POINT OF VIEW

   = the relation of the teller to the tale in a narrative

   Narrator /Narratee

   

   First-person narration -- seems more subjective, seems to position us within the consciousness
   of the narrating character

   Third-person narration -- seems more objective, often operates as a "window" on the story, but
   differences:

   Internal/external

   Restricted/unrestricted or limited/unlimited -- omniscient narrator or narrowing down:

   

   The voice on the phone, this time, was American -- soft, cautious - no doubt the man thought
   the line was tapped. Robert Greenman Ceretti, from Washington; while they were talking, she
   remembered that this was the political columnist who had somehow been connected with the
   Kennedy administration.Hadn´t he written a book about the Bay of Pigs? Anyway,she had
   certainly seen him quoted.

   (Nadine Gordimer: Open House)

   

   

   Focalization:

   Focalizer -- external, character focalizer 1st person, 3rd person/ Focalized

   She ran down to the next floor, telephoned for a taxi, then opened the door of Etty´s bedroom,
   adjoining the sitting room. Silence and obscurity greeted her; and a smell compounded of
   powder, scent, toilet creams and chocolate truffles.

   (Rosamund Lehmann: The Weather in the Streets)

   EF -- F

   CF3 --F

   

   Between the stages of dressing and washing she packed a hasty suitcase. Pack the red dress,
   wear the dark brown tweed, Kate´s castoff, well-cut, with my nice jumper, lime green,
   becoming, pack the other old brown jumper- That´s about all.

   (Rosamund Lehmann: The Weather in the Streets)

   

   EF-F

   CF1-F

   

   Intrusive/Detached/Estranged - distance of the narrator or narratee

   

   Reliable/ Unrealiable

   

   SPEECH AND WRITING

   Features of speech we do not normally find in writing:

   1 pauses and pause fillers (um/er/erm)

   2 false starts (and if you ... but that could be ...)

   3 self-corrections (from the from that moment)

   4 repetitions (I´m sure it would have I´m sure it would have been ...)

   5 response cues (but that could be you know locked away or something like that ...)

   

   TYPES OF SPEECH REPRESENTATION IN PROSE FICTION

   Direct speech:

   She said: "Well there´s nothing I can say to that, is there?"

   He leaned forward and said:"I´m going to give you another chance, Anna."

   (Doris Lessing: The Golden Notebook)

   

   Indirect speech:

   She siad there there was nothing she could say to that. He leaned forward and said that he was
   going to give her another chance.

   

   Free direct speech:

   They talked about his work. He specialized in leucotomies.

   "Boy, I´ve cut literally hundreds of brains in half!"

   "It doesn´t bother you, what you´re doing?"

   "Why should it?"

   "But you know when you´ve finished that operation it´s final, the people are never the same
   again?"

   "But that´s the idea, most of them don´ t want to be the same again."

   (Doris Lessing: The Golden Notebook)

   

   Free indirect speech:

   For what? He asked her, with careful scorn. To compete with phrasemongers, incapable of
   thinking consecutively fot sixty seconds? To submit himself to the criticism of an obtuse
   middle class which entrusted its morality to policemen and its fine arts to impresarios.

   (James Joyce: Dubliners)

   

   Genre and the presentation of speech

   "...", me murmured huskily.

   "...", she wailed gaspingly.

   "...", he countered silkily.

   "...", she asked as calmly as she could.

   (Susan Napier: The Counterfeit Secretary. a vivid story of passionate attraction)