Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Article Talk
First-person narrative
From Wikipedia, the free encyclopedia
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Toolbox
Print/export
This article is about the narrative mode. For other uses of "first person", see First person
(disambiguation).
First-person narrative is a narrative mode where a story is narrated by one character at a time,
speaking for and about themselves. First-person narrative may be singular, plural or multiple as well
as being an authoritative, reliable or deceptive "voice" and represents point of view in the writing.
The narrators explicitly refer to themselves using words and phrases involving "I" (referred to as the
first-person singular) and/or "we" (the first-person plural). This allows the reader or audience to see
the point of view (including opinions, thoughts, and feelings) only of the narrator, and no other
characters. In some stories, first-person narrators may refer to information they have heard from the
other characters, in order to try to deliver a larger point of view. Other stories may switch from one
narrator to another, allowing the reader or audience to experience the thoughts and feelings of more
than one character.
Contents [hide]
1 Forms
2 Point of view device
3 Styles
Languages
4 See also
Espaol
5 Bibliography
Franais
6 References
Italiano
Simple English
Forms
[edit]
Svenska
Trke
First-person narratives can appear in several forms: interior monologue, as in Fyodor Dostoevsky's
Notes from Underground; dramatic monologue, as in Albert Camus' The Fall; or explicitly, as in Mark
Twain's Adventures of Huckleberry Finn.
[edit]
Since the narrator is within the story, he or she may not have knowledge of all the events. For this
reason, first-person narrative is often used for detective fiction, so that the reader and narrator
uncover the case together. One traditional approach in this form of fiction is for the main detective's
principal assistant, the "Watson", to be the narrator: this derives from the character of Dr Watson in
Sir Arthur Conan Doyle's Sherlock Holmes stories.
In the first-person-plural point of view, narrators tell the story using "we". That is, no individual
speaker is identified; the narrator is a member of a group that acts as a unit. The first-person-plural
point of view occurs rarely but can be used effectively, sometimes as a means to increase the
concentration on the character or characters the story is about. Examples: William Faulkner in A
Rose for Emily (Faulkner was an avid experimenter in using unusual points of view - see his Spotted
Horses, told in third person plural), Frederik Pohl in Man Plus, and more recently, Jeffrey Eugenides
in his novel The Virgin Suicides and Joshua Ferris in Then We Came to the End.
First-person narrators can also be multiple, as in Rynosuke Akutagawa's In a Grove (the source for
the movie Rashomon) and Faulkner's novel The Sound and the Fury. Each of these sources provides
different accounts of the same event, from the point of view of various first-person narrators.
The first-person narrator may be the principal character or one who closely observes the principal
http://en.wikipedia.org/wiki/First-person_narrative[27/02/2012 09:30:12]
character (see Emily Bront's Wuthering Heights or F. Scott Fitzgerald's The Great Gatsby, each
narrated by a minor character). These can be distinguished as "first person major" or "first person
minor" points of view.
Styles
[edit]
First-person narrative can tend towards a stream of consciousness, as in Marcel Proust's In Search
of Lost Time. The whole of the narrative can itself be presented as a false 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. As a story unfolds, narrators may be more or less
conscious of themselves as telling a story, and their reasons for telling it, and the audience that they
believe they are addressing, also vary wildly. In extreme cases, a frame story presents the narrator
as a character in an outside story who begins to tell his own story, as in Mary Shelley's Frankenstein,
for example.
First person narrators are often unreliable narrators since a narrator might be impaired (as in The
Last Film of Emile Vico by Thomas Gavin, or Benjy in Faulkner's The Sound and the Fury), lie (as in
The Quiet American by Graham Greene, or The Book of the New Sun series by Gene Wolfe), or
manipulate his or her own memories intentionally or not (as in The Remains of the Day by Kazuo
Ishiguro, or in Ken Keasey's One Flew Over the Cuckoo's Nest). Henry James discusses his
concerns about "the romantic privilege of the 'first person'" in his preface to The Ambassadors, calling
it "the darkest abyss of romance." [1][2]
One convoluted example of a multi-level narrative structure is Joseph Conrad's novella Heart of
Darkness, which has a double framework: an unidentified "I" (first person singular) narrator relates a
boating trip during which another character, Marlow, tells in the first person the story that comprises
the majority of the work. Even within this nested story, we are told that another character, Kurtz, told
Marlow a lengthy story; we are not, however, directly told anything about its content. Thus we have
an "I" narrator introducing a storyteller as "he" (Marlow), who talks about himself as "I" and introduces
another storyteller as "he" (Kurtz), who in turn presumably told his story from the perspective of "I".
See also
[edit]
Bibliography
[edit]
(French) Franoise Barguillet, Le Roman au XVIIIe sicle, Paris: PUF Littratures, 1981, ISBN
2130368557;
(French) mile Benveniste, Problmes de linguistique gnrale, Paris: Gallimard, 1966, ISBN
2070293386;
(French) Belinda Cannone, Narrations de la vie intrieure, Paris: Klincksieck, 1998, ISBN
2911285158;
(French) Ren Dmoris, Le Roman la premire personne: du classicisme aux lumires, Paris:
A. Colin, 1975, ISBN 2600005250;
(French) Pierre Deshaies, Le Paysan parvenu comme roman la premire personne, [s.l.: s.n.],
1975;
(French) Batrice Didier, La Voix de Marianne. Essai sur Marivaux, Paris: Corti, 1987, ISBN
2714302297;
(French) Philippe Forest, Le Roman, le je, Nantes: Pleins feux, 2001, ISBN 2912567831;
R. A. Francis, The Abb Prvost's first-person narrators, Oxford: Voltaire Foundation, 1993, ISBN
072940448X;
(French) Jean-Luc Jaccard, Manon Lescaut. Le Personage-romancier, Paris: Nizet, 1975, ISBN
2707804509;
(French) Annick Jugan, Les Variations du rcit dans La Vie de Marianne de Marivaux, Paris:
http://en.wikipedia.org/wiki/First-person_narrative[27/02/2012 09:30:12]
2082101681;
(French) Jean Rousset, Forme et signification, Paris: Corti, 1962, ISBN 2714303560;
(French) Jean Rousset, Narcisse romancier: essai sur la premire personne dans le roman,
2130392822;
(French) Loc Thommeret, La Mmoire cratrice. Essai sur l'criture de soi au XVIIIe sicle, Paris:
References
[edit]
1. ^ Goetz, William R. (1986). Henry James and the Darkest Abyss of Romance. Baton Rouge: Louisiana
State University Press. ISBN0807112593.
2. ^ The Ambassadors (p. 11) on Project Gutenberg
v
Narrative
Character
Plot
Setting
Dystopia Fictional city Fictional country Fictional location Fictional universe Utopia
Theme
http://en.wikipedia.org/wiki/First-person_narrative[27/02/2012 09:30:12]
Diction Figure of speech Imagery Literary technique Narrative mode Stylistic device
Suspension of disbelief Symbolism Tone
Form
Fable-Parable Fabliaux Fairy tale Flash story Folktale-Legend Hypertext Novel Novella
Play Poem Screenplay Short story List of narrative forms
Genre
Narrator
Tense
Medium
Screenwriting
Related
Audience Author Fiction writing Creative nonfiction Literary theory Narrative structure
Narratology Other narrative modes Rhetoric Storytelling
Literature portal
Categories: Narratology
Fiction
Style (fiction)
Point of view
About Wikipedia
Disclaimers
http://en.wikipedia.org/wiki/First-person_narrative[27/02/2012 09:30:12]
Mobile view