The first person narrative is a storytelling mode in which the narrator delivers events from his own point of view using the first person i.e. "I" or "we", etc. It may be narrated by first-person protagonists (or other focal characters), first person re-teller, first person witness, or first person peripheral (also called a peripheral narrator). The classic example of the first lead character narrator is Charlotte Brontà  «Jane Eyre (1847), in which the narrator's character also tells his own story," I can not forget it now, just because I find that he no longer cares for me ".
This device allows viewers to see the narrator's eye view of the fictitious universe, but is limited to the narrator's experience and awareness of the true state of affairs. In some stories, first-person narrators can convey a dialogue with other characters or refer to information they hear from other characters, to try to convey a broader perspective. Other stories can divert narrators to different characters to introduce a broader perspective. Unreliable narrators are people who have lost credibility because of ignornace, p00r insight, personal bias, mitsakes, dishonesty, etc., which challenge the reader's initial assumptions.
Video First-person narrative
Device point of view
It tells the story of a grammatical first person story, from the perspective of "I." An example is Herman Melville Moby-Dick , which begins "Call me Ismael."
First person separations often include an inserted audience or reader, who serves as an audience for the story. The first person's narrative can be said by someone who directly goes through an event in the story unknowingly to convey that experience to the reader; alternatively, the narrator may be aware of telling the story to a particular audience, perhaps at a particular place and time, for some reason.
Identity
A story written in the first person can be told by a main character, a less important event as a witness of a character, or someone retelling a story that they are told by others. This point of view is often effective in providing a sense of closeness to the characters.
Reliability
The first person's narration presents the narrative through the perspective of a particular character. The reader or audience becomes aware of the events and characters of the story through the narrator's views and knowledge. As a participant in the event, the conscious narrator, an imperfect witness by definition, can not fully see and comprehend the events as a whole as they unfurl, are not always objective in their inner thoughts or share them completely, and furthermore may pursue some hidden Schedule event. In some cases, the narrator may provide or withhold information based on his or her own experience.
Weaknesses and character errors, such as delays, cowards, or representatives, can cause the narrator to be accidentally absent or unreliable for certain important events. Special occasions may then be colored or obscured by the narrator's background, for the omnipotent character must by definition be a layman and a stranger to some circles, and limitations such as poor vision and illiteracy can also leave an important void. Another consideration is how much time has elapsed between when characters experience a story and when they decide to tell them. If only a few days have passed, the story can be attributed very differently than if it reflects on distant past events. The character motivation is also relevant. Are they just trying to clarify events for their own peace of mind? Make an acknowledgment of what they did wrong? Or tell a good adventure story to their beer-loving friends? The reason why a story is told will also affect how it is written. Why does this narrator tell the story in this way, why now, and is he trustworthy? An unstable or evil narrator can also lie to the reader. Unreliable narrators are not unusual.
In the first-person plural's perspective, the narrator tells the story of using "us". That is, no individual speakers are identified; the narrator is a member of the group acting as a unit. The first person-plural's perspective rarely appears but can be used effectively, sometimes as a means of increasing concentration on the character or character of the story. Examples include:
- William Faulkner's short story "A Rose for Emily" (Faulkner is a very diligent person using an unusual point of view, see also his Spotted Horses, as told in a third person plural ).
- Frank B. Gilbreth and Ernestine Gilbreth Care memoar More Cheap by Dozen .
- Theodore Sturgeon short story "Crate."
- Frederik Pohl Man Plus .
- Jeffrey Eugenides The Virgin Suicides .
- Karen Joy Fowler's Jane Austen Book Club .
- Joshua Ferris's Then We Came to the End .
- Short story Heidi Vornbrock Roosa "Our Mother of the Art."
Other examples include Twenty-Six Men and a Girl by Maxim Gorky, The Treatment of Aunt Haldar by Jhumpa Lahiri, During the Queen of Persia Joan Chase, Our Kind by Kate Walbert, Robot by Isaac Asimov, and We Did not by Stuart Dybek.
Individual narrators can also be many, as in Ry? Nosuke Akutagawa In a Grove (the source for the movie Rashomon ) and the Faulkner novel The Sound and the Fury . Each of these sources gives different accounts of the same event, from the point of view of first-person narrators.
There are also some co-main characters as narrators, as in Robert A. Heinlein The Number of the Beast . The first chapter introduces four characters, including the early narrator, mentioned at the beginning of this chapter. The narrative continues in subsequent chapters with different characters that are explicitly identified as narrators for the chapter. Other characters that are later introduced in this book also have a "self" chapter in which they tell the story for the chapter. The story takes place in a linear fashion, and no event happens more than once, ie no two narrators speak "directly" about the same event.
The first-person narrator is probably the main character or one who closely observes the main character (see Emily BrontÃÆ'Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â by minor characters). This can be distinguished as the point of view of "first person first" or "first person small".
The narrator can be a protagonist (for example, Gulliver at Gulliver's Travels), someone very close to him who knows his thoughts and actions (Dr Watson in the Sherlock Holmes story), or additional characters that have nothing to do with the action of the story (like Nick Carraway on The Great Gatsby). The narrator can report the narration of others to one or more deletions. These are called "frame narrators": the example is Mr. Lockwood, the narrator at Wuthering Heights by Emily BrontÃÆ'Â Â «; and an unnamed narrator in the Heart of Darkness by Joseph Conrad. The clever writer chooses to cheat the narrative, according to the narrator's character, to an arbitrary level, from very small to extreme. For example, Mr. Lockwood mentioned above is quite naive, where the fact he seems to be unconscious, simultaneously rather arrogant, and tells the combination of stories, experiences, and gossip servants. Thus, his character is an unreliable narrator, and mainly serves to confuse, confuse, and ultimately leave the Wuthering Heights event open to a variety of interpretations.
The first form of a rare person is the first omniscient, where the narrator is a character in the story, but also knows the thoughts and feelings of all other characters. It can seem like an omniscient third person sometimes. Reasonable explanations according to the mechanism of the story world are generally provided or inferred, unless their striking absence is the main plot point. Two notable examples are the Book Thieves by Mark Zusak, where the narrator is Death, and The Lovely Bones by Alice Sebold, where a young girl, who has been murdered, observed, from some point of view post-mortem, extracorporeal, his family struggled to overcome his departure. Usually, however, the narrator limits the events conveyed in the narrative to those who are known. The novice writer may make the mistake of allowing the element of omission to be the first person's narrative by accident and random, forgetting the inherent human limitations of a witness or a participant of the event.
Maps First-person narrative
Autobiography
In autobiographical fiction, the first person narrator is the author's character (with varying degrees of historical accuracy). The narrator is still different from the author and should behave like other characters and other first person narrators. Examples of such narrators include Jim Carroll in The Basketball Diaries and Kurt Vonnegut, Jr. in Timequake (in this case, the first person narrator is also the author). In some cases, the narrator writes the book - "the book in your hands" - and therefore he has most of the strength and knowledge of his writer. Examples include Umberto Eco's Rose Names , and Curious Dog Events at Night-Time by Mark Haddon. Another example is the fictional "James T. Kirk Autobiography" "Edited" by David A. Goodman who is the true author of the book and plays part of James Kirk (Star Trek from Gene Roddenberry) when he wrote the novel.
Detective fiction
Since the narrator is in the story, he may not have knowledge of all events. For this reason, the first person's narrative is often used for detective fiction, so readers and narrators uncover joint cases. One of the traditional approaches in this fictional form is for the lead detective's main assistant, Watson, to become a narrator: this comes from Dr Watson's character in the Sirlock Conan Doyle Sherlock Holmes story.
Form
The first person narrative can appear in several forms; interior monologue, as in Fyodor Dostoevsky Notes from Underground ; dramatic monologue, also in Albert Camus' The Fall ; or explicitly, as Mark Twain Adventures of Huckleberry Finn.
Other forms include the first temporary narrative of the person as a story in the story, in which a narrator or observing character tells a story by another person reproduced in full, interim and without interruption diverting narration to the speaker. The first person's narrator can also be a focus character.
Styles
With the first person narrative, it is important to consider how the story is told, that is, what is the character of writing it, telling it aloud, and thinking of it for yourself? And if they write it down, is it something that is meant to be read by the public, a personal diary, or a story meant for one other person? The way the first person narrator connects the story will affect the language used, the length of the sentence, the tone of voice and many other things. A story presented as a secret diary can be interpreted far different from a public statement.
The first person's narrative can tend toward the flow of consciousness and interior monologue, as in Marcel Proust's In Lost Time Search . The entire narrative itself can be presented as a fake document, such as a diary, in which the narrator makes explicit reference to the fact that he is writing or telling a story. This is the case in Bram Stoker's Dracula . When a story is revealed, the narrator may be aware that they are telling a story and their reason for telling it. The audience they believe to be addressing may vary. In some cases, the story frame presents the narrator as a character in an outside story that begins to tell his own story, as in Mary Shelley Frankenstein.
The first-person narrator often becomes an unreliable narrator because the narrator may be distracted (such as Quentin and Benjy in Faulkner Sound and the Fury), lying (as in The Quiet American by Graham Greene, or by the Gene Wolfe), or manipulating their own memories intentionally (as in The Remains of the Day by Kazuo Ishiguro, or in Ken Kesey One Flew Over the Cuckoo's Nest ). Henry James discussed his concerns about the "first person 'romantic privilege" in the introduction to The Ambassadors, calling it "the darkest chasm of romance."
One example of a multi-level narrative structure is Joseph Conrad's "Heart of Darkness" novel, which has a dual frame: an unidentified "first person" narrator telling a boat trip where another character, Marlow, uses the first person to tells a story composed of most works. In this nesting story, it is mentioned that another character, Kurtz, tells a long story to Marlow; However, the content is not disclosed to the reader. So, there is the narrator "I" who introduces the storyteller as "he" (Marlow), who speaks of himself as "I" and introduces another storyteller as "he" (Kurtz), who in turn may tell his story from the perspective of "me".
Movies
The first person narrative is more difficult to achieve in the film; However, voiceover narratives can create the same structure.
References
Note
Source of the article : Wikipedia
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