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Artículos de revistas

Literatura académica sobre el tema "Character types - fiction"

Autor: Grafiati

Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Character types - fiction"

1

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.

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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

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2

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 G

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3

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.

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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 th

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4

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.

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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

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5

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.

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6

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.

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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

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7

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.

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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 19

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8

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.

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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 a

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9

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.

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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

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10

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.

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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 mer

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