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In narratology, focalisation is the perspective through which a narrative is presented, as opposed to an omniscient narrator. [1] Coined by French narrative theorist Gérard Genette, his definition distinguishes between internal focalisation (first-person) and external focalisation (third-person, fixed on the actions of and environments around a character), with zero focalisation representing ...
The third-person effect [1] hypothesis predicts that people tend to perceive that mass media messages have a greater effect on others than on themselves, based on personal biases. The third-person effect manifests itself through an individual's overestimation of the effect of a mass communicated message on the generalized other, or an ...
Examples include The Busconductor Hines (1984), A Disaffection (1989), How Late It Was, How Late (1994) and many of his short stories. [40] With regard to Salman Rushdie , one critic comments that "[a]ll Rushdie's novels follow an Indian/Islamic storytelling style, a stream-of-consciousness narrative told by a loquacious young Indian man". [ 41 ]
Third-person narration: A text written as if by an impersonal narrator who is not affected by the events in the story. Can be omniscient or limited, the latter usually being tied to a specific character, a group of characters, or a location. A Song of Ice and Fire is written in multiple limited third-person narrators that change with each chapter.
Early Buddhist scriptures describe the "stream of consciousness" (Pali; viññāna-sota) where it is referred to as the Mind Stream. [6] [7] [8] The practice of mindfulness, which is about being aware moment-to-moment of one's subjective conscious experience [9] aid one to directly experience the "stream of consciousness" and to gradually cultivate self-knowledge and wisdom. [6]
Third person, or third-person, may refer to: Third person (grammar), a point of view (in English, he, she, it, and they) Illeism, the act of referring to oneself in the third person; Third-person narrative, a perspective in plays, storytelling, or movies; Third-person view, a point of view in video games where the camera is positioned above the ...
Crime and Punishment is written from a third-person omniscient perspective. It is told primarily from the point of view of Raskolnikov, but does at times switch to the perspective of other characters such as Svidrigaïlov, Razumikhin, Luzhin, Sonya or Dunya.
Free indirect discourse can be described as a "technique of presenting a character's voice partly mediated by the voice of the author". In the words of the French narrative theorist Gérard Genette, "the narrator takes on the speech of the character, or, if one prefers, the character speaks through the voice of the narrator, and the two instances then are merged". [1]