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Palimpsests: Literature in the Second Degree is a 1982 book by French literary theorist Gérard Genette. Over the years, the book's methodological proposals have been confirmed as effective operational definitions , and have been widely adopted in literary criticism terminology.
In literary interpretation, paratext is material that surrounds a published main text (e.g., the story, non-fiction description, poems, etc.) supplied by the authors, editors, printers, and publishers. These added elements form a frame for the main text, and can change the reception of a text or its interpretation by the public.
Genette was born in Paris, where he studied at the Lycée Lakanal and the École Normale Supérieure, University of Paris. [1] After leaving the French Communist Party, Genette was a member of Socialisme ou Barbarie during 1957–8. [2] He received his professorship in French literature at the Sorbonne in 1967.
Paratextuality is the relation between one text and its paratext that surrounds the main body of the text. Examples are titles, headings, and prefaces. Architextuality is the designation of a text as a part of a genre or genres; Metatextuality is the explicit or implicit critical commentary of one text on another text
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Free indirect discourse can be described as a "technique of presenting a character's voice partly mediated by the voice of the author". In the words of the French narrative theorist Gérard Genette, "the narrator takes on the speech of the character, or, if one prefers, the character speaks through the voice of the narrator, and the two instances then are merged". [1]
The first six volumes of The Umbrella Academy relays the origin stories of the Hargreeves siblings. When 47 children around the world are born to women who previously showed no signs of pregnancy ...
In narratology, focalisation is the perspective through which a narrative is presented, as opposed to an omniscient narrator. [1] Coined by French narrative theorist Gérard Genette, his definition distinguishes between internal focalisation (first-person) and external focalisation (third-person, fixed on the actions of and environments around a character), with zero focalisation representing ...
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