By Jens Eder, Fotis Jannidis, Ralf Schneider (Hg.)
Even though fictional characters have lengthy ruled the reception of literature, movies, tv courses, comics, and different media items, just recently have they began to draw their due recognition in literary and media idea. The publication systematically surveys today´s varied and every now and then conflicting theoretical views on fictional personality, spanning examine on issues resembling the diversities among fictional characters and genuine folks, the ontological prestige of characters, the techniques in their illustration and characterization, the psychology in their reception, in addition to their particular varieties and constellations in - and throughout - various media, from the ebook to the web.
Read or Download Characters in Fictional Worlds: Understanding Imaginary Beings in Literature, Film, and Other Media (Revisionen Grundbegriffe der Literaturtheorie 3) PDF
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Extra resources for Characters in Fictional Worlds: Understanding Imaginary Beings in Literature, Film, and Other Media (Revisionen Grundbegriffe der Literaturtheorie 3)
104 The placement and connection of typified characters in the context of character constellations and action is of utmost importance for the analysis of media products. The position of the individualised protagonist or hero is frequently filled by a character that can be associated with a dominant group in society. 105 It depends on the position of a media genre in the cultural discourses of a society and the intention of the producers to criticise social structures whether such ideological tendencies can be found or their opposites.
108 Genre markers that trigger character-related expectations are frequently present already in the title of the media product (the name of the character in many cases is the title or at least part of it). Sometimes they appear in the description (or, in audiovisual media, the presentation) of a setting or the outer appearance as well as verbal and non-verbal actions of a character in the very first scene of a narrative.
In the English novel since the Victorian period, for instance, we find larger numbers of characters who are marginalised and ostracised in terms of established patterns of social stereotyping (dissenters, fallen women, bankrupts, _____________ 101 See the essay by Marion Gymnich in this volume for a discussion of gender stereotypes and its counterpart by Ruth Florack on national and ethnic stereotypes. For an introduction to this topic in the area of US-American film, cf. Benshoff / Griffin: America.