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• W62467922 abstract "1. Who Speaks Is Who Sees? In stylistics, first-person homodiegetic narratives are commonly held to be rather straightforward in terms of point of view--even more so if narrator is hero in his/her own story, and narrative can thus be defined as autodiegetic (Genette 253). When that is case--thus argument goes--readers get to see events from a single point of view, that of narrator/character: who speaks is who sees, and there is no legitimate escape from single perspective (unless certain well-known narrative expedients--diaries, letters, etc.--are employed). In Style in Fiction, for instance, Leech and Short operate a distinction between fictional and point of which is reminiscent of Genette's separation of focalization from voice. But their exposition of these twin terms makes it clear that they are heavily dependent on one another, and that it is only in heterodiegetic narratives that point of view can be legitimately shifted: writer, although not compelled to take one person's point of view, can voluntarily limit his omniscience' to those things which belong to one person's model of reality. He can also vary point of view, sometimes claiming authorial omniscience, sometimes giving us one character's version of events, sometimes that of another..., if events are recorded through words or thoughts of a character, they are by that fact limited to what that character could reasonably be expected to know or infer. Discoursal point of view, that is, implies a parallel restriction of point of view. (174-75) If narration is entrusted to an external narrator, therefore, story can even be told from the point of view of an animal, or of a man on point of death (Leech and Short 174)--while if narrator is a character within story, what he/she can tell will be limited to what he/she sees/knows. dozen years after Leech and Short's seminal book, Paul Simpson makes very similar assumptions on connection between narrating voice and point of view: in his modal grammar of point of view in narrative fiction (which describes combined effects of Leech and Short's lictional and discoursal points of view), Simpson distinguishes between Category A (homodiegetic) and Category B (heterodiegetic) narrations, and maintains that only latter can be filtered through a reflector. He further distinguishes between three patterns of (positive, negative, and neutral) which may be exhibited by narrator/predicated upon reflector: roughly, a positive shading reflects an epistemically confident and openly evaluative view of world; a negative shading imbues narrative with a general tone of uncertainty (it seemed to me/him, perhaps he thought I/he was wrong); while if general pattern of modality is neutral, the narrator withholds subjective evaluations and tells story through categorical assertions alone (Simpson 60). Here are Simpson's two examples of Category A narration with positive shading (condensed), from Jane Eyre and Three Men in a Boat: It is vain to say human beings ought to be satisfied with tranquillity: they must have action, and they will make it if they cannot find it.... Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties... It is thoughtless to condemn them, or laugh at them, if they seek to do more or lean more than custom has pronounced necessary for their sex. George has a cousin, who is usually described in charge-sheet as a medical student, so that he naturally has a somewhat family-physicianary way of putting things. I agreed with George, and suggested that we should seek out some retired old-world spot, far from madding crowd ... some half-forgotten nook, hidden away by fairies, out of reach of noisy world . …" @default.
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• W62467922 date "2011-12-22" @default.
• W62467922 modified "2023-09-28" @default.
• W62467922 title "Point of View in First-Person Narratives: A Deictic Analysis of David Copperfield" @default.
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