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Letteratura scientifica selezionata sul tema "Character types - fiction"
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Articoli di riviste sul tema "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 (2022): 3. http://dx.doi.org/10.24114/bhs.v33i1.35546.
Testo completoAbstract (sommario):
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.
Testo completoAbstract (sommario):
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 (2018): 69–83. http://dx.doi.org/10.47743/lincu-2018-1-0114.
Testo completoAbstract (sommario):
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, and 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.
Testo completoAbstract (sommario):
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 (2019): 290–91. http://dx.doi.org/10.1080/17449855.2019.1614263.
Testo completo
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Ratih, Ni Wayan Nari, Made Buadiarsa, and 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 (2022): 5. http://dx.doi.org/10.24843/ujossh.2022.v06.i01.p02.
Testo completoAbstract (sommario):
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 (2022): 417–25. http://dx.doi.org/10.47832/2717-8293.16.27.
Testo completoAbstract (sommario):
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 (2021): 276–98. http://dx.doi.org/10.1177/09639470211023245.
Testo completoAbstract (sommario):
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, and Hiroko YAMAKIDO. "Role Language and Character Language." Acta Linguistica Asiatica 5, no. 2 (2015): 29–42. http://dx.doi.org/10.4312/ala.5.2.29-42.
Testo completoAbstract (sommario):
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 (2018): 21–34. http://dx.doi.org/10.14195/2182-8830_6-3_2.
Testo completoAbstract (sommario):
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.