Abstract
http://dx.doi.org/10.5007/2175-8026.2017v70n1p135Para um melhor entendimento de uma narrativa é essencial que leitor saiba quem é aquele que percebe (o focalizador). Suas crenças e compreensão determinam quais personagens e circunstâncias devem ser ignoradas ou examinadas de perto através da utilização dos sentidos da visão, audição, tato, paladar ou olfato. Assim sendo, a questão da focalização é algo relevante a ser levado em consideração quando um trabalho literário é analisado. No presente artigo, a obra do autor australiano Markus Zusak, A Menina que Roubava Livros, é discutida sob a ótica da narratologia, especialmente através das vozes de Gérard Genette, Mieke Bal e Rimmon-Kenan. Assevera-se que a focalização em A Menina que Roubava Livros é uma das principais técnicas literárias que ajuda a construir a atmosfera e sentido do texto.
Highlights
Mieke Bal is radically opposed to this idea, saying that “narrator and focalizer are not to be conlated” [147]
Jahn justiies this tendency to believe that narrators can focalize by adding: “Even though the narrator is obviously the insubstantial invention of the author, pragmatic meaning construction remains very irmly predicated on the assumption of an addresser observing the maxims of cooperation in human communication” [260]. In he Book hief, the primary narrator-focalizer normally shits from character-bound or internal focalization to an external one (Bal, 1997, p. 146). herefore, the limitation of perception is not bound only to internal characters that would have a restricted impression of the events. he efect of the frequent shit between internal and external focalization present in he Book hief produces an impression of reliability, since Death would possess an omniscient power that would allow him to perceive what characters feel as well as what they cannot know, such as important events to come. his technique is mentioned by Jong: Focalization has a cognitive aspect: the less restricted the focalization of the narrator, the more the narratees are allowed to know
Narratology knows the concept of “omniscience”, which means that an undramatized and bodiless external primary narrator-focalizer has access to his characters’ inner thoughts, is present at all settings and knows the future. [56]. Death describes his roundabouts during the II World War in Germany, having Liesel Meminger as his main focalized object
Summary
In he Book hief, the primary narrator-focalizer (the one who tells the main story) normally shits from character-bound or internal focalization to an external one He efect of the frequent shit between internal and external focalization present in he Book hief produces an impression of reliability, since Death would possess an omniscient power that would allow him to perceive what characters feel as well as what they cannot know, such as important events to come.
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
