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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 ...
Narration is the use of a written or spoken commentary to convey a story to an audience. [1] 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.
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.
The implied author is omniscient, seeing and knowing all; "vision from behind". internal focalization The implied author is a character in the story, speaking in a monologue with his impressions; "narrative with point of view, reflector, selective omniscience, restriction of field" or "vision with". external focalization
Though narration is a narrower term, it is occasionally used as a synonym for narrative mode in a very broad sense. Plot. The plot is the sequence of events that ...
First-person narration presents the narrative through the perspective of a particular character. The reader or audience sees the story through the narrator's views and knowledge only. [16] The narrator is an imperfect witness by definition, because they do not have a complete overview of events.
Where the narration is from? Intra-diegetic: inside the text. e.g. Wilkie Collins' The Woman in White; Extra-diegetic: outside the text. e.g. Thomas Hardy's Tess of the D'Urbervilles; Is the narrator a character in the story? Hetero-diegetic: the narrator is not a character in the story. e.g. Homer's The Odyssey
Unreliable narration in this view becomes purely a reader's strategy of making sense of a text, i.e., of reconciling discrepancies in the narrator's account (c.f. signals of unreliable narration). Nünning thus effectively eliminates the reliance on value judgments and moral codes which are always tainted by personal outlook and taste.