Character
The definition of character (in fiction)
is pretty much exactly what you would
expect. It refers to any of the literary
beings (humans, animals, robots,
ghosts, etc.) that interact within the
work in question.
But more specifically . . .
Characters are the persons presented in works of narrative or dream
who convey their personal qualities through dialogue and action by
which the reader or audience understands their thoughts, feelings,
intentions and motives.
(As defined by the University of Victoria)
So what is characterization?
Characterization is everything that the writer does (or refuses to do)
to give characters life.
Round Characters vs. Flat
Round Characters are complex
and realistic; they represent a
depth of personality which is
imitative of life.
They frequently possess both
good and bad traits, and they may
react unexpectedly or become
entangled in their own interior
conflicts. These characters have
been fully developed by an author,
physically, mentally, and
emotionally, and are detailed
enough to seem real.
A round character is usually a
main character, and is developed
over the course of the story.
Round Characters vs. Flat
Flat Characters are distinguished by a lack of a realistic personality.
Though the description of a flat character may be detailed and rich in
defining characteristics, it
falls short of the complexity
associated with a round
character.
James Patrick Kelly
describes round and flat
characters in his article
"You and Your Characters"
(Writing Science Fiction &
Fantasy) as "someone who
is characterized by one or
two traits. Flat characters
can be summed up in a
sentence.
Gollum from Lord of the Rings is a character who is absolutely flat in
that his character is determined solely by his obsession with the
recovery of the ring.
Static vs. Dynamic Characterization
Dynamic characters are the ones who change
significantly during the course of the story. Changes
considered to qualify a character as dynamic include;
changes in sight or understanding, changes in
commitment, and changes in values. Changes in
circumstance, even physical circumstance, do not apply
unless they result in some change within the
character's self.
Prime examples of dynamic characters are Walt
Kowaltsky (Clint Eastwood’s character in Gran Tourino),
and the most recent characterizations of Batman.
By definition, the protagonist is nearly always a
dynamic character. In coming-of-age stories in
particular, the protagonist often undergoes dramatic
change, transforming from innocence to experience.
Antagonists can also be dynamic as well, and this is
becoming an increasingly common trait of modern
literature.
Static vs. Dynamic Characterization
Static Characters do not undergo significant change. A static character is a
literary character that remains basically unchanged throughout a work.
Whether round or flat, their personalities
remain essentially stable through
out the course of the story.
This is commonly done with secondary
characters in order to let them serve as
thematic or plot elements. Supporting
characters and major characters other than
the protagonist are generally static, though
exceptions do occur, such as in Anthony
Burgess' A Clockwork Orange, which is
narrated by an exceptionally static antihero,
Alex DeLarge, though this is true only in the American version, since Alex is a
dynamic character in the British version because of the extra chapter that
shows his eventual change.
What is a Character Type?
A ‘character type’ is a flat or static character that has
become common enough for mainstream society to
witness it as a recurring (yet shallow in terms of
characterization), character which appears in a wide
range of works.
Some examples of character types are:
The Vice
The Clown
The Trickster
The Evil Villain
The Mad Scientist
The Damsel in Distress
The Knight in Shining Armour
Why would anyone bother creating
characters that aren’t ‘Round’?
The degree to which characters are
given roundness and individual
complexity depends upon their
function in the plot – some only need
to be seen at a distance, like strangers
or acquaintances, rather than be
known intimately.
Even fully-rounded characters can
often be seen as developments of
types. Heath Ledger’s interpretation
of the Joker, for instance, is a rounded
character who is essentially an
amalgamation of character types.
The Vice (a Type):
http://www.jstor.org/pss/3194566
The Dark Knight’s Joker:
The Vice
The Clown
The Evil Villain
Characterization – More than meets the ‘I’
Just like every other device or term we discuss in
class, the lines between ‘flat’ and ‘round’ characters
can become blurred.
Two methods of characterization often distinguished
are those in which the author shows without
comment a characters' words and actions, implying
rather than describing their traits; or tells the reader
directly about the characters--explicitly, even
intrusively guiding the audience's understanding of
characters through commentary and evaluation.
Modern narrative tends to develop character
indirectly, whereas many nineteenth century
novelists chose to explain their characters directly.
Your Task:
For this task you will be working in a group of four. Your group will choose
and research a character type that you are particularly interested in.
You will find examples of your type in a variety of genres ( literature,
music, movies, television, gaming, comics, anime, graphic novels, etc.)
Each group will be responsible for sharing its findings with the class in a
seminar format. All presentations must use a range of media sources, and
must clearly define what your character type is, and how it has been used
in the arts. Each presentation must be between 10 and 20 minutes, and
must be capable of instructing fellow classmates about the role and
significance of your particular type.
This assignment will be due on Monday, April 27th.
Assignments will be evaluated out of a possible
/100 marks
Seminar Expectations:
Research and Knowledge of Type:
/25 marks
- Group must identify sources used for research
and samples, and must have strong understanding
of historic and modern roles of the type.
Amount and Strength of Samples:
/25 marks
- minimum of five well-defined samples of writing
(or art) which can be deeply analyzed.
Effectiveness of Class Discussion:
/25 marks
- Group must run an efficient and effective class
discussion which involves strong analytical skills
and effective lines of questioning.
Analysis and Strength of Responses: /25 marks
- Group must display strong knowledge of type, its
history, and its implications in literature, and must
clearly display this understanding in response to
questioning.