Narration is the use of written or oral comments to tell the story to the audience. The narrative includes a set of techniques in which the storyteller presents their story, including:
- Narrative point of view : a personal (or non-personal) perspective (or type of "lens") through which a story is communicated
- Narrative sound : format (or type the form of presentation) through which a story is communicated
- Narrative time : grammatical placements from the time frame of the story in the past, present, or future.
A narrator is a personal character or a non-personal voice created by the author (author) of the story to convey information to the audience, especially about the plot. In the case of most written narratives (novels, short stories, poems, etc.), the narrator usually serves to convey the story as a whole. The narrator may be a voice designed by the author as an anonymous, non-personal, or stand-alone entity; as a writer as a character; or because some other fictional or non-fictional characters appear and participate in their own story. The narrator is considered a participant if he is a character in the story, and non-participant if he is an implied or omniscient character or a semi-omniscient creature. or sounds that only associate the story with the audience without getting involved in the actual event. Some stories have many narrators to illustrate the storyline of various characters at the same time, similar, or different, thus allowing a more complex and non-singular viewpoint.
Narratives include not only that telling a story, but also how the story is told (for example, by using a stream of consciousness or unreliable narration). In traditional literary narratives (such as novels, short stories, and memoirs), narrative is a compulsory story element; in other types of narratives (especially non-literary), such as dramas, television shows, video games, and movies, narration is simply optional.
Video Narration
Sudut pandang naratif
Narrative point of view or narrative perspective illustrates the narrator's position, the character of the storyteller, in relation to the narrative narrated. This can be thought of as a camera mounted on the narrator's shoulder which can also look back into the narrator's mind.
First person
From the point of view of the first person, a story is expressed through a narrator who is also explicitly a character in his or her own story. Therefore, the narrator expresses the plot by referring to the character of this point of view with the form "I" (ie, the narrator is the person who openly acknowledges his own existence) or, when part of a larger group, "us". Often, the narrator is the protagonist, whose inner thoughts are expressed to the audience, even if there are no other characters. A conscious narrator, as a human participant of a past event, is an incomplete witness by definition, unable to fully see and comprehend the whole event as they unfurl, are not always objective in their inner thoughts or share it fully, and further pursue some hidden agendas. Its forms include the first temporary narrative of the person as a story in a story, in which a narrator or observing character telling a story by another is reproduced in full, temporarily and without interruption of narrative diversion to the speaker. The first person's narrator can also be a focus character.
second person
In the second person standpoint, the narrator refers at least one character directly as "you", indicating that the audience is the character in the story. This is a common type of narrative point of view for popular music lyrics (where narrators often directly "talk" to others) and certain types of poetry, though quite rare in other general forms of literary narrative, such as novels or short stories. Half Sleeping in a Frog Pajamas is one such novel. One of the famous examples of second person pronouns that supposedly refer to their literal recipients (ie anyone who happens to read the words at any given time) is a postmodern novel Italo Calvino If On A Winter Travelers Travelers, which begins with the phrase "You will start reading novel novel Italo Calvino, If on a winter night a traveler ", and who follow "fictitious" you try to track the full version of this book.
In some cases, a narrator uses a second person to refer to himself, thus providing an alienated, emotional, or ironic distance, as is generally the situation in the short fictional Lorrie Moore and Junot Diaz. A further example of this mode in contemporary literature is Light Light, Big City, Jay McInerney, where a second-person narrator observes his life remotely as a way to overcome the trauma he hides from readers for most books , for example:
"You are not the kind of man who will be in a place like this at this time of the morning, but here you are, and you can not say that the field is completely alien, even though the details are not clear." - Opening the line Jay McInerney Bright Lights, Big City (1984)
The use of "you" as the recipient (as in poetry and song) was used in the popular "Adventure Fighting" and "Fantasy Fight" series in the 1980s. This is also common in interactive fiction, in which the reader controls at least some of the actions of the protagonist.
The second person ("you") is often used to greet the reader personally and is therefore often used in persuasive writing and advertising. In many languages, very common techniques from several popular and non-quasi-fiction writing genres such as manuals, self-help books, gamebooks, do-it-yourself manuals, role-playing games, and music lyrics, as well as blogs.
Third person
In a third person narrative mode, each and every character is called by the narrator as "he," "he," "it," or "them," but never as "I" or "we "(first person), or" you "(second person). This makes it clear that the narrator is an unspecified entity or an uninvolved person who tells a story and is not a character in the story, or at least not so called.
Traditionally, third person narratives are the most commonly used narrative mode in literature. It does not require the existence of a narrator described or developed as a special character, as with the first person narrator. Thus allowing the story to be told without detailing information about the teller (narrator) of the story. Instead, third-person narrators are often just "comments" or "sounds" without bodies, rather than fully developed characters. Sometimes, a third person's narrative is called the "him/her" perspective.
Third-person mode is usually categorized along two axes. The first is the axis of subjectivity/objectivity, with a subjective subjective person's narrative describing one or more personal feelings and thoughts of a character, and a third person narrative that does not describe the feelings or thoughts of a character anything but, rather, just the exact facts of the story. The second axis is the finite axis, a difference that refers to the knowledge held by the narrator. An omniscient third-person narrator has, or appears to have, access to knowledge of all the characters, places, and events of the story, including the mind of the given character; however, the third person narrator is limited, on the contrary, knows information about, and in the mind, only a number of characters (often just one character). Limited narrators can not explain anything outside of the special knowledge and experience of the focal character.
Alternating person
While the general trend is for novels (or other narrative works) to adopt a single point of view throughout the entire novel, some authors have experimented with other perspectives that, for example, alternated between different narrators who were all first person, or alternated between the narrative perspective of the person first and third. The ten books of the Pendragon adventure series, by DJ MacHale, alternated between the first person's perspective (handwritten journal entry) of the main character throughout his journey and the third-person, bodyless perspective of his friends went home. Margaret Atwood Alias ​​Grace gives the viewpoint of one character from the first person as well as other characters of a limited third person. Often, a narrator who uses the first person will try to be more objective by also hiring a third person for important action scenes, especially those who are not directly involved or in scenes where they are not present to see events directly. This mode is found in the novel The Poisonwood Bible .
Flora Rheta Schreiber, who wrote the book Sybil , uses the omniscient third-person view to describe events suspected of personality disruption of the title character, her attempts to overcome and care, except in a chapter in which Schreiber switches to the first person (narrator-as-writer) to describe when he had the opportunity to meet the person who was actually identified by Sybil's pseudonym (posthumously identified as Shirley Ardell Mason), and, under hypnosis, one of his alternative personalities.
Epistari novels, which are common in the early years of the novel, generally consist of a series of letters written by different characters, and always switch when the author changes; Frankenstein's classical books by Mary Shelley, Dracula by Abraham Bram Stoker and The Strange Case of Dr Jekyll and Mr. Hyde take this approach. Sometimes, however, they can all be letters of one character, such as C. S. Lewis' The Screwtape Letters and Helen Fielding Bridget Jones's Diary . Robert Louis Stevenson Treasure Island switches between third and first person, such as Charles Dickens Bleak House and Vladimir Nabokov's The Gift . Many of William Faulkner's novels take a series of first-person perspectives. E.L. The Konigsburg novel The View from Saturday uses flashbacks to alternate between third-person and first-person perspectives throughout the book, much like the novel Edith Wharton Ethan Frome . After the First Death, by Robert Cormier, a novel about the fictional school bus hijacking in the late 1970s, it also shifted from first person narrative to third person using different characters. The novel of the death of Artemio Cruz, by Mexican writer Carlos Fuentes, switched between three people from one chapter to the next, though all refer to the same protagonist. The novel of Dreaming in Cuban , by Cristina Garca alternating between third person, first person perspective and limited, depends on the speaker's generation: grandchild tells the event in the first person's perspective while the parents and grandparents are shown in third person , limited perspective.
Maps Narration
Sound narration
The narrative voice describes how the story is delivered: for example, by "seeing" the process of character thinking, reading a letter written for someone, retelling the character's experience, etc. Awareness stream sound
A stream of consciousness gives the narrator's perspective (usually the first person) by trying to imitate the thought process - as opposed to just the actions and words spoken - of the narrative character. Often, interior monologues and inner or motivational desires, as well as incomplete thought pieces, are expressed to the audience but not necessarily with other characters. Examples include the feelings of some narrators in William Faulkner The Sound and the Fury and As I Lay Dying , and Offred's character is often fragmented in Margaret Atwood's mind. Handmaid's Tale . Irish writer James Joyce exemplifies this style in his novel Ulysses.
Character voice
One of the most common narrative sounds, used primarily from the point of view of first and third persons, is the voice of character , in which the "people" are conscious (in many cases, living humans) presented as narrators; This character is called a viewpoint character. In this situation, the narrator is no longer an unspecified entity; on the contrary, the narrator is a more relatable, realistic character who may or may not be involved in the action of the story and who may or may not take a biased approach to storytelling. If the characters are directly involved in the plot, the narrator is also called a character's point of view. Character's point of view is not necessarily the character of focus: examples of supporting point of view characters include Doctor Watson, Scout in To Kill a Mockingbird, and Nick Carraway of The Great Gatsby .
Unreliable sound
Underneath the voice character is an unreliable narrative voice, which involves the use of a dubious or untrustworthy narrator. This mode can be used to give the audience a deliberate sense of distrust in the story or level of suspicion or mystery about what information is meant to be true and what is wrong. This lack of reliability is often developed by the authors to show that the narrator is in a psychotic state. Narrator Poe "The Tell-Tale Heart," for example, is significantly biased, ignorant, stupid, childish, or perhaps deliberately trying to cheat on an audience. An unreliable narrator is usually the first person narrator; However, a third person narrator may be unreliable.
Examples include Nelly Dean at Wuthering Heights , "Head of" Bromden at One on the Cuckoo's Nest, Holden Caulfield in the novel
A naive narrator is a person who is so unconcerned and inexperienced that they really expose their world's errors and problems. This is used primarily in satire, where the user can draw more conclusions about the narrator's environment than the narrator. Child narrators can also fall into this category.
Sound epistol
The episode narrative voice uses a (usually fictitious) series of letters and other documents to convey the story plot. Although epistle works can be considered as multi-person narratives, they can also be classified separately, since they have no narrator at all - only an author collects those documents in one place. One such example is Mary Shelley's Frankenstein, which is a story written in a series of letters. The other is Bram Stoker Dracula , who tells the story in a series of diary entries, letters and newspaper clippings. Les Liaison dangereuses (Dangerous Liaisons), by Pierre Choderlos de Laclos, again consisting of correspondence between the main characters, especially the Marquise de Merteuil and Vicomte de Valmont. Langston Hughes did the same thing in a shorter form in his Passing story, which consisted of a young man's letter to his mother.
Third-person voice
A third person's narrative voice is a voice-narration technique used only under the category of third-person view.
Third person, subjective
The subjective third person is when the narrator conveys thoughts, feelings, opinions, etc. of one or more characters. If there is only one character, it can be called a limited third person, in which the reader is "limited" to the thought of some particular character (often the protagonist) as in the first person mode, except that it still provides a personal description using " he "," he "," it ", and" them ", but not" I ". This is almost always the main character (eg, Gabriel in Joyce's
This style, both in limited and omniscient variants, became the most popular narrative perspective during the 20th century. In contrast to the broad and sweeping perspectives seen in many nineteenth-century novels, third-person subjects are sometimes called "over the shoulder" perspectives; the narrator only describes the perceived events and information known to a character. In its narrowest and most subjective scope, the story sounds as if the character of the viewpoint tells it; dramatically this is very similar to the first person, because it allows deep disclosure of the personality of the protagonist, but uses the grammar of a third person. Some authors will shift the perspective from one character point of view to another, as in Robert Jordan The Wheel of Time , or George R. R. Martin A Song of Ice and Fire .
Focal characters, protagonists, antagonists, or some other character's thoughts are revealed through the narrator. The reader learns the narrative event through the perception of the selected character.
Third person, objective
The objective third person employs a narrator who tells a story without describing the thoughts, opinions, or feelings of any character; instead, it provides an objective, objective viewpoint. Often the narrator is an inhuman self to make narration more neutral. This type of narrative mode, outside of fiction, is often used by newspaper articles, biographical documents, and scientific journals. This narrative mode can be described as a "fly-on-the-wall" or "camera lens" approach that can only record observable actions but does not interpret these actions or convey what the mind thinks through the characters' minds. Fictional works that use this style emphasize the characters who portray their feelings by observation. The internal mind, if expressed, is sounded by the side or soliloquy. Although this approach does not allow writers to express unexpressed thoughts and feelings from characters, it allows authors to reveal information that is not realized by all or some characters. A typical example of the so-called eyepiece-eye perspective is Ernest Hemingway's Hills Like White Elephants.
This narrative mode is also called a dramatic third person because narrators, like drama audiences, are neutral and ineffective against plot developments - only uninvolved observers. It was also used around the mid-20th century by French novelist writing in the tradition of romance romance.
Third person, omniscient. range>
Historically, the omniscient omniscient (or just omniscient ) perspective has been the most commonly used in narrative writing; it is seen in countless classic novels, including works by Charles Dickens, Leo Tolstoy, and George Eliot. A story in this mode of narration is presented by a narrator with a thorough perspective, seeing and knowing everything that happens in the world of the story, including what each character thinks and feels. Sometimes even take a subjective approach. One advantage of omniscience is that this mode increases the sense of objective reliability (ie truth) of the plot. The third person the omniscient narrator is the least able to become unreliable - though an omniscient narrator character can have his own personality, offering judgments and opinions about the behavior of storytellers.
In addition to strengthening the sense of the narrator as something that can be relied upon (and thus the story is true), the main advantage of this mode is that it is really appropriate to tell large, sweeping, epic, and/or complex stories involving many characters. The disadvantage of this mode is the increase in the distance between viewers and the story, and the fact that - when used in conjunction with sweeping and epic - cast-of-thousand stories characterization tends to be limited, thus reducing the reader's ability to identify or sympathize with characters. The classic example of both the advantages and disadvantages of this mode is J. R. R. Tolkien The Lord of the Rings .
Some writers and literary critics make the distinction between omniscient and omnipotent thirds, the difference being that universal omniscient narrators reveal information that character does not possess. Typically, the universal mahatahu perspective reinforces the impression that the narrator is not connected to the events in the story.
Third person, free/indirect
Indirect indirect style or indirect free style is a method of presenting the character of the voice freely and spontaneously in the midst of a third person non-personal narrator.
Third person, alternately
Many stories, especially in the literature, are alternating between limited third people and the omniscient third person. In this case, a writer will move back and forth between a narrator of a third person who knows more to the narrator of a more private third person. Typically, such as the A Song of Ice and Fire series and the books by George R. R. Martin, changes to a third person's perspective are limited to some characters only on the boundaries of the chapter. The Home and the World , written in 1916 by Rabindranath Tagore, is another example of a book exchange between only three characters on the boundaries of the chapter. In the series The Heroes of Olympus the point of view of change between characters at intervals. The
Narrative time
The narrative narrative or narrative time determines the grammatical strain of the story, which means whether it is presented as occurring before, during, or after the time of the narrative: ie, in the past, or the future. In the narrative using the past tense, plot events are described as occurring before the time when the narrative is constructed or expressed to an audience or before the present moment; this is the most common form in which the story is expressed. In the present tense, plot events are described as happening now - in the present moment - in real time. In English, this tense, also known as the "historical gift", is more common in narrative spontaneous conversations than in written literature, although it is sometimes used in the literature to provide a sense of immediate action. The latest example of the novel told in the present tense is from the Hunger Games trilogy by Suzanne Collins. The tense future is the rarest, describing the events in the plot as it happens some time after the present, in the time period to come. Often, these upcoming events are portrayed in such a way that the narrator has known before (or may know before) about the future, so that many tense future stories have prophetic tones.
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Other narrative modes
Fiction writing mode
Narration has more than one meaning. In a broad sense, the narrative includes all forms of narrative, fictional or not: personal anecdotes, "true evil," and historical narratives all fit here, along with many other non-fictional forms. More narrowly, however, the term narrative refers to all written fiction. In the most limited sense, narration is a fictional mode of writing in which the narrator communicates directly to the reader.
Along with exposition, argument, and description, narrative (broadly defined) is one of four rhetorical modes of discourse. In the context of the rhetorical mode, the purpose of the narrative is to tell a story or to tell an event or series of events. Narratives may exist in various forms: biographies, anecdotes, short stories, or novels. In this context, all written fiction can be viewed as a narrative.
Narrowly defined, the narrative is a fictional mode of writing in which the narrator communicates directly to the reader. But if the broad narrative definition includes all written fiction, and the narrow definition is limited to what is directly communicated to the reader, then what does the rest of written fiction contain? The rest of the written fiction will be in the form of one of the other fictional writing modes. Narrative, as a mode of fiction writing, is a matter of discussion among fiction writers and writing trainers.
The ability to use different perspectives is one measure of one's writing skills. The marking scheme used for the assessment of the National Curriculum in the UK reflects this: they encourage the marking for use of the point of view as part of a broader assessment.
Type and other uses
In the literature, people are used to illustrate the point of view from which the narrative is presented. Although second person perspectives are sometimes used, the most common are first and third persons. omniscient third determines the point of view in which the reader is given information that is not available for the character in the story; without this qualification, the reader may or may not have such information.
In movies and video games first and third people describe the viewpoint of the camera. The first person is from a character's own perspective, and the third person is a better known "common" camera that shows a scene. The second person mentioned can also be used to indicate the main character from the perspective of the secondary character.
For example, in a horror movie, the antagonist's first-person perspective can be a second-person perspective on the actions of potential victims. A third person shot of two characters can be used to indicate the distance between them.
In video games, first-person perspectives are most commonly used in first-person shooter genres, such as in Doom , or in simulations (racing games, flight simulation games, and such). A third-person perspective on a character is commonly used in all other games. Since the advent of 3D computer graphics in the game, players can often switch between first and third person perspectives at will; this is usually done to increase spatial awareness, but can also improve the accuracy of weapons use in general third-party games such as Metal Gear Solid franchise.
Conventional text-based interactive fiction has descriptions written in the second person (though exceptions exist), telling the characters what they see and do, like Zork. This practice is also encountered occasionally in text-based segments of graphical games, such as those from Spiderweb Software that make much use of second person spice text in pop up text boxes with characters and location descriptions. Charles Stross's novel, Halting State was written with a second person as a reference to this style.
See also
- Narrative structure
- Open the narration
- Pace
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References
- Notes
- Further reading
- Rasley, Alicia (2008). The Power of Point of View: Keep Your Story Coming to Life (1st ed.). Cincinnati, Ohio: Author's Book Digest. ISBNÃ, 1-59963-355-8.
- Card, Orson Scott (1988). People and Viewpoint (issue 1). Cincinnati, Ohio: Author's Book Digest. ISBN: 0-89879-307-6.
- Fludernik, Monika (1996). Towards a "Natural" Narrative . London: Routledge.
- Genette, GÃÆ' Â © rard. Narrative Discourse. Essays in Method . Translation by Jane Lewin. Oxford: Blackwell 1980 (Translation of Discours du rÃÆ' Â © cit ).
- Mailman, Joshua B. (2009). "The Imaginable Drama of the Competitive Opposition in Scrivo Carter at Vento (with Notes on Narrative, Symmetry, Quantitative Flux, and Heraclitus)". Music Analysis, v.28, 2-3 . Wiley. p.Ã, 373. doi: 10.1111/j.1468-2249.2011.00295.x.
- Mailman, Joshua B. (2013) "Agent, Determinism, Focal Time Frame, and Productive Minimalist Music," in Music and Narration since 1900 . Edited by Michael L. Klein and Nicholas Reyland. Musical Meaning and Interpretation Series. Bloomington: Indiana University Press.
- Stanzel, Franz Karl. Narrative Theory . Translation by Charlotte Goedsche. Cambridge: CUP 1984 (Translation of Theorie des ErzÃÆ'¤hlens ).
Source of the article : Wikipedia
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