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Focalization in literature is similar to point-of-view (POV) in film-making. A narrative where all information presented reflects the subjective perception of a certain character is said to be internally focalised. An omniscient narrator corresponds to zero focalization. External focalisation is the camera eye.
A novel in which no simple rules restrict the transition between different focalizations could be said to be unfocalised, but specific relationships between basic types of focalization constitute more complex focalization strategies; for example, a novel could provide external focalization alternating with internal focalizations through three different characters, where the second character is never focalized except after the first, and three other characters are never focalized at all.
The specific domain of literary theory which deals with focalisation is narratology, which concerns not only distinctions between subjective and objective focalisations but various gradations between them, such as free indirect discourse, style indirect libre, or quasi-direct discourse. Narratologists tend to have a difficult time agreeing on the exact definitions of categories in their field; hence its dynamic nature.
- Parsons, Allan (2017-06-27). "Focalisation". compendium.kosawese.net. Retrieved 2017-12-14.
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