a return to the original structure.
Narrative structure decides how a story is developed and helps deepen the readers appreciation and understanding of the story. In this regard in language methodology the importance of reading stories and other resources play an important role whereas it is relevant to tell that The teaching of reading and writing in the first language (often termed the teaching of literacy) is a very active educational enterprise worldwide, and, like the field of second language teaching, has led to a number of different and at times competing approaches and methodologies. One widespread approach to both the teaching of reading and writing has focused on a "decoding" approach to language. By this is meant a focus on teaching the separate components of language such as grammar, vocabulary, and word recognition, and in particular the teaching of phonics. Phonics is based on the theory that reading involves identifying letters and turning them into sounds. Other reading theories approach reading through skills. The Whole Language movement is strongly opposed to these approaches to teaching reading and writing and argues that language should be taught as a "whole.³
William Faulkner experimented with the circular narrative in his stream-of-consciousness novel The Sound and the Fury to represent the ups and downs of the Compson family, and the disintegrated world in the South as well. This paper aims to study the unique narrative structure of the novel. It analyzes the four sections which are independent of but mirror each other, discloses the fact that the seemingly irrelevant sections are strung together by the absent character Caddy, and displays Faulkners remarkable narrative art which throws the reader abruptly into the narrations of the same story, each time from a new angle, thus making the story incomplete and unfinished, with its conclusion in a permanent suspension. As a book remarkable for its intricate contrapuntal design, The Sound and the Fury published by William Faulkner in 1929 has won wide recognition.⁴
This, with its massive four-part symphonic structure, is perhaps the most beautifully wrought of the whole series, and an indubitable masterpiece of what James loved to call the fictive art. The joinery is flawless in its intricacy; it is anovelists novel a whole textbook on the craft of fiction in itself. Actually, this is a four-times-told tale narrated from different points of view. The first three sections are the interior monologues of the three Compson sons, revealing different hermetic subjective worlds; and the fourth section is narrated by the omniscient author, though restricted within the vision of the black servant Dilsey, depicting an open objective world.
According to some critics, none of the four tales speaks to another; each imagined order cancels out the one that precedes it. The reader, in a welter of contradictory visions, can only find a discontinuous unorganized middle that lacks the beginning and end of novel-time. However, a careful examination will lead to a widely divergent conclusion, as suggested by Conrad Aiken before that the novel shows Faulkner ingenuity in its delicate joinery. The four independent centers of consciousness are connected by the absent figure in the novel, the Compson daughter Caddy, who remains the focus of the four accounts. If the four separate and self-closed worlds can be taken as the beads, then Caddy is the string that links them together, thus completing the circular narrative structure of the novel. The circular narrative structure of the sound and the fury.
An Idiot’s Narration: The Dumbshow of Agony
The novel opens with a date and the disorder of an idiots mind, which is different from the normal beginning of a novel. There is no introduction to setting, time, characters, or any other apparently necessary element. Speech seems to be not important at all; the reader is plunged into the silent stream of inner life.⁵
As Faulkner put it that, Benjy is as less a character than a way of seeing grief. He no longer had Caddy; being an idiot he was not even aware that Caddy was missing. He knew only that something was wrong, which left a vacuum in which he grieved. He tried to fill that vacuum. Beginning with Benjy, each narrator broods on how to fill that vacuum. As an infant-man whose idiocy is the formal arrest of childhood, Benjy can produce sound but cannot mark it; the only expression of moaning and bellowing places him eternally on the threshold of speech. Without knowing the more consoling but dangerous power of utterance, his special articulation constitutes the dumbshow of his agony. According to Bergson, the primary activity of the mind as it encounters pure duration is to spatialize .
Since his sisters disappearance 18 years ago, Benjy has remained in a fallen world of loss, memory, time, and grief, and been surrounded by signs of Caddy. Failing to solidify his impressions and express them in language, Benjy does spatialize the loss of Caddy. Once Caddy has vanished, Benjys constrained memory cannot distinctly recall her; the formal equivalent of his links to reminders of his sister is his physical confinement such as the Compson grounds, the garden gate, the fence along the pasture, the graveyard on the lawn, and so on. Physical location must serve in the innocent mind for representations of an idea, image, or word. Every area of his domain opens immediate access to all of the moments that have occurred there. His going through the broken place in the fence with Luster in 1928, for example, is to emerge with Caddy 20 years earlier. The more obvious spatialization is his hoarding relics of Caddy, the slipper, the fire, the spot where the mirror once hung, the smell of trees, and so on, as things whose presence partially fills the void left by Caddy.
Rousseau imagines drawing as the intrusion of gesture into the immediacy of love, and it constitutes speaking primal articulationan effort to signify within the movement of full pleasure and presence. Derrida emphasizes in recapitulating Rousseau that the image traced at the tip of the wand is an image that is not completely separated from the person it represented and is very close to being the other itself, close by a minute difference. Similarly, Benjys clinging to some of the objects in his collection is precisely his way of articulation for they are just barely separated from the body of the beloved. Once Benjy commits himself to filling the vacuum, he has identified Caddy with the difference of signs. But as Derrida put it, that small difference visibility, spacing, deathis undoubtedly the origin of the sign and the breaking of immediacy⁶. Therefore the objects cannot substitute fully for Caddy nor reappropriate her presence. They derive meaning only as they embody Caddy as already dying from the plenitude of full presence. When Benjy reaches into the fire which contains Caddy to regain her, he burns his hand in its alien, destructive difference. And when Caddy enters into the mirror in Benjy’s eyes, she is actually doing so to flee the mirror herself or to drag another out of it. So memory, speech and desire depend on the unavailability of their object. Benjy’s memories of Caddy simply embody the paradox since they cannot represent her except as she begins to disappear.
A Suicide’s Account: Refusal of Speech
Benjy’s rudimentary intelligence leaves him on the threshold of expression, groping innocently to fill that vacuum of Caddy’s loss with mute speech. His eldest brother, Quentin, the Harvard student, instead has perfect license to engage his formidable memory, imagination, and eloquence in the task of articulating a response to loss.
To tell precisely about circular narrative structure, circular storytelling, refers to a literary technique in which a story begins and ends at the same point or in which elements of the story are repeated over and over again. It is a device that allows the narrative to have a self-contained quality and a sense of closure in this structure, the story often starts in the middle, jumps back to the beginning, and then progresses to the end, completing a full circle. This type of narrative structures commonly used to create a sense of timelessness or to emphasize the cyclical nature of human experience. Examples of circular storytelling can be found in various works of literature, including Gabriel Garcia Marquez's "One Hundred Years of Solitude and F. Scott Fitzgerald's "The Great Gatsby" Circular narrative structure in the work of May Sinclair May Sinclair, a British modernist writer, is known for her use of stream-of-consciousness and impressionistic techniques in her works. She is also known for her use of circular narrative structure in her novel "Mary Olivier A Life," which was published in 1919, In Mary Olivier: A Life, Sinclair employs a circular structure in which the protagonist's life is framed by two key events: her mother's death and her own death. The novel opens with the death of Mary Olivier's mother, which sets the tone for what follows in the circular narrative.
The novel then moves forward in time, exploring Mary's life and experiences, until it reaches her own death. However, after Mary's death, the novel circles back to her childhood and re-examines events from her earlier life from a new perspective, helping to shed further light on Mary's character and motivations. Sinclair then moves the novel forward again, until it ultimately returns once more to Mary's own death. By using this circular structure. Sinclair is able to create a sense of inevitability and timelessness emphasizing the cyclical nature of life and the way in which our experiences can repeat and recycle in unexpected ways. At the same time, the circular structure allows Sinclair to explore Mary's character in depth from multiple angles, giving the reader a deeper understanding of her inner life and motivations.
May Sinclair was a British writer and a prominent figure in the modernist movement. One of the hallmarks of Sinclair's literary style is her use of the circular narrative structure, which involves a story where the beginning and end are interconnected, creating a sense of cyclical movement. One of Sinclair's most famous works, "Life and Death of Harriett Frean," makes use of the circular narrative structure. The book tells the story of a woman named Harriett Frean, who leads a life of conventional morality and self-denial. The story begins with Harriett's birth and childhood, before moving on to her adult relationships and eventual decline. The end of the novel comes full circle, returning to Harriett's birth and childhood and providing a sense of closure and completion to the story. Sinclair's use of circular narrative structure serves to highlight the cyclical nature of life and how events can repeat themselves over time. It also provides a sense of resolution and closure to the story, as the beginning and end are linked together in a way that emphasizes the overall theme of the novel. In summary, Sinclair's use of circular narrative structure is a notable aspect of her literary style and serves to enhance the themes of her works, such as the cyclical nature of life and the inevitability of events repeating themselves.
May Sinclair did use a narrative structure in her novel "Mary Olivier: A Life". The novel is divided into four parts, each one representing a different stage of Mary's life. The first part is called "Youth" and deals with Mary's childhood and early adult years. The second part, "Love", focuses on Mary's romantic relationships and desire for independence. The third part, "Knowledge", explores Mary's intellectual and spiritual growth. The final part, "Wisdom", shows Mary coming to terms with her life and realizing that she has lived it on her own terms. Sinclair also employs various narrative techniques to tell Mary's story, such as stream-of-consciousness narration, free indirect speech, and flashbacks. These techniques allow the reader to get inside Mary's head and experience her thoughts and emotions as she navigates the challenges of her life.
Circular narrative structure can be an effective tool in teaching foreign languages because it helps learners connect linguistic concepts and vocabulary, allowing them to build a deeper understanding of the language. When we speak in circular narratives, we utilize various grammar structures and vocabulary words that are repeatedly used throughout the story, and this reinforces their use in the learner's memory.
Furthermore, circular narratives help to make foreign language learning more engaging and easier to retain. This is because learners are able to use their listening and comprehension skills in order to follow the story and understand the context. Additionally, learners are also given the opportunity to apply their critical thinking skills by predicting the outcome of the story and by relating the narrative to their own experiences or knowledge.
In short, circular narrative structure helps learners to stay engaged and motivated while learning a foreign language, as it offers a dynamic and interactive way to practice language skills. It encourages the use of the language in context, thus enhancing comprehension and retention, making it an invaluable resource in foreign language classrooms