Focalization

Focalization is a term coined by Gérard Genette in 1972 term from the narrative theory, which describes the relationship between the knowledge of a narrator and the figure of a. Genette distinguishes three cases: In the zero focalization of the narrator says more than any of the characters white; in internal focalization he says exactly what one of the characters white; in the external focalization he says less than the figure white. The focalization is independent of the narrative perspective.

The zero focalization (or unfokalisierte story ) occurs when a text uses an omniscient narrator, the insight into the thoughts and feelings, each of his characters and relationships described by those who know the individual figures nothing. This narrative form is for example widely used in the 19th century novel. More recently, Genette's term was criticized by the zero focalization partially. As a narrator always has a certain horizon and can never be assumed to be totally objective instance, it is possible to regard the zero focalization only as a hypothetical construct.

With internal focalization is told strongly from the perspective of a single figure out where relationships, of which this character does not know, not be told. However, this should not be equated with the story in the first person; this is indeed a common field of application of internal focalization, but with narratives in the third person, it can also occur. Extreme forms of internal focalization, the inner monologue and stream of consciousness. Genette, in turn, are three different types of internal focalization, the solid (used in the never leave a narrative perspective ), the variable ( in which the person alternates, is focalized through ) and multiple ( in which a single event from the point of view of different people can be told about the epistolary novel ). The figure is the focalized is commonly referred to by the English term Focalizer.

For external focalization finally the narrator has no insight into the inner life of a character and describes their actions. These actions remain then initially incomprehensible to the reader.

Genette does not believe that literary works can be categorized as one of three Fokalisierungstypen always clear. In the course of a work, the focalization can change; also certain Fokalisierungstypen are not always distinguishable from each other. Thus, for example, the zero focalization can not distinguish sharply from a variable internal focalization, in which in a fast rhythm, the reference character changes. In addition, the internal focalization can be understood by a figure as well as an external focalization to other figures.