ZERO FOCUS

In this type of focus, we can find the omniscient narrator, as the narrator does not refrain from providing any
information. Therefore, it knows absolutely everything that happens in the play. It is capable of making detailed descriptions
of spaces, environments and circumstances that surround the narrative. The narrator stands outside the characters, not
to see them from the outside, to see their gestures and simply hear their words, but to consider in an objective way and
directly his psychological life. That the narrator is objective means that he does not become involved in any way with
narrative, neither emotional, nor moral, nor political, nor culturally. The narrator only restricts himself to telling the story. Let's see a
example of this type of focusing:
At the door of Sebastián's house in Parapara, three impatient hard knocks sounded. Knocks of wood against wood that
they could well have been produced by the club of a visitor or by the butt of a rifle. It was midnight and
Never before had anyone knocked on that door at such an hour and in such a manner.

Sebastián slowly straightened up on the hammock net. He thought about the old revolver that the young lady had given him.
Berenice and that it was there, in a trunk without a lock, within reach of her hand.

EXTERNAL FOCUS
In this case, the narrator does not directly access the thoughts of the characters, but is also not isolated from
They, as they learn about their exterior, which allows them to describe the physical appearance of the characters and the environment.
In addition, he is the one who recounts the events because he witnessed them, but did not participate directly in the action. Below is a
example:
I remember it (I have no right to utter that sacred verb, only one man on earth had the right and that man
has died) with a dark passion fruit in hand, seeing it like no one has seen it, even though they looked at it from the twilight of
day until night, a whole entire life. I remember, the taciturn face and indigenous and singularly remote, behind the
cigarette. I remember (I think) his sharp hands of a braider. I remember near those hands a mate with the arms of the
Eastern Band; I remember the window of the house, a yellow mat, with a vague lake landscape.

INTERNAL FOCALIZATION
In this type of focalization, the narrator character and the protagonist are found, as they are within the same one.
history and the account from that perspective. If it is the central character, we talk about a protagonist narrator. On the other hand, if the
the narrator participates in the story, but is not the central character; rather, he only acts as a collaborator, so he is
secondary character. In addition, there are three types of internal focalization:

Fixed: It is centered on a single narrator who tells the story.

2. Variable: Various narrators who account for diverse events.
3. Multiple: Several narrators who tell the same event from different perspectives.
Let's look at an example:

I have gone to bed early for a long time. Sometimes, hardly had I blown out the candle, my eyes would close so quickly,
who didn't even have time to tell me: I'm going to sleep. And half an hour later, the idea woke me up that it was already time to go to
to seek the dream; I wanted to put down the book, which I imagined I still had in my hands, and extinguish the light with a breath; during my
Dream had not ceased to reflect on what he had just read, but the tone of those reflections was very particular.
because it seemed to me that I was becoming the subject of the play
Types of narrators (according to their focalization)

1. 1. According to its focus or perspective

2. 2. The characteristics of a narrative are conditioned by the perspective or
chosen focalization by the narrator to tell the events, that is, the place where they are located concerning
the events that will be narrated, their focus, or angle of vision.
It is called narrative perspective to the way of regulating information that comes from the choice (or not) of
a restrictive "point of view".
3. 3. Zero Focalization Internal Focalization (It can be classified into three types) Internal
Internal Fixed Multiple Internal Variable External Focus
4. 4. It identifies with the omniscient narrator, with the 'behind the vision'. The narrator
is situated above the narrated world. It is symbolized by the formula Narrator > Character, in which the
the narrator knows more than the character. He says more than any character knows.
5. [Link] would always remember the moment he had to leave her. Every time
when she remembered, she felt that her inner world was collapsing and anguish flooded her being.
6.6. It is the perspective in which Narrator = Character. The narrator only says what
know such character: it is the narrative with 'point of view' or with 'limited field', it is the 'vision with'. If the story
It is written in the third person; it will be considered as internal focus if it can be rewritten in the first.
person without that operation involving any other alteration of the discourse other than the mere change of the
grammatical pronouns.
7. 7. Thus, a sentence like: 'James Bond spotted a man in his fifties,'
aspect still young, etc." is translatable in the first person ("I noticed, etc.") Therefore, it corresponds to the
internal focusing.
8. [Link] internal focus: Internal focusing may correspond to the location
of a single character. "Well, when I was an eight-year-old child, they accused my father of certain badly done bloodlettings.
in the sacks of those who came to grind there, for which he was imprisoned, and he confessed and did not deny, and suffered persecution
for justice." Anonymous, The Life of Lazarillo de Tormes.
9. [Link] internal localization: Various characters successively give diverse
perspectives to report on different events in history. "I don't know how I managed to tell him that it was the
same, something like that, and I heard the sound of the door closing and then I covered my head with the blankets and
What was I going to do, despite the cramps I bit my hands and cried so much that no one, no one can
Imagine how much I cried while I cursed and insulted her and stabbed her in the chest five, ten,
twenty times, cursing her each time and enjoying what she suffered and how she begged me to forgive her for
what he had done to me. It's the same old story, hey Suárez, one cuts and opens, and in one of those, the big surprise.
Of course, at the kid's age, he has all the chances in his favor, but I'm still going to speak clearly to the father, right?
I don't know if we might get into a mess. It's most likely there will be a good reaction, but there is
Something that fails, think about what happened at the beginning of anesthesia: it seems unbelievable in a kid that age. I went.
I checked in two hours and found it quite good considering how long the thing lasted. When the doctor came in
Luisi I was drying the poor guy's mouth, he couldn't stop vomiting and the anesthesia was still affecting him but
the doctor examined me the same way and asked me not to move from his side until I was fully awake.
10. [Link] internal localization Various characters describe, from their
particular perspectives, the same event. "For the first time I have seen a corpse. It is Wednesday, but
I feel like it's Sunday because I haven't gone to school and they have put me in this green corduroy dress that
it tightens me in some place. (...) I should not have brought the child. This spectacle is not good for him. For myself, that
I am going to turn thirty, this toxic environment because of the presence of the corpse affects me. (...) I came. I called.
to the four country boys who have grown up in my house. I forced my daughter Isabel to accompany me. Thus the act
it becomes something more familiar, more human, less personal and challenging than if I had myself
dragged the corpse through the streets of the town to the cemetery." Gabriel García Márquez, The Leaf Storm.
11. 11. It is symbolized by the formula Narrator < Character. The narrator says less
what the character knows: it is the 'objective' or 'behavioral' narrative. It corresponds to the 'outside view'. The
The hero acts before us without ever allowing us to know his thoughts or his feelings.
feelings.
12. [Link] man from the suburbs of Buenos Aires, a sad compadrito without
more virtue than the infatuation of courage, enters the equestrian deserts of the Brazil border and arrives at
smuggler captain, it seems impossible in advance. To those who understand it that way, I want to tell them the
destination of Benjamin Otálora, of whom perhaps there is not a memory left in the Balvanera neighborhood and he died in his
law, by a gunshot, in the confines of Rio Grande do Sul. I ignore the details of his adventure; when they become known to me
revealed, I must rectify and expand these pages. Jorge Luis Borges, THE DEAD.
13. [Link] recognize the types of narrators found in the following stories.
14. 14.“And look, we barely knew each other and life was already weaving what was necessary for
We meticulously lost track of each other. Since you didn't know how to conceal it, I immediately realized that to see you as...
I wanted it was necessary to start by closing my eyes...” Julio Cortázar, Hopscotch. Second Person Narrator
15. 15.“It's not easy for me, from the shiny metal bed of the clinic and under the
double vigilance of the peephole and Bruno's eye, reconstructing the lazy smoke of the leaf litter fires
cachubas and the oblique rays of an October rain. If I didn't have my drum, which, treated with patience and
skill, it dictates to me all the necessary details to put the essentials on paper, and if it did not count
Moreover, with the establishment's authorization to touch it for three to four hours daily, I would now be a
poor man without known grandparents." Günter Grass, The Tin Drum. First Person Narrator.
16. 16.“She looked at her hands full of scratches. She looked at her skinny legs and feet.
huge in the tennis shoes, (...) and she was ashamed of herself. An impulse made her run to the house, with
the heart deafening her with the dull thumping of emotion. She reached a yearning stupor (...), burning the
cheeks, eyes dazzled.” Marta Brunet, Francina. Third Person Narrator.
17. 17.“Lucio went out onto the road and urinated endlessly, in the moonlight, which was already almost
the horizon touched the hills of Coslada. Behind him, Mauricio's door was closing, and when
it started up again, the rectangle of light that came from the window had disappeared.
Ferlosio, The Jarama
18. 18. They correspond to the ways in which the narrator reveals the saying or thinking of
the characters.
19. 19. They are called styles or modes. They refer to the way of narrating, they represent the
levels of influence of the narrator in the reported events. The concept of 'narrative mode' refers to 'how
it is said”, that is, the type of discourse that the author uses to recreate the fictional or real world they want.
to count. They are divided into three styles: Direct, indirect, and free indirect.
20. 20. In direct style, the narrative thread is interrupted to reproduce literally what
said. When the characters 'speak' in the narrative, they do so through dialogue. The narrator introduces it to
through a rhetorical resource that consists of directly pointing out what such a character said - it amounts to a quote
literal of the words that he/she used.
21. 21. Through this mode, it is possible to immediately know the thought of
character through its own expression, that is, the words or thoughts of the characters are
they are reproduced exactly as they were said or thought, without changing, adding, or removing anything. It is indicated in the text.
by the use of a dash that introduces the character's voice or by the quotation marks around it.
22. 22. The subject approached the woman hesitantly and said to her, 'You know well that I have loved you.'
Always. You know well that I would never leave you. But something prevents me from abandoning my wife and my children.
It is better that we say goodbye forever.
23. 23....Rosa, if to see you it were necessary to drink a glass of water every minute, I would
The sea would swallow it.-The young woman laughed, showing her white teeth.-"Like this, with fish, boats, and everything!" With a
The cheerful laugh greeted the girl the occurrence... The Well, Baldomero Lillo
24. 24. The language of the narrator predominates. When he wants to give way to the
words of one of the characters, he mentions them in his own speech, narrating them himself, without leaving
talk to nobody. La marca formal de este estilo es el uso de la conjunción subordinante [Link] ejemplo:
Fixing her gaze on him, his mother told him that he would never be happy away from there.
25. 25.“...One afternoon, having been abruptly informed that Lady Madeleine was no longer
existía, me anunció la intención de conservar el cuerpo durante una quincena (en espera del entierro definitivo)
in one of the numerous caves located beneath the thick walls of the castle..." The Fall of the House of Usher,
Edgar Allan Poe.
26. 26. It is a mix of both previous styles, therefore, more complex. It mixes the
omniscience of the narrator with the expression of the characters' interiority. As a result, the narrator
seems to speak from within his characters.
27. 27. The narrator, in the third person, gathers the words or thoughts of the
characters as if in indirect style, but the words are inserted into the narrative without a verb of language or
thought, without the connections, and without topographical marks. Remove the verbs of speech and thought
["thought","wondered","said","exclaimed"] Reproduce the characteristic vocabulary of speech
character
28. [Link] scented warmth rose from within the blankets. The air conditioning was good.
What I used for the clothes. Lavender field. Five days of fragrance, said the notice. I had to prune the daisies.
without fail. If not, they wouldn't bloom in the spring. Eight minutes to get up. He kept staring at the stripes of
light that came through the blinds. It would be cold, for sure, because the windows were fogged. María Puértole. My
Maria. He was the only one who didn't call her Maria Jose. He closed his eyes. Who could think of putting a door of
slipper in a house by the sea. Sometimes the dreams were so stupid. the protagonist starts his day inside
the bed, and then carrying out a number of domestic actions that are narrated in the third person,
objectively. But to recount the thoughts that accompany that doing it speaks to us directly
character.