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(28). According to Formalist critics, this action of creating an emotion through external factors and evidence linked together and thus forming an objective correlative should produce an author's detachment from the depicted character and unite the emotion of the literary work. The "occasion" of Eugenio Montale is a further form of correlative ...
The manner of a character's speech is to literature what an actor's appearance and costume are to cinema. [10] In fiction, what a character says, as well as how they say it, makes a strong impression on the reader. [13] Each character should have their distinctive voice. [14]
Mar et al., in a study of 94 participants, identified that the primary mode of literature that increases empathy is fiction, as opposed to non-fiction. [5] Other studies verify these results and go on to specify that active fiction in particular engages with the reader and affects the reader’s empathy, at the very least in adults, rather than passive, entertainment fiction. [6]
Some Character-Types Met within Psycho-Analytic Work is an essay by Sigmund Freud from 1916, comprising three character studies—of what he called 'The Exceptions', 'Those Wrecked by Success' and 'Criminals from a Sense of Guilt'.
[2] In it, Radford and Weston discuss the idea of emotional responses to fiction, drawing upon the titular character from Leo Tolstoy's novel Anna Karenina. [2] Their central inquiry is how people can be moved by things that do not exist. In their paper, they concluded that people's emotional responses to fiction are irrational. [2]
Name Definition Example Setting as a form of symbolism or allegory: The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may be interpreted.
In literature an author sets the tone through words. The possible tones are bounded only by the number of possible emotions a human being can have. Diction and syntax often dictate what the author's (or character's) attitude toward his subject is at the time. An example: "Charlie surveyed the classroom but it was really his mother ...
The Romantic hero is a literary archetype referring to a character that rejects established norms and conventions, has been rejected by society, and has themselves at the center of their own existence. [1] The Romantic hero is often the protagonist in a literary work, and the primary focus is on the character's thoughts rather than their actions.