Article 2
Narration versus Focalisation
Dealing with the struggles between point of view, presence, knowledgeability and
reliability
Just as the dual title of this chapter suggests there are two issues with regard to the telling, or
narrating, of the story which are going to be examined within this article. On the one hand there is
issue of narration (who is telling the story), on the other hand there is the issue of focalisation,
(whose experiences or whose perspective are we sharing). Often these are grouped together into
one large unit which we refer to as ‘narration’. However, these aspects are vital when attempting to
understand more complex stories in which there are issues regarding the extent to which the
knowledge, which is shared with the reader, is as complete as assumed; as well as issues regarding
to what extent the information, in and of itself, can be trusted by the reader and the effects this
might have.
Narration
The issue of narration deals with the point of view in the most literal sense, how it is written and
who is telling the story. Although there are only three narration point of views (first person, second
person and third person); there are more differences to be taken into consideration. When analysing
literature, the level to which the narrator participates in the story has to be taken into account; we
refer to this as ‘presence’. Furthermore, it can be questioned how much a particular narrator
actually knows, this is the shift between an omnipotent narrator (all-knowing narrator) and a
character whose knowledge only extends as far as his/her own experiences, education and world
view. This brings into question of reliability of the narrator, which ranges from narrators who are
reliable, often either revealing knowledge far beyond their perception and/or limiting themselves to
a strict observer role with no vested interest in a particular reflection of events; to those who are
utterly unreliable, either through vested interest or because of a cultural perception or literary
representation of their character. These types of narrators can occur in all different combinations. It
is therefore vital to note that it does not mean that just because the story is narrated from a third-
person point of view the narrator is always by definition reliable.
The choice for a particular form of narration influences greatly how we relate to the events
and how we judge them. In simple stories we have no reason to doubt the reliability of the
narration, nor the events which occur. After all who can we trust, if not our reliable omnipotent
narrator? In literature, especially after the 1950’s the figure of the unreliable narrator becomes
more and more prominent; even though the story might still be told from a third person point of
view. To what extent can we trust that which happens actually does happen? This is most pressing in
novels such as Disgrace (1999) or Midnight’s Children (1981); which both deal with the aftermath of
a national trauma.
A rough division can be made between these various aspects. Firstly, one can deal with
those elements which are sec. observed by the reader, the point of view and the presence of a
narrator. This is the first (surface) layer of the narration. Secondly, there are those understandings
with regard to the narrator which are actively constructed by the reader; regardless whether or not
they are aware of this fact. We call this the ‘hermeneutic layer’ or deeper layer of the narrative (See
table 1.1)
5
Narration versus Focalisation
Dealing with the struggles between point of view, presence, knowledgeability and
reliability
Just as the dual title of this chapter suggests there are two issues with regard to the telling, or
narrating, of the story which are going to be examined within this article. On the one hand there is
issue of narration (who is telling the story), on the other hand there is the issue of focalisation,
(whose experiences or whose perspective are we sharing). Often these are grouped together into
one large unit which we refer to as ‘narration’. However, these aspects are vital when attempting to
understand more complex stories in which there are issues regarding the extent to which the
knowledge, which is shared with the reader, is as complete as assumed; as well as issues regarding
to what extent the information, in and of itself, can be trusted by the reader and the effects this
might have.
Narration
The issue of narration deals with the point of view in the most literal sense, how it is written and
who is telling the story. Although there are only three narration point of views (first person, second
person and third person); there are more differences to be taken into consideration. When analysing
literature, the level to which the narrator participates in the story has to be taken into account; we
refer to this as ‘presence’. Furthermore, it can be questioned how much a particular narrator
actually knows, this is the shift between an omnipotent narrator (all-knowing narrator) and a
character whose knowledge only extends as far as his/her own experiences, education and world
view. This brings into question of reliability of the narrator, which ranges from narrators who are
reliable, often either revealing knowledge far beyond their perception and/or limiting themselves to
a strict observer role with no vested interest in a particular reflection of events; to those who are
utterly unreliable, either through vested interest or because of a cultural perception or literary
representation of their character. These types of narrators can occur in all different combinations. It
is therefore vital to note that it does not mean that just because the story is narrated from a third-
person point of view the narrator is always by definition reliable.
The choice for a particular form of narration influences greatly how we relate to the events
and how we judge them. In simple stories we have no reason to doubt the reliability of the
narration, nor the events which occur. After all who can we trust, if not our reliable omnipotent
narrator? In literature, especially after the 1950’s the figure of the unreliable narrator becomes
more and more prominent; even though the story might still be told from a third person point of
view. To what extent can we trust that which happens actually does happen? This is most pressing in
novels such as Disgrace (1999) or Midnight’s Children (1981); which both deal with the aftermath of
a national trauma.
A rough division can be made between these various aspects. Firstly, one can deal with
those elements which are sec. observed by the reader, the point of view and the presence of a
narrator. This is the first (surface) layer of the narration. Secondly, there are those understandings
with regard to the narrator which are actively constructed by the reader; regardless whether or not
they are aware of this fact. We call this the ‘hermeneutic layer’ or deeper layer of the narrative (See
table 1.1)
5
