![]() ![]() “The first term, zero focalization, corresponds to what English-language criticism calls narrative with omniscient narrator and Pouillon ‘vision from behind,’ and which Todorov symbolizes by the formula Narrator > Character (where the narrator knows more than the character, or more exactly, says more than any of the characters knows). Genette distinguishes three types or degrees of focalization - zero, internal and external - and explains his typology by relating it to previous theories: This, however, is an underestimation of the conceptual differences between focalization and the traditional terms. ![]() He considers it to be more or less synonymous with these terms, describing it as a mere “reformulation” ( 1988: 65) and “general presentation of the standard idea of ‘point of view’” (84). Genette introduced the term “focalization” as a replacement for “perspective” and “point of view” (→ Perspective - Point of View). Genette makes a distinction between the question of who the narrator is, and what the point of view is created by the narrative focalization:įocalization, a term coined by Genette (1972), may be defined as a selection or restriction of narrative information in relation to the experience and knowledge of the narrator, the characters or other, more hypothetical entities in the storyworld. ![]() The narrator, in essence, controls our point of view, and the narrative provides members of the audience with different positions for accessing narrative information. An important concept related to the activities performed by the narrator is focalization, which is similar to the notion of point of view, or ‘POV’ as it is called in visual media fields. ![]()
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