A Bibliography of Literary Theory, Criticism and Philology
by José Ángel García Landa
(University of Zaragoza, Spain)
Narrative Point of View, Perspective, Focalization
Top ten
Bal, Mieke. Narratology: Introduction to the Theory of Narrative. Trans. Christine van Boheemen. Toronto: U of Toronto P, 1985.*
Booth, Wayne. "Distance and Point-of-View: An Essay in Classification." In Essentials of the Theory of Fiction. Ed. Michael J. Hoffman and Patrick D. Murphy. Durham (NC): Duke UP, 1988. 170-89.*
Chatman, Seymour. "Point of View: Character's Filter and Slant." In Chatman, Reading Narrative Fiction. New York: Macmillan, 1993. 130-85.* (Character's Filter; The Filter-Character Is Not the Narrator; Narrator's Slant; The Grammar of Filter; filter in Internal Narration).
Cohn, Dorrit. Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction. Princeton (NJ): Princeton UP, 1978.*
Friedman, Norman. "Point-of-View in Fiction : The Development of a Critical Concept." PMLA 70 (1955): 1160-84.*
Genette, Gérard. Narrative Discourse. Trans. Jane E. Lewin. Ithaca: Cornell UP, 1980.
Hühn, Peter, Wolf Schmid and Jörg Schönert, eds. Point of View, Perspective, and Focalization: Modeling Mediation in Narrative. (Narratologia, 17). Berlin and New York: Walter de Gruyter, 2009.* (I. Re-Specifications of Perspective. II. Some Special Aspects of Mediation. III. Transliterary Aspects of Mediation). (Most papers based on the 'Narratology' Research Group colloquium at Hamburg U, 2006).
Peer, Willie van, and Seymour Chatman, eds. New Perspectives on Narrative Perspective. (SUNY series The Margins of Literature). Albany: SUNY Press, 2001.*
Schmid, Wolf. "III. Point of View." (1. Theories of Point of View, Perspective and Focalization. 2. A Model of Narrative Point of View). In Schmid, Narratology: An Introduction. Berlin and New York: Walter de Gruyter, 2010. 89-117.*
Weimann, Robert. "Erzählerstandpunkt und Point of View: Zur Geschichte und Aesthetik der Perspektive im englischen Roman." Zeitschrift für Anglistik und Amerikanistik 10 (1962): 369-416.*
Zeman, Sonja. "Perspectives on Narrative and Narrative Perspectivization." Introd. to Perspectives on Narrative and Narrative Perspectivization. Ed. Natalia Igl and Sonja Zeman. (Linguistic Approaches to Literature, 21). Amsterdam and Philadelphia: Benjamins, 2016. Online preprint at Academia.*
https://www.academia.edu/25129928/
2019
Zeman, Sonja, and Natalia Igl, eds. Perspectives on Narrativity and Narrative Perspectivization. Amsterdam: Benjamins, 2016.
https://benjamins.com/#catalog/books/lal.21/main
2016
Miscellaneous
Adamson, Sylvia. "The Rise and Fall of Empathetic Narrative: A Historical Perspective on Perspective." In New Perspectives on Narrative Perspective. Ed. Willie van Peer and Seymour Chatman. Albany: SUNY Press, 2001. 83-100.*
Altman, Rick. "Dual-Focus Narrative." In Altman, A Theory of Narrative. New York: Columbia UP, 2008. 55-98.*
_____. "Single-Focus Narrative." In Altman, A Theory of Narrative. New York: Columbia UP, 2008. 119-90.*
_____. "Multiple-Focus Narrative." In Altman, A Theory of Narrative. New York: Columbia UP, 2008. 241-90.*
Anderson, R. C., and J. W. Pichert. "Recall of Previously Unrecallable Information Following a Shift in Perspective." Journal of Verbal Learning and Verbal Behavior 17 (1978): 1-12.
Andersson, Greger. "Postclassical Narratology vs. Poetics: David Herman's 'Hypothetical Focalization' as Test Case." In СЕМИОСФЕРА НАРРАТОЛОГИИ: ДИАЛОГ ЯЗЫКОВ И КУЛЬТУР / Semiosphere of Narratology: A Dialogue of Languages and Cultures. Ed. Ludmila Tataru and José Angel García Landa. Balashov: Nikolayev, 2013. 7-24.*
Arp, Thomas R., and Greg Johnson. "Point of View." In Perrine's Literature: Structure, Sound, and Sense. 8th ed. Boston (MA): Thomson Learning-Heinle & Heinle, 2002.*
Backus, Joseph M. "'He Came into Her Line of Vision Walking Backward': Nonsequential Sequence-Signals in Short Story Openings." Language Learning 15 (1965): 67-83.
Bal, Mieke. "Narration et focalisation: pour une théorie des instances du récit." Poétique 29 (1977): 107-27.*
_____. "The Narrating and the Focalizing: A Theory of the Agents in Narrative." Style 17.2 (1983): 234-69.
_____. "Narration and Focalization." From Style 17.2 (1983): 234-69. In Structuralism: Critical Concepts in Literary and Cultural Studies. Ed. Jonathan Culler. London: Routledge, 2006. Vol. 2.
_____. Narratologie: Essais sur la signification narrative dans quatre romans modernes. Paris: Klincksieck, 1977.*
_____. De theorie van vertellen en verhalen. Muiderberg: Coutinho, 1978.
_____. Narratology: Introduction to the Theory of Narrative. Trans. Christine van Boheemen. Toronto: U of Toronto P, 1985. Trans. of De theorie van vertellen en verhalen.*
_____ . Teoría de la narrativa : una introducción a la narratología. Madrid: Cátedra, 1985.*
_____. "The Laughing Mice, or: On Focalization." Poetics Today 2.2 (1981): 202-210.*
Baquero Goyanes, Mariano. Perspectivismo y contraste: de Cadalso a Pérez de Ayala. Madrid: Gredos, 1963.
Baroni, Raphaël. Tension narrative: Suspense, curiosité, surprise. (Poétique). Paris, Seuil, 2007.
_____. "Perspective narrative, focalisation et point de vue: Pour une synthèse." Fabula LHT 25 (Jan. 2021).*
https://www.fabula.org/lht/25/baroni.html
2021
Bartolomé Gómez, Jesús. "La narración literaria como espectáculo: El combate con espectadores." In Otivm cvm dignitate: Estudios en homenaje al profesor José Javier Iso Echegoyen. Ed. J. A. Beltrán et al. (Monografías de Filología Latina, 16). Zaragoza: Universidad de Zaragoza, 2013. 215-25.*
Bashic, Sonja. "From James's Figures to Genette's Figures: Point of View and Narratology." Revue Française d'Etudes Américaines 8 (1983): 201-15.
Beach, Joseph Warren. The Method of Henry James. 1918.
Berendsen, Marjet. "The Teller and the Observer: G. Genette's and M. Bal's Theories on Narration and Focalization Examined." Unpublished paper, Hertoegenbosch, 1979.
_____. "The Teller and the Observer: Narration and Focalization in Narrative Texts." Style 18.2 (1984): 140-156.
Blanco Barros, M. Lidia, and Pilar Rubio Montaner. "Temporalidad en el texto narrativo: sus relaciones con el punto de vista." Tropelías 7/8 (1996/97 [Issued 1999]): 45-54.*
Blin, Georges. "Les Restrictions de champ." In Blin, Stendhal et les problèmes du roman. Paris: Corti, 1954. 1990. 114-76.*
Bluell, Lawrence. "Observer-Hero Narrative." Texas Studies in Literature and Language 21 (1979): 93-111.
Bogen, Andrey. "Figur und Perspektive: Anhand von Beispielen der russischen realistischen und modernistischen Prosa." In Hodel, Lehmann, et al., Textkohärenz und Narration: Untersuchungen russischer Texte des Realismus und der Moderne. (Narratologia, 15). Berlin and New York: Walter de Gruyter, 2008. 101-54.* (Tolstoy, Turgenev, Chekhov, Pilniak, Zamiatin, Babel).
_____. "Perspektivierung und Rekurrenz." In Hodel, Lehmann, et al., Textkohärenz und Narration: Untersuchungen russischer Texte des Realismus und der Moderne. (Narratologia, 15). Berlin and New York: Walter de Gruyter, 2008. 155-78.*
Booth, Wayne. "Distance and Point-of-View: An Essay in Classification." In Essentials of the Theory of Fiction. Ed. Michael J. Hoffman and Patrick D. Murphy. Durham (NC): Duke UP, 1988. 170-89.*
_____. "Distance and Point-of-View: An Essay in Classification." In Twentieth Century Literary Theory. Ed. Vassilis Lambropoulos and David Neal Miller. Albany: State U of New York P, 1987. 269-84.*
_____. "Distance et point de vue: Essai de classification." Poétique 4 (1970).
_____. "Distance et point de vue: Essai de classification." In Barthes et al., Poétique du récit. Paris: Seuil, 1977. 85-113.*
_____. ['Objectivity' in Fiction]. In 20th Century Literary Criticism: A Reader. Ed. David Lodge. London: Longman, 79.*
Brau, J.-L., and J. Lavergne, eds. La Focalisation. (Cahiers de Narratologie 5). Nice: Publications de la Faculté des Lettres et Sciences Humaines, 1992.
Brinton, Laure. "'Represented Perception': A Study in Narrative Style." Poetics 9 (1980): 363-81.
Broich, Ulrich. "Gibt es eine 'neutrale Erzählsituation'?" Germanisch-Romanische Monatsschrift 33 (1983): 129-45.
Broman, Eva. "Narratological Focalization Models: A Critical Survey." From Essays on Fiction and Perspective. Frankfurt a/M, 2004. Online at Academia.*
https://www.academia.edu/1554726/
2018
Bronzwaer, W. J. M. "Mieke Bal's Concept of Focalization." Poetics Today 2.2 (1981): 193-201.
Buell, Lawrence. "Observer-Hero Narrative." Texas Studies in Literature and Language 21 (1979): 93-111.
Calle, Gonzalo. Perspectiva lingüística y cognitiva del estilo de Carlos Ruiz Zafón en La sombra del viento. Ph.D. diss., 2012.
Cassell, Justine and David McNeill. "Gesture and the Poetics of Prose." Poetics Today 12.3 (1991): 375-404.*
_____. "Gesture and the Poetics of Prose." In Narrative across Media: The Languages of Storytelling. Ed. Marie-Laure Ryan. Lincoln: U of Nebraska P, 2004. 108-38.*
Caws, Mary Ann. The Eye in the Text: Essays on Perception, Mannerist to Modern. Princeton (NJ): Princeton UP, 1981.
Chamberlain, Daniel Frank. Narrative Perspective in Fiction: A Phenomenological Mediation of Reader, Text, and World. Toronto: U of Toronto P, 1990.
Chatman, Seymour. "Narration and Point of View in Fiction and the Cinema." Poetica 1 (1974).
_____. "Characters and Narrators: Filter, Center, Slant, and Interest-Focus." Poetics Today 7 (1986): 189-204.
_____. "Ironic Perspective: Conrad's Secret Agent." In New Perspectives on Narrative Perspective. Ed. Willie van Peer and Seymour Chatman. Albany: SUNY Press, 2001. 117-32.*
_____. "4. Narration: Narrator and Narratee." In Chatman, Reading Narrative Fiction. New York: Macmillan, 1993. 90-129.* (Telling: Internal and External Narrators; Showing: Impersonal Narration; Omniscience and Limitation; The Narratee: Elizabeth Jolley, 'Wednesdays and Fridays'; Anton Chekhov, 'The Darling'; Sarah Orne Jewett, ' A White Heron'; Tillie Olsen, 'I Stand Here Ironing'")
_____. "5. Point of View: Character's Filter and Narrator's Slant." In Chatman, Reading Narrative Fiction. New York: Macmillan, 1993. 130-85* (Character's Filter; The Filter Character Is Not the Narrator; narrator's Slant; The Grammar of Filter; Filter in Internal Narration: James Joyce, 'A Little Cloud'; James Baldwin, 'The Rockpile'; Nadine Gordimer, 'Town and Country Lovers'; V. S. Naipaul, 'The Thing Without a Name'; Mary McCarthy, "C.Y.E.")
_____. "Narrative Limits: Experimental and Postmodern Fiction." In Chatman, Reading Narrative Fiction. New York: Macmillan, 1993.* (Undermining Conventions; Questioning the Discourse; Attacks on the Discourse by the Story; Filter at Odds with Itself).
Ciccoricco, David. "Focalization and Digital Fiction." Narrative 20.3 (Oct. 2012): 255-76.*
Cohan, Steven. "A Review Essay: Point of View in Narrative." Modern Language Studies 16.3 (1986): 345-50.
Cohn, Dorrit. Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction. Princeton (NJ): Princeton UP, 1978.*
_____. La Transparence intérieure. Trans. Alain Bony. Paris: Seuil, 1981.
_____. "Optics and Power in the Novel." New Literary History 26.1 (1995): 3-20.*
Collier, Gordon. "Apparent Feature-Anomalies in Subjectivized Third-Person Narration." In Recent Trends in Narratological Research. Ed. John Pier. (GRAAT 21). Tours: Groupes de Recherches Anglo-Américaines de l'Université François Rabelais de Tours, 1999. 129-52.* (Patrick White).
Cordesse, Gérard. "Narration et focalisation." Poétique 76 (1988): 487-98.
Cresswell, M. J. "Presuppositions and Point of View." Linguistics and Philosophy 2 (1978): 1-41.
Currie, Gregory. "5. Expression and Imitation." In Currie, Narratives and Narrators: A Philosophy of Stories. Oxford: Oxford UP, 2010. 86-108.* (The Framing Effect of Point of View - Conversation, Framing, and Joint Attention - Joint Attending and Guided Attending - Imitation - Imitating the Unreal - The Standard Model - Appendix: Expression and the Reliability of Signalling).
_____. "7. Character-focused Narration." In Currie, Narratives and Narrators: A Philosophy of Stories. Oxford: Oxford UP, 2010. 123-47.* (Genette's Distinction - The Knowledge Criterion - Expression - Focalization - Context Shifting - Empathy - Conclusion).
_____. "8. A Pretended Point of View." In Currie, Narratives and Narrators: A Philosophy of Stories. Oxford: Oxford UP, 2010. 148-66.* (Ironic Situations - Representational Irony - Points of View - Responding to Criticism - Pretence of Manner - Ironic Narration)
_____. "9. Dis-interpretation" In Currie, Narratives and Narrators: A Philosophy of Stories. Oxford: Oxford UP, 2010. 167-85.* (Irony in Pictures - Point of View Shots - Ironic Narration - The Birds and the Psyche: Internal vs. External Perspective - Irony and Horror: The Tradition - Science and the Supernatural).
Dahlgren Thorsell, Marta. "From Narratology to Pragmatics: Narrators, Focalizers and Reflectors in some Works by William Faulkner." Babel-afial: Aspectos de filología inglesa y alemana 2 (1993): 89-99.*
http://dialnet.unirioja.es/servlet/articulo?codigo=3049966
2009
Dammann, Günther. "Le paramètre de la transmission du savoir en narratologie—illustré par des exemples tirés du Tour du monde en 80 jurs de Jules Verne." In Théorie du récit: L'apport de la recherche allemande. Villeuneve d'Ascq: Presses Universitaires du Septentrion, 2007. 265-84.*
Dancygier, Barbara. "Blending and Narrative Viewpoint: Jonathan Raban's Travels through Mental Spaces." Language and Literature 14.2 (2005): 99-127.*
Darwall, Stephen. Second Person Standpoint. Forthcoming 2007.
de Jong, Irene J. F. Narrators and Focalizers: The Presentation of the Story in the Iliad. Amsterdam: Grüner, 1987. 2nd ed. 1989.
_____. "3. Focalization." In de Jong, Narratology and Classics: A Practical Guide. Oxford: Oxford UP, 2014. 47-72.*
Deppermann, Arnulf. "19. Positioning." In The Handbook of Narrative Analysis. Ed. Anna De Fina and Alexandra Georgakopoulou. Chichester: Wiley, 2015. 369-87.*
Díaz Arenas, Angel. Las perspectivas narrativas: Teoría y metodología. (Problemata Semiotica, 13). Kassel: Reichenberger, 1988.*
Doiz-Bienzobas, Aintzane. "An Analysis of English, Spanish and Basque Demonstratives in Narrative: A Matter of Viewpoint." In Contrastive Cognitive Linguistics. Ed. Javier Valenzuela and Ana Rojo. Monograph issue of IJES 3.2 (2003): 63-84.* (Deixis, Demonstratives).
Dolezel, Lubomír. "The Typology of the Narrator: Point of View in Fiction." In To Honor Roman Jakobson. The Hague: Mouton, 1967. 1: 541-52.
Edmiston, William F. "Focalization and the First-Person Narrator: A Revision of the Theory." Poetics Today 10.4 (1989): 729-44.
_____. "Introduction: Focalization and the First-Person Narrator." In Edmiston, Hindsight and Insight: Focalization in Four Eighteenth-Century French Novels. University Park (Pennsylvania): Pennsylvania State UP, 1991. 1-14.*
_____. "The Evolution of the Concept of Focalization." In Edmiston, Hindsight and Insight: Focalization in Four Eighteenth-Century French Novels. University Park (Pennsylvania): Pennsylvania State UP, 1991. 147-70.*
Ehrlich, Susan. Point of View: A Linguistic Analysis of Literary Style. London: Routledge, 1990.*
Ermath, Elizabeth Deeds. "Realism, Perspective, and the Novel." Critical Inquiry 7 (1981): 499-520.
Fehr, Bernard. "Substitutionary Narration and Description: A Chapter in Stylistics." English Studies 20 (1938): 97-107.*
Ferguson, Suzanne. "The Face in the Mirror: Authorial Presence in the Multiple Vision of Third-Person Impressionist Narrative." Criticism 21 (1979): 230-50.
Fleischman, Suzanne. "Verb Tense and Point of View in Narrative." In Discourse-Pragmatic Approaches to the Verb: The Evidence from Romance. Ed. Suzanne Fleischman and Linda R. Waugh. London: Chapman and Hall, forthcoming 1990.
Fludernik, Monika. "Subversive Irony: Reflectorization, Trustworthy Narration and Dead-Pan Narrative in The Mill on the Floss." Yearbook of Resarch in English and American Literature (REAL) 8: (1992): 159-85.
_____. "Reflectorization and Figuralization: The Malleability of Language." In Fludernik, Towards a 'Natural' Narratology. London: Routledge, 1996. 2001. 178-221.* (Point of view, Lawrence, Weldon, K. Mansfield, reflectors, narrators).
_____. "New Wine in Old Bottles? Voice, Focalization, and New Writing." New Literary History 32 (2001): 619-638.
_____. "The Establishment of Internal Focalization in Odd Pronominal Contexts." In New Perspectives on Narrative Perspective. Ed. Willie van Peer and Seymour Chatman. Albany: SUNY Press, 2001. 101-14.*
Fontanille, J. Les espaces subjectifs: Introduction à la sémiotique de l'observateur (discours-peinture-cinéma). Paris: Hachette, 1989.*
Forster, E. M. "[Flat and Round Characters and Point of View]." From Aspects of the Novel. In 20th Century Literary Criticism: A Reader. Ed. David Lodge. London: Longman, 1972. 137-45.*
Fowler, Roger. "How to See Through Language: Perspective in Fiction." Poetics 11 (1982): 213-35.
_____. Linguistic Criticism. Oxford: Oxford UP, 1986. 1990.*
Frank, Armin Paul, and Ulrich Mölk, eds. Frühe Formen mehrperspektivischen Erzählens von der Edda bis Flaubert: Ein Problemaufriss. Berlin: Erich Schmidt, 1991.
Frank, Joseph. "Spatial Form in Modern Literature". Sewanee Review 53 (1945): 221-40, 433-45, 643-65.
_____. "Spatial Form in Modern Literature." In Essentials of the Theory of Fiction. Ed. Michael J. Hoffman and Patrick D. Murphy. Durham (NC): Duke UP, 1988. 85-100.*
_____. From Spatial Form in Modern Literature. In Theory of the Novel: A Historical Approach. Ed. Michael McKeon. Baltimore: Johns Hopkins UP, 2000. 784-802.*
Friedman, Norman. "Point-of-View in Fiction : The Development of a Critical Concept." PMLA 70 (1955): 1160-84.*
_____. "Point-of-View in Fiction : The Development of a Critical Concept." Rpt. in The Theory of the Novel. Ed. P. Stevick. New York: The Free Press, 1972.
Füger, W. "Stimmbrüche: Varianten und Spielräume narrativer Fokalisation." In Tales and 'their Telling Difference': Zur Theorie und Geschichte der Narrativik. Festschrift für Franz K. Stanzel. Ed. H. Foltinek, W. Riehle and W. Zacharasiewicz. Heidelberg: Winter, 1993. 43-60.
García Landa, José Angel. "El punto de vista en la acción." In García Landa, Acción, Relato, Discurso: Estructura de la ficción narrativa. Salamanca: Ediciones Universidad de Salamanca, 1998. 86-88.*
_____. "Modo del Relato (Acción, Relato, Discurso, 2.4) (Narrative Mood (Action, Story, Discourse, 2.4)). Social Science Research Network 7 March 2014.*
http://papers.ssrn.com/abstract=2405430
2014
Cognitive Linguistics: Cognition, Language, Gesture eJournal 7 March 2014.*
http://www.ssrn.com/link/Cognitive-Linguistics.html
2014
Cognition & the Arts eJournal 7 March 2014.*
http://www.ssrn.com/link/Cognition-Arts.html
2014
Literary Theory & Criticism eJournal 7 March 2014.*
http://www.ssrn.com/link/English-Lit-Theory-Criticism.html
2014
_____. "Modo del relato." Section 2.4. of García Landa, Acción, Relato, Discurso. Preprint at Academia 27 Jan. 2015.*
https://www.academia.edu/10353476/
2015
_____. "Modo del relato." Section 2.4. of García Landa, Acción, Relato, Discurso. Preprint at ResearchGate 27 Jan. 2014.*
DOI: 10.13140/2.1.3647.0089
https://www.researchgate.net/publication/271445248
2015
_____. "Perspectiva." In García Landa, Acción, Relato, Discurso: Estructura de la ficción narrativa. Salamanca: Ediciones Universidad de Salamanca, 1998. 184-210.*
_____. "Perspectiva." In García Landa, Acción, Relato, Discurso: Estructura de la ficción narrativa. Online ed. 2009.
http://www.unizar.es/departamentos/filologia_inglesa/garciala/publicaciones/ard/2.4.Relato.html
2009
_____. "La competencia modal del narrador: Saber." In García Landa, Acción, Relato, Discurso: Estructura de la ficción narrativa. Salamanca: Ediciones Universidad de Salamanca, 1998. 296-98.*
_____. "Leyéndonos la mente: Dos artículos sobre narratología cognitiva." In García Landa, Vanity Fea 3 Oct. 2007. (Alan Palmer, H. Porter Abbott).
2007
_____. "Narrative Perspective and Psychological Realism: On Henry James's Theory of the Novel." In García Landa, Vanity Fea 7 Dec. 2012.*
http://vanityfea.blogspot.com.es/2012/12/narrative-perspective-and-psychological.html
2012
_____. "Focalization." In García Landa, Vanity Fea 24 June 2015.* (From Omnilexica).
http://vanityfea.blogspot.com.es/2015/06/focalization.html
2015
Gebauer, Carolin. Making Time: World Construction in the Present-Tense Novel. (Narratologia, 77). Boston and Berlin: De Gruyter, 2021.* (I. Mapping the Research Field on Present-Tense narration; II. A Narratological Model of Present-Tense Usage in Narrative Fiction; III. Uses and Functions of Present-Tense Narration in Contemporary Narrative Fiction; Authorial narrative, Narration, Chronotope, Tense, Deixis, Narrator, First-person narration, Figural narration, Focalization, Retrospection, Heterodiegetic narration, Narrative dynamics, Omniscience, Comment, Plot, Storyworld, Voice).
https://www.degruyter.com/document/doi/10.1515/9783110708134/html
2022
_____. "12. Narrative of Emancipation: Character-Centered Illusion, Cognitive Dissonance, and Narrative Unreliability in Emma Donoghue's Room (2010)." In Gebauer, Making Time: World Construction in the Present-Tense Novel. Boston and Berlin: De Gruyter, 2021. 257-75.* (Focalization, immersion).
https://doi.org/10.1515/9873110708134-012
2021
Genette, Gérard. Figures III. Paris: Seuil, 1972.
_____. "Discours du récit." In Gérard Genette, Figures III . 71-273.
_____. Narrative Discourse. Trans. Jane E. Lewin. Ithaca: Cornell UP, 1980.
_____. "4. Mood." In Genette, Narrative Discourse. Ithaca (NY): Cornell UP, 1980. 1995. 161-211.*
_____. Nouveau discours du récit. Paris: Seuil, 1983.
_____. Narrative Discourse Revisited. Trans. Jane E. Lewin. Ithaca: Cornell UP, 1988.
Gerrig, Richard. "Perspective as Participation." In New Perspectives on Narrative Perspective. Ed. Willie van Peer and Seymour Chatman. New York: SUNY Press, 2001. 303-23.*
Graesser, A. C., C. Bowers, B. Olde, K. White, and N. K. Person. "Who Knows What? Propagation Knowledge among Agents in a Literary Storyworld." Poetics 26.3 (1999): 143-176.
Graesser, Arthur C., Cheryl Bowers, Ute J. Bayen, and Xiangen Hu. "Who Said What? Who Knows What? Tracking Speakers and Knowledge in Narratives." In New Perspectives on Narrative Perspective. Ed. Willie van Peer and Seymour Chatman. Albany: SUNY Press, 2001. 255-72.*
Grishakova, Marina. The Models of Space, Time and Vision in V. Nabokov's Fiction: Narrative Strategies and Cultural Frames. (Tartu Semiotics Library, 5). Tartu: Tartu UP, 2006.* (James, The Turn of the Screw; Hitchcock, Rear Window).
http://www.kriso.ee/cgi-bin/shop/9949113067.html
Guillén, Claudio. "On the Concept and Metaphor of Perspective." In Guillén, Literature as System. Princeton: Princeton UP, 1971.
Gutiérrez, R. "La focalización: Génesis y desarrollo de un concepto." Semiosis 17 (1986): 113-35.
Hansen, Uffe. "Segmentierung narrativer Texte: zum Problem der Erzählperspektive in der Fiktionsprosa". Text und Kontext 3.2 (1975): 3-48.
Hartner, Marcus. "Constructing Literary Character and Perspective: An Approach from Psychology and Blending Theory." In Blending and the Study of Narrative: Approaches and Applications. Ed. Ralf Schneider and Marcus Hartner. Berlin and Boston: De Gruyter, 2012. 85-120.*
_____. "Multiperspectivity." The Living Handbook of Narratology, University of Hamburg. 15 October 2012. Rev. 22 April 2014.
http://www.lhn.uni-hamburg.de/article/multiperspectivity
2016
Hatcher, Anna. "'Voir' as a Modern Novelistic Device." Philological Quarterly 23 (1944): 354-374.
Herman, David. "Hypothetical Focalization."Narrative 2.3 (1994): 230-253.*
_____. "Perspectives." In Herman, Story Logic: Problems and Possibilities of Narrative. Lincoln and London: U of Nebraska P, 2002. 301-30.*
_____. "Beyond Voice and Vision: Cognitive Grammar and Focalization Theory." In Point of View, Perspective, and Focalization: Modeling Mediation in Narrative. Ed. Peter Hühn, Wolf Schmid and Jörg Schönert. Berlin and New York: Walter de Gruyter, 2009. 119-42.*
Herman, David, et al., eds. "Experiencing-I." In The Routledge Encyclopedia of Narrative Theory. Ed. David Herman, Manfred Jahn and Marie-Laure Ryan. Abingdon and New York: Routledge, 2005. 155.*
Herman, Luc, and Bart Vervaeck. "Focalization between Classical and Postclassical Narratology." In The Dynamics of Narrative Form: Studies in Anglo-American Narratology. ·Ed. John Pier. (Narratologia: Contributions to Narrative Theory / Beiträge zur Erzähltheorie, 4). Berlin and New York: Walter de Gruyter, 2005. 115-38.*
Hernadi, Paul. "Dual Perspective: Free Indirect Discourse and Related Techniques." Comparative Literature 24 (1972): 32-43.
Herman, David, et al., eds. "Figural Narration." In The Routledge Encyclopedia of Narrative Theory. Ed. David Herman, Manfred Jahn and Marie-Laure Ryan. Abingdon and New York: Routledge, 2005. 168.*
Hernáez Lerena, María Jesús. "Short-Storyness and Eyewitnessing." In Short Story Theories: A Twenty-First-Century Perspective. Ed. Viorica Patea. Amsterdam and New York: Rodopi, 2012.
Hertwig, Ralph, Carola Fanselow and Ulrich Hoffrage. "Hindsight Bias: How Knowledge and Heuristics Affect our Reconstruction of the Past." Memory (Special issue on Hindsight Bias, ed. Ulrich Hoffrage and Rüdiger F. Pohl).11.4/5 (2003): 357-77.*
Hill, Leslie. "The Wandering Viewpoint." Oxford Literary Review 4 (1980): 94-101.
Hily-Mane, Geneviève. "Structure et point de vue dans 'The Short Happy Life of Francis Macomber'." In Hily-Mane, Le style de Ernest Hemingway. Paris: PUF, 1983. 247-79.*
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_____. L'œil-caméra: Entre film et roman. 2nd ed. Lyon: Presses Universitaires, 1989.
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_____. "Realism as a Poetics of Observation: The Function of Narrative Perspective in the Classic French Novel: Flaubert—Stendhal—Balzac." In What Is Narratology? Questions and Answers Regarding the Status of a Theory. Ed. Tom Kindt and Hans-Harald Müller. (Narratologia, 1). Berlin and New York: De Gruyter, 2003. 99-135.*
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_____. "6. Aktionsart." In Linhares-Dias, How to Show Things with Words: A Study on Logic, Language and Literature. Berlin/New York: Mouton de Gruyter, 2006. 257-94.* (Aspect, entailment, events, processes).
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_____. Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009, (I. Pour une approche énonciative et pragmatique des points de vue; II. Points de vue, logique de la narration et interprétation).*
_____. Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 2: Dialogisme et Polyphonie dans le récit. Limoges: Lambert-Lucas, 2009,* (I. Points de vue, discours représentés, dialogisme et (pré-)réflexivité; II. Le Narrateur e(s)t ses personnages; III. Effacement énonciatif et argumentation indirecte).
_____. "Introduction générale: Pour une analyse énonciative et interactionnelle des points de vue dans la narration." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009, 11-37.*
_____. "Introduction (I. Pour une approche énonciative et pragmatique des points de vue)." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 41-48.*
_____. "Chapitre 1: La problématique générale du point de vue." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 49-80.*
_____. "Chapitre 2: Points de vue représentés, racontés et assertés. Les effets argumentatifs indirects des modes d'inscription de la subjectivité autour des comptes rendus perceptuels." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 81-116.*
_____. "Chapitre 3: Valeurs énonciative et représentative des 'présentatifs' c'est, il y a, voici/voilà: effet de point de vue et argumentativité indirecte du récit." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 117-50.*
_____. "Chapitre 4. La valeur délibérative des connecteurs et marqueurs temporels mais, cependant, maintenant, alors et et dnas l'embrayage du point de vue." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 151-76.*
_____. "Chapitre 5. Point de vue et ordre des mots: Les effets cognitifs et pragmatiques de l'antéposition ou de la postposition des énoncés à l'imparfait par rapport au passé simple." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 177-94.*
_____. "Introduction (II. Points de vue, logique de la narration et interprétation)." Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 197-204.*
_____. "Chapitre 6: Points de vue et représentations du divin dans I Samuel 17 4-51. Le récit de la parole et de l'agir humain danns le combat de David contre Goliath." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 205-22.*
_____. "Chapitre 10: Points de vue et narration dans 'La mère Sauvage' de Maupassant: regard froid, passions chaudes." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 275-88.*
_____. "Chapitre 12: De l'influence de la fréquence itérative sur l'accroissement de la profondeur de la perspective." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 1: Les points de vue et la logique de la narration. Limoges: Lambert-Lucas, 2009. 305-21.*
_____. "Introduction (I. Points de vue, discours représentés, dialogisme et (pré-)réflexivité)." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 2: Dialogisme et Polyphonie dans le récit. Limoges: Lambert-Lucas, 2009. 345-60.*
_____. "Chapitre 3: Les verbes de perception en contexte d'effacement énonciatif; du point de vue représenté aux discours représentés." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 2: Dialogisme et Polyphonie dans le récit. Limoges: Lambert-Lucas, 2009. 395-424.*
_____. "Chapitre 4: Les formes d'expression de la pré-reflexivité dans le discours indirect libre et dans les points de vue représentés ou embryonnaires." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 2: Dialogisme et Polyphonie dans le récit. Limoges: Lambert-Lucas, 2009. 425-50.*
_____. "Chapitre 5: Les représentations de la parole intérieure. Monologue intérieur, discours direct et indirect libres, point de vue." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 2: Dialogisme et Polyphonie dans le récit. Limoges: Lambert-Lucas, 2009. 451-70.*
_____. "Chapitre 7: Belligérances entre perspectives du narrateur et du personnage: neutralisation ou mise en résonance des points de vue?" In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 2: Dialogisme et Polyphonie dans le récit. Limoges: Lambert-Lucas, 2009. 495-522.*
_____. "Chapitre 12: Évidences perceptuelles et argumentation indirecte." In Rabatel, Homo narrans: Pour une analyse énonciative et interactionnelle du récit. Tome 2: Dialogisme et Polyphonie dans le récit. Limoges: Lambert-Lucas, 2009. 613-32.*
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_____. "1. Introduction: Narrator and Figure." In Schmid, Figurally Colored Narration: Case Studies from English, German, and Russian Literature. Berlin and Boston: de Gruyter, 2022. 1-15.* (Chekhov, "Rothschild's Violin", Torah, Homer).
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_____. "2. Figurally Colored Narration: Terms and Definitions." In Schmid, Figurally Colored Narration: Case Studies from English, German, and Russian Literature. Berlin and Boston: de Gruyter, 2022. 16-41.* (McHale, Cohn, Palmer, Spitzer, Bakhtin, Kenner, Stanzel, Fludernik, Bal)
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