Bibliographies thématiques / Character types - fiction

Littérature scientifique sur le sujet « Character types - fiction »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Character types - fiction"

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Gultom, Feriyanti Elina. « The Relationship between Theme and Character in Fiction Movie Inside Out ». BAHAS 33, no 1 (15 juin 2022) : 3. http://dx.doi.org/10.24114/bhs.v33i1.35546.

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AbstractTheme is the main idea or thought in writing. Meanwhile character is the actor who experiences events and problems in the story or fiction so that the event become an interesting story. There is a close relationship between theme and character in story.The purpose of this study is to describe: (1) the relationship between theme and character through feelings, (2) the relationship between theme and character through thoughts, and (3) the relationship between theme and character through action. This study used a qualitative approach. The method used is descriptive analysis. Types of data were in the form of sentences, phrases, and paragraphs related to the character's feelings, character's thoughts, and character's actions. Inside Out is an American animated film produced by Disney Pixar about emotional instability of 11 year old girl. Conclusion, in this study, the theme that is influenced by feelings is dominated by the egoic theme. The theme which is influenced by the most dominating thought is the physical theme, and the theme which is influenced by action is dominated by organic theme.Keywords: Relationship of Theme, Character, Fiction
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Bennema, Cornelis. « A Theory of Character in the Fourth Gospel with Reference to Ancient and Modern Literature ». Biblical Interpretation 17, no 4 (2009) : 375–421. http://dx.doi.org/10.1163/156851508x329700.

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AbstractBoth literary theory and biblical narrative criticism lack an articulate, comprehensive theory of character. Many Gospel critics perceive character in the Hebrew Bible (where characters can develop) to be radically different from that in ancient Greek literature (where characters are supposedly consistent ethical types). Most people also sharply distinguish between modern fiction and its psychological, individualistic approach to character and ancient characterization where character lacks personality or individuality. In Part I, we examine concepts of character in ancient Hebrew and Greek literature as well as modern fiction, arguing that although there are differences in characterization, these are differences in emphases rather than kind. It is better to speak of degrees of characterization along a continuum. In Part II, we develop a comprehensive theory of character in the Fourth Gospel, consisting of three aspects. First, we study character in text and context, using information in the text and other sources. Second, we analyze and classify the Johannine characters along three dimensions (complexity, development, inner life), and plot the resulting character on a continuum of degree of characterization (from agent to type to personality to individuality). We observe that many Johannine characters are more complex and round than has been believed so far. Third, we analyze and evaluate the characters' responses to Jesus in relation to the Fourth Evangelist's evaluative point of view, purpose and dualistic worldview.
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Hnatkovska, Olena. « The Syntax of Unreliable Narrators’ I-Utterances in ‘Gone Girl’ by G. Flynn ». Linguaculture 9, no 1 (15 juin 2018) : 69–83. http://dx.doi.org/10.47743/lincu-2018-1-0114.

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Unreliable narration research raises the problem of truthful information presented in fiction, which is for the most part made up. However, the truth in the fictional world is what the reader believes to be true. Therefore, deliberate deluding or confusing the reader by an untrustworthy character creates an additional fictional layer consisting of false facts. This represents the contradiction between the imaginary and the fake, the latter being untrue in terms of fiction. The paper examines how the author of the best-selling novel Gone Girl realizes her intention of deceiving or misleading the readers on the syntactic level of speech of the two main characters who are unreliable narrators. The analysis of sentence structure variety, average sentence length and syntactic stylistic peculiarities of I-utterances aims at ascertaining whether these devices and their frequency indicate that the author gives the readers a hint at the unreliability of the narration. Sentence complexity and types of clauses in composite sentences are also taken into consideration as possible signs of unreliability. As one main character is male and the other is female, the quantitative analysis of syntactic features is carried out separately to detect gender differences.
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Namukuru, Milcah, Dr Joseph Musungu et Felix Orina. « Contemporary Kenyan Contexts and Adult Character types in Select Children’s Literature. » International Journal of Research and Innovation in Social Science VII, no VIII (2023) : 839–50. http://dx.doi.org/10.47772/ijriss.2023.7861.

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This present article focuses on the relationship between contemporary Kenyan Context and Adult Character types present in select Kenyan children’s literary texts. The texts include; “Uncle Sese and The Sunday School Project” by Kabaji, and “Naomi and Cindy” and “Naomi in her New School” by Muleka. The study aims at identifying different contexts that give rise to the various adult character types present in the texts. The study shows that there is a close link between the contexts the writers have painted in their works and the characters in those works. This indicates that perhaps there is as much realism in children’s literature as there is in most adult fiction. Character and characterization being an aspect of technique, the theory of formalism serves as the main analytical tool. The study is descriptive in the manner it delineates contexts and character types. The paper helps to bring out not only the serious nature of children’s literature but also adds to the appreciation of the aesthetic value of children’s literature.
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McCorkell, Tobias. « Colonial Australian fiction : character types, social formations and the colonial economy ». Journal of Postcolonial Writing 55, no 2 (4 mars 2019) : 290–91. http://dx.doi.org/10.1080/17449855.2019.1614263.

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Ratih, Ni Wayan Nari, Made Buadiarsa et Gede Primahadi Wijaya Rajeg. « Characterization of the Characters in The Pursuit Of Happyness Movie ». Udayana Journal of Social Sciences and Humanities (UJoSSH) 6, no 1 (5 mai 2022) : 5. http://dx.doi.org/10.24843/ujossh.2022.v06.i01.p02.

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This study intended to identify the types of the main and secondary character and to describe the characterization method used by the author to represent the characters in the movie. This study applied the theory proposed by William Kenney (1966) in the book How to Analyze Fiction and the theory by Pickering and Hoeper (1962) in the book Concise Companion to Literature. The data of this study were analyzed by descriptive qualitative method. The result of this study shows the types of characters, which are Chris Gardner and Christopher. Based on the data analysis, they are can be categorized as round character. The author used telling method of characterization to represent the characters through their appearance. He is also used showing method of characterization through the dialogue between the characters and their action.
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KAYA, Ahmet. « TYPES IN THE NOVEL "A WEDDING NIGHT"‎ ». RIMAK International Journal of Humanities and Social Sciences 04, no 02 (1 mars 2022) : 417–25. http://dx.doi.org/10.47832/2717-8293.16.27.

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One of the most important authors of Turkish literature, Adalet Ağaoğlu, the second book in the Dar Zamanlar trilogy, tells the social transformation of the country by focusing on the inner world of the characters. A Wedding Night; describing the people of the period on the brink of social, political, political and historical events; this is a novel that shows us the identity conflict that these people experience. Adalet Ağaoğlu has an important place among contemporary novelists. In his novels, he examined the time period starting from the first generations raised by the Republic until the 1980s, the structure of the society, and the unrest in life and made the subject of his novels. The phenomenon of time in the aforementioned trilogy of Adalet Ağaoğlu, who made time the most important figure of her novels, has been evaluated in terms of the logic of fiction and types. The types in the study constitute the essence of the subject. A Wedding Night includes many new types/characters that appear for the first time in the Turkish novel. The novel-fictional time, which runs parallel to social life, naturally included the types in the life it conveyed into the novel. Under which character name did the roles assigned to the types struggled? All these determinations will be discussed in the study. Key words: Adalet Ağaoğlu, A Wedding Night, Type And Typology.
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González-Díaz, Victorina. « ‘A patient act of adjustment’ : Subjectivisation, adjectives and Jane Austen ». Language and Literature : International Journal of Stylistics 30, no 3 (27 juin 2021) : 276–98. http://dx.doi.org/10.1177/09639470211023245.

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Previous scholarship on Jane Austen has often commented on the moral overtones of her lexical choices; more specifically, the fact that “incorrect” lexical innovations and fashionable words (i.e. new usages) tend to be deployed as part of the idiolect of foolish, gullible or morally reprehensible characters. By contrast, ethically sound characters normally move within the limits of established (‘old’) usages and the “correct” Standard English repertoire. Taking the historical linguistic concept of subjectivisation as starting point, this case-study explores the use of two adjectives ( lovely and nice) in Austen’s novels. The article (a) demonstrates that a straightforward socio-moral classification of ‘old’ and ‘new’ word-senses in Austen’s fiction is not fully adequate and (b) advocates, in line with recent scholarship, a more nuanced approach to the study of her fictional vocabulary, where old and new senses of a word (in this case, lovely and nice) move across the idiolect of different character-types for ironic, character- and plot-building purposes.
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KINSUI, Satoshi, et Hiroko YAMAKIDO. « Role Language and Character Language ». Acta Linguistica Asiatica 5, no 2 (29 décembre 2015) : 29–42. http://dx.doi.org/10.4312/ala.5.2.29-42.

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Since Kinsui's (2000, 2003) initial proposal, research on role language has progressed with the topics growing more diverse. In this paper we propose that a peculiar speech style assigned to a certain character in fiction should be treated as character language rather than role language. Role language, which is based on social and cultural stereotypes, is a subset of character language. Given that role language is also a linguistic stereotype, its knowledge should be widely shared by members of the speech community, and its patterns within limits. Character language, on the other hand, allows for various types, being far from being a closed class. We examine and give examples of four types of character language: speech styles that could become actual role language, once shared widely in the speech community; speech styles that are effectively adopted by characters outside of their expected speaker's social and cultural groups; speech styles employed to represent something other than their stereotypes; and uniquely created speech styles.
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Ensslin, Astrid. « The Interlocutor in Print and Digital Fiction : Dialogicity, Agency, (De-)Conventionalization ». Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no 3 (10 août 2018) : 21–34. http://dx.doi.org/10.14195/2182-8830_6-3_2.

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Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER). I shall examine various intrinsically unnatural examples of the media-specific interlocutor in print and digital fiction and evaluate the extent to which unconventional interlocutors in digital fiction may have anti-mimetic, or defamiliarizing effects.
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Thèses sur le sujet "Character types - fiction"

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Glazzard, Andrew. « Character types from populist genres in Joseph Conrad's urban fiction ». Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590818.

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This thesis investigates the relationship between literary and popular/populist fiction by examining Conrad's use of five character types common in popular fiction in the late nineteenth and early twentieth centuries: the detective, the infonner/spy, the spymaster, the anarchist/terrorist, and the swindler. Conrad's fiction has previously been situated in relation to 'exotic' genres such as adventure fiction ; what is original about my thesis is its use of a very wide range of texts from 'urban' genres such as detective and espionage fiction to reconstruct what Conrad's contemporary readers would have expected from novels featuring the character types listed above. This enables a more thorough examination of Conrad's engagement with urban genres than has previously been attempted, using popular texts not previously examined in relation to Conrad. The thesis argues that Conrad appropriated character types from populist genres for three reasons: as a commercial strategy to make his fiction marketable, as a way of responding to topical or contentious social and political issues, and as a means of creative experimentation. The thesis argues that Conrad's fictions are simultaneously ' literary' and 'popular', and that Conrad achieved distinctive aesthetic effects by applying particular literary techniques - what he called "treatment" - to popular subjects such as crime and espionage. This rewriting of genre fiction enabled Conrad to balance the demands of the literary marketplace with artistic and ethical aspirations, and to produce a wide range of narratives that varied significantly in aesthetic effect.
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Long, Bruce Raymond. « Informationist Science Fiction Theory and Informationist Science Fiction ». Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5838.

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Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
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Long, Bruce Raymond. « Informationist Science Fiction Theory and Informationist Science Fiction ». University of Sydney, 2009. http://hdl.handle.net/2123/5838.

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Master of Philosophy (MPhil)
Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.
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Hurst, Darin Scott. « El amor, la belleza, y el arte en la novela decadente hispanoamericana la dialéctica de la decadencia / ». Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1051278715.

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Klímová, Kamila. « Postava komunisty jako specifický typ významově zatížené postavy v současné české próze ». Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-327842.

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The diploma thesis analyzes the literary characters of Communist protagonists in the novels and short stories published in Czech literature of the last fifteen years. We assume that the time distance dynamically changes the concepts of the representations of the Communist protagonists. The aim of this work is not only to define the stereotypical traits that are associated with the figure of the Communists, but it also attempts to identify the practices of the lifting up of such protagonists from the traditional semiotic connotations. The thesis analyzes the characters of the Communists from the point of the thematic units, as they seem to be the most common semantic units for standard readers.
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Livres sur le sujet "Character types - fiction"

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Edelstein, Linda. The writer's guide to character traits : Includes profiles of human behaviors and personality types. Cincinnati, Ohio : Writer's Digest Books, 1999.

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The writer's guide to character traits : Includes profiles of human behaviors and personality types. Cincinnati, Ohio : Writer's Digest Books, 2004.

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Blom, Joleen. Video Game Characters and Transmedia Storytelling. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland : Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722957.

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Characters are a vital aspect of today’s transmedia practices. Combining theories on fictional persons from Japanese and Euro-American practices, this book discusses video game characters embedded in our popular media culture in which they are constantly produced and re-imagined. This book introduces the dynamic game character, a type of game character with a development structure that consists of multiple outcomes in a game. Through their actions and choices, players can influence these game characters’ identities and affect their possible destinies. Games subvert the idea that fictional persons must maintain a coherent identity. This book shows that dynamic game characters challenge strategies of top-down control through close readings of the Mass Effect series, Persona 5, Hades, Animal Crossing: New Horizons and more. It is directed to all scholars interested in the topics of transmedia storytelling, video games, characters, and Japanese narratology.
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The pioneer woman : A Canadian character type. Montreal : McGill-Queen's University Press, 1991.

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1947-, Patterson James, Charbonnet Gabrielle et Reader's Digest Partners for Sight Foundation, dir. Select Editions Large Type : Volume 159. Pleasantville, N.Y : Reader's Digest Partners for Sight Foundation, 2009.

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Not the killing type. Detroit : Thorndike Press, a part of Gale. Cengage Learning, 2013.

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Hatcher, Robin Lee. A matter of character : The sisters of Bethlehem Springs. Waterville, Me : Thorndike Press, 2010.

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Greenleaf, Stephen. Blood type : The new John Marshall Tanner mystery. New York : Morrow, 1992.

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Greenleaf, Stephen. Blood type : The new John Marshall Tanner mystery. New York : Bantam Books, 1993.

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Alan, Titchmarsh, et Reader's Digest Partners for Sight Foundation, dir. Select Editions Large Type : Volume 150. Pleasantville, NY : Reader's Digest Partners for Sight Foundation, 2007.

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Chapitres de livres sur le sujet "Character types - fiction"

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Gelder, Ken, et Rachael Weaver. « Colonial Australian Detectives, Character Type and the Colonial Economy ». Dans New Directions in Popular Fiction, 43–66. London : Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-52346-4_3.

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Dynel, Marta. « When Both Utterances and Appearances are Deceptive : Deception in Multimodal Film Narrative ». Dans Perspectives in Pragmatics, Philosophy & ; Psychology, 205–52. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Lindberg, Julianne. « I Could Write a Book (Musical) ». Dans Pal Joey, 89–109. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051204.003.0005.

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This chapter analyses Pal Joey’s book numbers. This type of integrated song was not new to Broadway, or to the shows of Rodgers and Hart. The degree to which these songs lend sympathy to hard-to-like characters, however—characters who might otherwise be dismissed as mere cutouts of pulp-fiction villains—is remarkable. These songs helped balance O’Hara’s hard-boiled book, giving the audience the opportunity to identify with a group of character types they would otherwise be wary of associating with. The unconventional nature of many of the book songs, however, which critique, mock, and upend traditional musical comedy tropes, made way for a new critical discourse concerning musical theater.
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Smith, Murray. « Engaging Characters ». Dans Engaging Characters, 73–109. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198871071.003.0004.

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Having clarified the concept of character and established a ‘cognitive-anthropological’ model of mind driven by active, imaginative problem-solving, for which emotion figures as a part of its reasoning and problem-solving capacity rather than an impediment to it, the ground is clear for an alternative to the conventional model of ‘character identification’. That is the task of this, the pivotal chapter of the study as a whole, in which the interrelations among the various concepts discussed in other chapters are explicated. It introduces the model of character engagement, which posits three distinct levels of engagement with characters—recognition, alignment, and allegiance—which together comprise the structure of sympathy. The chapter concludes with an examination of the distinct role of empathy (and related types of response, including emotional simulation and affective mimicry) in our responses to fiction, and of the relationship between sympathy and empathy.
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Bont, Leslie de. « Portrait of the Female Character as a Psychoanalytical Case : The Ambiguous Influence of Freud on May Sinclair’s Novels ». Dans May Sinclair. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474415750.003.0004.

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When May Sinclair started to write fiction and read psychoanalytical papers in the 1890s, case histories were emerging as a crucial medium that helped Sigmund Freud, Josef Breuer, as well as the other founding fathers of psychoanalysis to address the new and singular questions raised by their most puzzling patients. Indeed, the case proved to be a valuable tool in the epistemology of psychoanalytical research: writing case histories enabled pioneer psychoanalysts to challenge existing theories, set up new approaches and develop new discourses. But the case study is also a textual object that relies on dialogue, deixis, narrative and analysis, in ways that are quite similar to fictional writing. Sinclair’s key psychological research papers – “The Way of Sublimation” (1915), “Clinical Lectures” (1916) and “Psychological Types” (1923) – suggest that she favoured a more Jungian-based eclectic approach to psychoanalysis, which she also integrated into her two philosophical books A Defence of Idealism (1917) and The New Idealism (1922), over Freud’s sexual theory. Yet, even if she distanced herself from some (but not all) of Freud’s theses, as we shall see, his influence remained central to her fiction and non-fiction, and more particularly to her textual strategies and character depiction.
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Carter, David. « Introductory Remarks ». Dans Inception, 7–8. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325055.003.0001.

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This introductory chapter provides an overview of Christopher Nolan's Inception (2010). Inception blurs the distinctions between various genres. It is considered as science fiction although it does not contain many of the elements associated with the genre. It can also be identified as a kind of heist film, and the first part of the film, the extraction, certainly involves a complex robbery; but then the second part of the film, while having many of the trappings of a heist, involves putting something into a heavily guarded location rather than stealing from it. Moreover, the heist motifs and the film's character types are reminiscent of film noir. Inception can also be described as a psychological thriller and it deals with the subject of time and how dreams are related to the conscious and unconscious mind.
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Tate, Claudia. « Notes on the Invisible Women in Ralph Ellison’s Invisible Man ». Dans Ralph Ellison’s Invisible Man, 253–66. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195145359.003.0011.

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Abstract Questions about t he female characters in Ralph Ellison’s Invisible Man seem to elicit two types of response: The initial one is “What women?” since women clearly occupy peripheral roles in the novel. And then after Mary Rambo and the other female characters—that is, the old slave woman, the magnificent blonde, the rich sophisticate Emma, the anonymous seductress, and finally the prophetic and pathetic Sybil— are recalled, the second response is something like “Oh, those stereotypes” (Sylvander, 77-79). Both replies are virtually automatic and both are legitimate, given the factual details of the narrative. But we must not be misled by what can be seen with a quick glance; we must not neglect what lies hidden behind the mask and proclaim that the mask is the face. Instead, we must remember Ellison’s own witty admonition that the rind is not the heart and look for the concealed truth which lies beneath the stereotyped exteriors of his female characters. In his essay “Twentieth-Century Fiction,” Ellison contends that stereotypes, though indisputably one-dimensional and therefore oversimplified, frequently hide complex aspects of human character. Moreover, he adds that “the Negro has been more willing perhaps than any other artist to start with the stereotype, accept it as true, and then seek out the human truth which it hides” (S&A, 43). Perhaps this is also an appropriate procedure to follow when examining the female characters in Invisible Man; that is, “start with the [female] stereotype[s], accept [them] as true, and then seek out the human truth which [they] hide.” Perhaps by following this example, we will not be attempting merely to define female humanity but to recognize, as Ellison suggests, broader aspects of the humanity of all of us.
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« Activity Types and Characterisation in Dramatic Discourse ». Dans Characters in Fictional Worlds, sous la direction de Jens Eder, Fotis Jannidis et Ralf Schneider. Berlin, New York : DE GRUYTER, 2010. http://dx.doi.org/10.1515/9783110232424.3.176.

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Busse, Kristina. « Canon Compliance and Creative Analysis in Vorkosigan Saga Fan Fiction ». Dans Biology and Manners, 269–86. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621730.003.0015.

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This chapter examines different types of fan fiction based on the science fiction Vorkosigan novels by Lois McMaster Bujold. It explores the ways in which the source texts, or ‘canon’, are used as touchstone and tool not only to tell the stories that fan writers want to tell, but also to interpret specific characters and dynamics in the text, to interrogate the political and personal implications of the worlds of the books, and to explore how original characters can offer deeper insight into the characters and societies. The chapter examines canon-consistent stories, original characters, and slash fiction, to argue that the central focus remains the close reading and analysis of Bujold’s universe and characters, albeit in imaginative and exploratory ways.
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Olszewska, Bożena. « Literackie wizerunki chłopców i mężczyzn w prozie historycznej Antoniny Domańskiej... Między tradycją a nowatorstwem ». Dans (Re)konstrukcje przeszłości w prozie Antoniny domańskiej, 212–29. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2019. http://dx.doi.org/10.24917/9788380844193.13.

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Literary Images of Boys and Men in Historical Prose by Antonina Domańska. Between Tradition and Innovation When depicting boys and men, Antonina Domańska is well aware of the recipients and their needs. Her fictional characters are often teenage boys who find themselves in the middle of the action. Their adventures are building blocks of the plot and encourage the recipients to read on. The author focuses on the child’s nature in the first place, and the principles come afterwards. Domańska depicts progressive, at the time, relations between adults and children. The characters include commoners who are presented as role models (e.g. Wawrzuś), or people who improve themselves every day and are always ready to help others. Collective characters (such as pageboys) are instigators of pranks and other mischiefs, while everyone is driven by kindness and nobleness. Domańska revives well-known character types: a child artist and an orphan. While in the representational layer the author faithfully follows the patterns of fairy tale and historical novel, the change occurs in the psychological layer. The protagonists undergo a process of “modernisation”, which brings them closer to the child’s nature. The teenage characters follow a hierarchy of moral values appropriate for their age. The historical characters do not alter the flow of the story and they act as a historical background for the plot. A few character types clearly dominate: a good-natured ruler, a wise and just ruler, a heroic leader. Each of these types is a literary realisation of the golden legend – the idea of powerful and influential Poland.
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Actes de conférences sur le sujet "Character types - fiction"

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Kozmina, E. « GENRE OF THE STORY IN SOVIET SCIENCE FICTION OF THE 1950S-1970S ». Dans VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3702.rus_lit_20-21/100-103.

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The article presents the results of a study of Soviet science fiction stories of the 1950s-1970s in the aspect of N.D. Tamarchenko’s genre theory. The analysis methodology presented in the researcher’s works on the structure of the story is used. The genre of the story is considered in three aspects: chronotope and plot scheme; compositional and speech organization of the work; the nature of the relationship between the reality of the author and reader and the world of the character, including the problem of evaluation. Similar features of fantastic and non-fantastic stories are revealed, and the transformation of the genre structure is described: the increasing role of the socio-historical context, the limited type of narrator and the associated impossibility of a direct and unambiguous assessment of the character and his actions; the absence of a parallel version of the plot. The reasons for the transformation are formulated: the role of the plot situation of the experiment, including the event of humanity’s meeting with inhuman mind. The role of A. and B. Strugatsky in the development of Soviet science fiction stories of this period is noted.
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Kramskova, Anna S. « TESTIMONIAL EVIDENTIALITY AT EXPRESSING EMOTIONAL-EVALUATIVE INTENSION IN TIBETAN ». Dans 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.15.

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Modern Tibetan has a paradigm of evidential verb forms, with the help of which the speaker indicates the source of information or their access to it. The semantically marked testimonial evidentiality (which corresponds to sensory sources of information about the fact of the utterance) can be used by the speaker to implement various communicative intensions, in particular, emotional-evaluative intension. This article presents the results of a study of speaker’s expression of emotional-evaluative intension using the forms of testimonial evidentiality in Modern Literary Tibetan. The relevance of the work is based on the insufficient study of how Tibetan speakers express communicative intensions and how evidentiality is implemented in written Modern Tibetan. The analysis was carried out on a morphosyntactically marked corpus of 83,018 tokens combining 20 texts of various genres of fiction, academic and journalistic writing in Modern Tibetan. A speaker was understood as any addresser of an utterance in direct speech and first person narration parts of the text (author, literary character, lyrical subject). For the selection and analysis of utterances with an emotional-evaluative intension, contextual analysis was used, characterizing the addresser, addressee and the object of the utterance, speech situation, as well as the meaning of the verb form in the scope of the operational context. The analysis showed that when expressing emotional- evaluative intension with the help of testimonial evidentiality, the speaker emphasizes one of the aspects of the meaning of this type of evidentiality: 1) objective or perceptual lack of control over the observed action or situation by the speaker; 2) direct evidence of the fact of the utterance as a source for an unaddressed emotional state; 3) direct observation of the speaker as an evidence for assessing and validating the reliability of the reported fact. The article provides information on the evidential system of the Tibetan language and the most common communicative intensions formalized by testimonial evidentiality, as well as discusses in detail individual cases of expressing emotional-evaluative intension along with the analysis of the speaker’s communicative position and his choice of means of expression. Refs 22.
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