420:, posits that the act of reading is "ultimately an exchange between real human beings entails two intermediate constructs: one in the text, which invents it upon each reading (the implied author), and one outside the text, which construes it upon each reading (the implied reader)". Because the reader cannot engage in dialogue with the implied author to clarify the meaning or emphasis of a text, Chatman says, the concept of the implied author prevents the reader from assuming that the text represents direct access to the real author or the fictional speaker. Chatman also argues for the relevance of the implied author as a concept in film studies, a position that
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persona that the reader assembles from their reading of the narrative. Although the implied author is not the real author of a work, he or she is the author that the real author wants the reader to encounter in the reading of a work. Similarly, the implied reader is not the real reader of a text; he or she is the reader that the implied author imagines when writing a text.
255:, the term refers to the "authorial character" that a reader infers from a text based on the way a literary work is written. In other words, the implied author is a construct, the image of the writer produced by a reader as called forth from the text. The implied author may or may not coincide with the author's expressed intentions or known personality traits.
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The real author and the real reader are flesh and blood parties that are extrinsic and accidental to narratives. The implied author, narrator, narratee, and implied reader are immanent to the text and are constructed from the narrative itself. In this diagram, the implied author is the real author’s
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All aspects of the text can be attributed to the design of the implied author—everything can be read as having meaning—even if the real author was simply "nodding" or a textual element was "unintentional". A story's apparent theme or implications (as evidenced within the text) can be attributed to
318:, also thought that interpretation should be brought out only from the text. They held that readers should not confuse the meaning of the text with the author's intention, pointing out that one can understand the meaning of a text without knowing anything whatsoever about the author.
337:: a composite of the implied authors of all of a given author's works. In 1978, Seymour Chatman proposed the following communication diagram to explain the relationship between real author, implied author, implied reader, and real reader:
370:'Who sees?' (a question of mood) and 'Who speaks?' (a question of voice)", though he suggests "perceives" might be preferable to "sees", given that it is more descriptive. In his 1972 book
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The implied author talks objectively, speaking only of the external behavior of the characters in the story; "vision from without".
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with his impressions; "narrative with point of view, reflector, selective omniscience, restriction of field" or "vision with".
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to distinguish the virtual author of the text from the real author. In addition, he proposed another concept, the
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Follett, Taylor (November 28, 2016). "Fantastic Beasts: Amazing
Writing and Terrible Representation".
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The implied author is omniscient, seeing and knowing all; "vision from behind".
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the implied author even if disavowed by the flesh and blood author (FBA).
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Wahrheit und
Methode. GrundzĂĽge einer philosophischen Hermeneutik
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Interpretation: An Essay in the
Philosophy of Literary Criticism
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Coming to Terms: the rhetoric of narrative in fiction and film
666:(2nd ed.). Chicago: University of Chicago Press. p.
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The implied author is a character in the story, speaking in a
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insist that the correct interpretation of a text reflects the
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Coming to Terms: The
Rhetric of Narrative in Fiction and Film
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it by defining technical terminology, and by adding examples.
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Story and
Discourse: Narrative Structure in Fiction and Film
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of the real author exactly. However, under the influence of
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rather than point of view of a work to distinguish between
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personal reflection, personal essay, or argumentative essay
555:, "De theorie van vertellen en verhalen" (in Dutch) 1980,
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Narratology: introduction to the theory of narrative
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Aesthetics: Problems in the
Philosophy of Criticism
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776:. Ithaca, NY: Cornell University Press. pp.
702:(Ithaca, NY: Cornell University Press, 1978), 151
247:developed in the 20th century. Distinct from the
132:This article may be written in a style that is
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50:Learn how and when to remove these messages
227:Learn how and when to remove this message
209:Learn how and when to remove this message
107:Learn how and when to remove this message
70:This article includes a list of general
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539:Narrative Discourse: An Essay in Method
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559:, translated in English 1985, 1997 (
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76:it lacks sufficient corresponding
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345:Real author → → Real reader
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467:Validity in Interpretation
735:Genette, GĂ©rard (1988).
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658:Booth, Wayne C. (1983).
611:Sumioka, Teruaki Georges
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537:, "Figures III", 1972,
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189:by rewriting it in an
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306:declared "
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