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Focalization
Focalisation is a term coined by the French narrative theorist Gérard Genette. It refers to the perspective through which a narrative is presented. Genette focuses on the interplay between three forms of ''focalization'' and the distinction between ''heterodiegetic'' and ''homodiegetic'' narrators. Homodiegetic narrators exist in the same (hence the prefix 'homo') diegesis, storyworld as the characters exist in, whereas heterodiegetic narrators are not a part of that storyworld. The term 'focalization' refers to how information is restricted in storytelling. Genette distinguishes between ''internal'' focalization, ''external'' focalization, and ''zero'' focalization. Internal focalization means that the narrative focuses on thoughts and emotions while external focalization focuses solely on characters' actions, behavior, the setting etc. Zero focalization is seen when the narrator is omniscient in the sense that it is not restricted. Determinant Focalization in literature is simi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Focalization Strategy
Focalisation is a term coined by the French narrative theorist Gérard Genette. It refers to the perspective through which a narrative is presented. Genette focuses on the interplay between three forms of ''focalization'' and the distinction between ''heterodiegetic'' and ''homodiegetic'' narrators. Homodiegetic narrators exist in the same (hence the prefix 'homo') diegesis, storyworld as the characters exist in, whereas heterodiegetic narrators are not a part of that storyworld. The term 'focalization' refers to how information is restricted in storytelling. Genette distinguishes between ''internal'' focalization, ''external'' focalization, and ''zero'' focalization. Internal focalization means that the narrative focuses on thoughts and emotions while external focalization focuses solely on characters' actions, behavior, the setting etc. Zero focalization is seen when the narrator is omniscient in the sense that it is not restricted. Determinant Focalization in literature is simi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gérard Genette
Gérard Genette (7 June 1930 – 11 May 2018) was a French literary theorist, associated in particular with the structuralist movement and such figures as Roland Barthes and Claude Lévi-Strauss, from whom he adapted the concept of ''bricolage''. Life Genette was born in Paris, where he studied at the Lycée Lakanal and the École Normale Supérieure, University of Paris. After leaving the French Communist Party, Genette was a member of Socialisme ou Barbarie during 1957–8. He received his professorship in French literature at the Sorbonne in 1967. In 1970 with Hélène Cixous and Tzvetan Todorov he founded the journal ''Poétique'' and he edited a series of the same name for Éditions du Seuil. Among other positions, Genette was research director at the École des hautes études en sciences sociales and a visiting professor at Yale University. Work Genette is largely responsible for the reintroduction of a rhetorical vocabulary into literary criticism, for example such ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diegesis
Diegesis (; from the Ancient Greek, Greek from , "to narrate") is a style of fictional, fiction storytelling that presents an interior view of a world in which: # Details about the world itself and the experiences of its characters are revealed explicitly through narrative. # The story is told or recounted, as opposed to shown or enacted. # There is a presumed detachment from the story of both the speaker and the audience. In diegesis, the narrator ''tells'' the story. The narrator presents the actions (and sometimes thoughts) of the characters to the readers or audience. In a rather different usage, diegetic elements are part of the fictional world ("part of the story"), as opposed to non-diegetic elements which are stylistic elements of how the narrator tells the story ("part of the storytelling"). Diegesis and mimesis according to the Greeks ''Diegesis'' (Greek διήγησις "narration") and ''mimesis'' (Greek μίμησις "imitation") have been contrasted since Pla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Point Of View Shot
A point of view shot (also known as POV shot, first-person shot or a subjective camera) is a short film scene that shows what a character (the subject) is looking at (represented through the camera). It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character's reaction (see shot reverse shot). The technique of POV is one of the foundations of film editing. Subjectives A POV shot need not be the strict point-of-view of an actual single character in a film. Sometimes the point-of-view shot is taken over the shoulder of the character (third person), who remains visible on the screen. Sometimes a POV shot is "shared" ("dual" or "triple"), i.e. it represents the joint POV of two (or more) characters. Point-of-view, or simply p.o.v., camera angles record the scene from a particular player's viewpoint. The point-of-view is an objective angle, but since it falls between the objective and subjective angle, it shou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Narration
Narration is the use of a written or spoken commentary to storytelling, convey a narrative, story to an audience. Narration is conveyed by a narrator: a specific person, or unspecified literary voice, developed by the creator of the story to deliver information to the audience, particularly about the Plot (narrative), plot (the series of events). Narration is a required element of all written stories (novels, short story, short stories, poems, memoirs, etc.), with the function of conveying the story in its entirety. However, narration is merely optional in most other storytelling formats, such as films, plays, television shows, and video games, in which the story can be conveyed through other means, like dialogue between characters or visual action. The narrative mode encompasses the set of choices through which the creator of the story develops their narrator and narration: * ''Narrative point of view, perspective,'' or ''voice'': the choice of grammatical person used by the narr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Omniscient Narrator
Narration is the use of a written or spoken commentary to convey a story to an audience. Narration is conveyed by a narrator: a specific person, or unspecified literary voice, developed by the creator of the story to deliver information to the audience, particularly about the plot (the series of events). Narration is a required element of all written stories (novels, short stories, poems, memoirs, etc.), with the function of conveying the story in its entirety. However, narration is merely optional in most other storytelling formats, such as films, plays, television shows, and video games, in which the story can be conveyed through other means, like dialogue between characters or visual action. The narrative mode encompasses the set of choices through which the creator of the story develops their narrator and narration: * ''Narrative point of view, perspective,'' or ''voice'': the choice of grammatical person used by the narrator to establish whether or not the narrator and the a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Literary Theory
Literary theory is the systematic study of the nature of literature and of the methods for literary analysis. Culler 1997, p.1 Since the 19th century, literary scholarship includes literary theory and considerations of intellectual history, moral philosophy, social prophecy, and interdisciplinary themes relevant to how people interpret meaning. In the humanities in modern academia, the latter style of literary scholarship is an offshoot of post-structuralism. Searle, John. (1990)"The Storm Over the University" ''The New York Review of Books'', December 6, 1990. Consequently, the word ''theory'' became an umbrella term for scholarly approaches to reading texts, some of which are informed by strands of semiotics, cultural studies, philosophy of language, and continental philosophy. History The practice of literary theory became a profession in the 20th century, but it has historical roots that run as far back as ancient Greece (Aristotle's ''Poetics'' is an often cited early e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Narratology
Narratology is the study of narrative and narrative structure and the ways that these affect human perception. It is an anglicisation of French ''narratologie'', coined by Tzvetan Todorov (''Grammaire du Décaméron'', 1969). Its theoretical lineage is traceable to Aristotle (''Poetics'') but modern narratology is agreed to have begun with the Russian Formalists, particularly Vladimir Propp (''Morphology of the Folktale'', 1928), and Mikhail Bakhtin's theories of heteroglossia, dialogism, and the chronotope first presented in ''The Dialogic Imagination'' (1975). Cognitive narratology is a more recent development that allows for a broader understanding of narrative. Rather than focus on the structure of the story, cognitive narratology asks "how humans make sense of stories" and "how humans use stories as sense-making instruments". Defining narrative Structuralist narratologists like Rimmon-Kenan define narrative fiction as "the narration of a succession of fictional eve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Free Indirect Speech
Free indirect speech is a style of third-person narration which uses some of the characteristics of third-person along with the essence of first-person direct speech; it is also referred to as free indirect discourse, free indirect style, or, in French, ''discours indirect libre''. Free indirect speech has been described as a "technique of presenting a character's voice partly mediated by the voice of the author" (or, reversing the emphasis, "that the character speaks through the voice of the narrator") with the voices effectively merged. It has also been described as "the illusion by which third-person narrative comes to express...the intimate subjectivity of fictional characters." The word "free" in the phrase is used to capture the fact that with this technique, the author can "roam from viewpoint to viewpoint" instead of being fixed with one character or with the narrator. According to British philologist Roy Pascal, Goethe and Jane Austen were the first novelists to use thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Narratology
Narratology is the study of narrative and narrative structure and the ways that these affect human perception. It is an anglicisation of French ''narratologie'', coined by Tzvetan Todorov (''Grammaire du Décaméron'', 1969). Its theoretical lineage is traceable to Aristotle (''Poetics'') but modern narratology is agreed to have begun with the Russian Formalists, particularly Vladimir Propp (''Morphology of the Folktale'', 1928), and Mikhail Bakhtin's theories of heteroglossia, dialogism, and the chronotope first presented in ''The Dialogic Imagination'' (1975). Cognitive narratology is a more recent development that allows for a broader understanding of narrative. Rather than focus on the structure of the story, cognitive narratology asks "how humans make sense of stories" and "how humans use stories as sense-making instruments". Defining narrative Structuralist narratologists like Rimmon-Kenan define narrative fiction as "the narration of a succession of fictional eve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Volosinov
Valentin Nikolaevich Voloshinov (russian: Валенти́н Никола́евич Воло́шинов; June 18, 1895, St. Petersburg – June 13, 1936, Leningrad) was a Russian Soviet linguist, whose work has been influential in the field of literary theory and Marxist theory of ideology. ''Marxism and the Philosophy of Language'' Written in the late 1920s in the USSR, Voloshinov's '' Marxism and the Philosophy of Language'' ( tr.: ''Marksizm i Filosofiya Yazyka'') attempts to incorporate the field of linguistics into Marxism. The book's main inspiration does not come from previous Marxists, whom Voloshinov saw as largely indifferent towards the study of language. Voloshinov's theories are instead built on critical engagement with Wilhelm von Humboldt's concept of language as a continuous creative or "generative" process, and with the view of language as a sign-system posited by Ferdinand de Saussure. To some extent, Voloshinov's linguistic thought is also mediated by the a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
