{"id":1033,"date":"2015-08-21T12:30:33","date_gmt":"2015-08-21T12:30:33","guid":{"rendered":"http:\/\/grupos.unileon.es\/mebar\/?page_id=1033"},"modified":"2015-09-18T14:51:47","modified_gmt":"2015-09-18T14:51:47","slug":"fictio-personae-definicion-ingles","status":"publish","type":"page","link":"https:\/\/grupos.unileon.es\/mebar\/fictio-personae-definicion-ingles\/","title":{"rendered":"Fictio Personae. Definici\u00f3n ingl\u00e9s"},"content":{"rendered":"

ABRAMS, M. H<\/strong>. A Glossary of Literary Terms<\/em>. 7th Ed. Fort Worth: Harcourt Brace College Publishers, 1999.<\/p>\n

Proposopoeia
\n<\/em><\/strong>[p. 6] \u00a0Works which are primarily nonallegorical may introduce allegorical imagery (the personification of abstract entities who perform a brief allegorical action) in short passages.<\/p>\n

Character and characterization<\/strong>
\n[p. 32]<\/p>\n

1. \u00a0The character is the name of a literary genre; it is a short, and usually witty, sketch in prose of a distinctive type of person. The genre was inaugurated by Theophrastus. (\u2026)<\/p>\n

2. \u00a0Characters are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it -the dialogue- and from they do -the action. The grounds in the characters\u2019 temperament, desires, and moral nature for their speech and actions are called their motivation. (\u2026) Whether a character remains stable or changes, the reader of a traditional and realistic work expects \u201cconsistency\u201d -the character should not suddenly break off and act in a way not plausibility grounded in his or her temperament as we have already come to know it.<\/p>\n

[p. 33] \u00a0E. M. Foster, in Aspects of the Novel<\/em> (1927), introduced popular new terms for an old distinction by discrimitating between flat and round characters. A flat character (also called a type, or \u201ctwo-dimensional\u201d), Foster says, is built around a \u201csingle idea or quality and is presented without much individualizing detail, and therefore can be fairly adequately described in a single phrase or sentence. A round character is complex in temperament and motivation and is represented with subtle particularity; such a character therefore is a difficult to describe with any adequacy as a person in real life, and like real persons, is capable of surprising us. (\u2026)<\/p>\n

A broad distinction is frequently made between alternative methods for characterizing (i. e. establishing the distinctive characters of) the persons in a narrative: showing and telling. In showing (also called \u201cthe dramatic method\u201d), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do. The author may show not only external speech and actions, but also a character\u2019s inner thoughts, feelings, and responsiveness to events;<\/p>\n

[p. 34] \u00a0(\u2026) In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters. (\u2026)<\/p>\n

Especially since the novelistic theory and practice of Flaubert and Henry James, a critical tendency has been to consider \u201ctelling\u201d a violation of artistry and to recommend only the technique of \u201cshowing\u201d characters; authors, it is said, should totally efface themselves in order to write \u201cobjectively\u201d, \u201cimpersonally\u201d, or \u201cdramatically.\u201d Such judgments, however, privilege a modern artistic limitation suited to particular novelistic effects, and decry an alternative method of characterization which a number of novelists have employed to produce masterpieces.<\/p>\n

\n

BALDICK, Chris<\/strong>. Oxford Dictionary of Literary Terms.<\/em>\u00a0Oxford:\u00a0Oxford University Press, 2008.<\/p>\n

Personification
\n<\/em><\/strong>A figure of speech by which animals, abstract ideas or inanimate things are referred to as if they were human.<\/p>\n

\n

BALDICK, Chris.<\/strong>\u00a0Oxford Dictionary of Literary Terms.<\/em>\u00a0Oxford:\u00a0Oxford University Press, 2008.<\/p>\n

Proposopoeia
\n<\/em><\/strong>The Greek rhetorical term for a trope consisting either of the personification of some non-human being or idea, or of the representation of an imaginary, dead or absent person as alive and capable of speech and hearing, as in an apostrophe adjective.<\/p>\n

\n

GREEN, Roland<\/strong>\u00a0et al., Eds. \u00a0The Princeton Encyclopedia of Poetry and Poetics<\/em>. Fourth Edition. Princeton University Press, 2012.<\/p>\n

Imagination<\/strong><\/p>\n

[p. 666] Distinctions from fancy, general scope. Imaginatio derives from lat. imagination, itself a substitute for Gr. phantasia. During the Ren. the term fancy -connoting free play, mental creativity and license- often eclipsed imagination, considered more as reproducing sense impressions, primarily visual images. By ca. 1700, empirical philosophy cast suspicious on fancy; imagination seemed preferably rooted in the evidence of sense data. Thomas Hobbes, nevertheless, retains \u201cfancy\u201d and is perhaps the last Eng. writer to use it to signify the mind\u2019s greatest inventive range. [p. 667] john Dryden describes imagination as a capacious power encompassing traditional stages os composition: invention, fancy (distribution or design) and elocution (style). G.W. Leibniz contrasts les id\u00e9es r\u00e9elles with les id\u00e9es phantastiques ou chrim\u00e9riques (Nouveaux essais). Many, incl Joseph Addison, use fancy and imagination synonymously, but Addison calls his important Spectator series (nos. 409, 411-21) \u201cPleasures of the imagination.\u201d More susceptible to prosodic manipulation in verse, the term retains a higher place in poetic diction than in crit. (e.g. William Collin\u2019s \u201cYoung Fancy thus, to me divines name\u201d). But in England and particularly in Germany, writers increasingly distinguish the terms before S.T. Coleridge\u2019s definitions in Biographia Literaria (1817). By 1780, Christian Wolff, J.G. Sulzer, J. N. Tetens, and Ernst Platner make explicit distinctions. Coleridge recognizes this by claiming himself the first \u201cof my countrymen\u201d to distinguish fancy from imagination. But several Eng. writers record distinctions between 1760 and 1800.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Since 1800 and to some degree before as well, poets and critics have considered imagination the chief creative faculty, a \u201csynthetic and magical power\u201d responsible for invention and originality (Coleridge). Writers have associated or identified imagination with genius, inspiration, taste, visionary power, and prophecy. (\u2026)<\/p>\n

[p.670] In Italy, L.A. Muratori advances a mutually beneficial combination of intellect and imagination to produce \u201cartificial\u201d or \u201cfantastic\u201d images applied metaphorically and charged with emotion. Vic\u2019s Scienza nuova (1725, 1744) mentions a recolective fantasia but more important, examines how poetic imagination creates the basis for culture through the production of myths and universal patterns that shape understanding of both nature and human nature. Largely ignored during his lifetime, Vico produced ideas that continue to influence historiography, anthropology, education, and imaginative writers such as James Joyce. (\u2026) The associationists \u2013among them Lord Kames (Henry Home), Archibald Alison, Hugh Blair, Gerard Hazlitt (to some extent) and others- stress imaginative association as pervasive; it determines taste. (\u2026) This helps expain the growing interest in literary forms and genres not rigidly fixed but fluid, also the fascination in Blake, Novalis, and others for aphorism and the importance of literary fragment in the early 19th<\/sup> c. The imagination of the reader becomes regarded as an important critical concept, too, ranging from Dryden\u2019s and Locke\u2019s \u201cassent\u201d to Coleridge\u2019s \u201cwilling suspension of disbelief\u201d. (\u2026) p. 672 Hegel\u2019s Aesthetik (1835) utilizes imagination or \u201cGeist\u201d as a key element for his historical and critical views but does not much enlarge the theory of imagination. Goethe emphasizes imagination, though in unsystematic fashion. (J. Engell).<\/p>\n

Personification<\/strong><\/p>\n

[p. 1025] A device that brings to life, in a human figure, something abstract, collective, inanimate, dead, nonreasoning, or epitomizing. (\u2026) [p.1026] \u00a0William Wordsworth abjured personification. (E.Fowler)<\/p>\n

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ABRAMS, M. H. A Glossary of Literary Terms. 7th Ed. Fort Worth: Harcourt Brace College Publishers, 1999. Proposopoeia [p. 6] \u00a0Works which are primarily nonallegorical may introduce allegorical imagery (the personification of abstract entities who perform a brief allegorical action) in short passages. Character and characterization [p. 32] 1. \u00a0The character is the name of […]<\/p>\n","protected":false},"author":16,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1033","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/1033","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/comments?post=1033"}],"version-history":[{"count":9,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/1033\/revisions"}],"predecessor-version":[{"id":1985,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/1033\/revisions\/1985"}],"wp:attachment":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/media?parent=1033"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}