Characterization - Revision history

Lquilter: /* Aspects of characterization */ notes

2007-10-03T14:08:01Z

Aspects of characterization: notes

← Older revision		Revision as of 07:08, 3 October 2007
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	==Aspects of characterization==		==Aspects of characterization==
	* Identities: Gender, sex, ethnicity, and sexuality are ''always'' signficant identities for characters, whether they are [[marked]] as such or assumed as "defaults". ~~Numerous~~ other identities may be significant to characters~~, as well,~~ from identities that are significant in real life (age, nationality, social class), to identities that are significant in fictional universes (e.g., sleeps on stomach versus sleeps on back<ref>Example from [[Edward Stein]]'s ''The Mismeasure of Desire: The Science, Theory and Ethics of Sexual Orientation'' (1998).</ref>; to identities that have significance in the fictional universe but are used as metaphors for identity issues in the creator's time and society. For the latter, see, e.g., mutant identity as a signifier for race and ethnicity in [[The X-Men]] comic series, and later as a signifier for gay identity in [[The X-Men]] movies; see numerous examples on [[Star Trek]]; see [[vampire]]s and [[werewolves]] which are often used as signifiers for various identities.		* Identities: Gender, sex, ethnicity, and sexuality are ''always'' signficant identities for characters, whether they are [[marked]] as such or assumed as "defaults". Their significance is drawn from their significance to the audience in the real world. In creating a fictional world in which one or more of these identities are ''not'' significant to the members of the fictional world, the writer must find some way of translating: making it clear to actual readers that the fictional identities are not significant to those characters, but recognizing that in the absence of a marker, the reader will make certain default assumptions about those characters' identities.

			In addition to gender, sex, ethnicity, and sexuality, numerous other identities may be significant to characters — from identities that are significant in real life (age, nationality, social class), to identities that are significant in fictional universes (e.g., sleeps on stomach versus sleeps on back<ref>Example from [[Edward Stein]]'s ''The Mismeasure of Desire: The Science, Theory and Ethics of Sexual Orientation'' (1998).</ref>; to identities that have significance in the fictional universe but are used as metaphors for identity issues in the creator's time and society. For the latter, see, e.g., mutant identity as a signifier for race and ethnicity in [[The X-Men]] comic series, and later as a signifier for gay identity in [[The X-Men]] movies; see numerous examples on [[Star Trek]]; see [[vampire]]s and [[werewolves]] which are often used as signifiers for various identities.

	: The interplay of a given characterization with the various stereotypes -- oftentimes conflicting stereotypes -- assigned to a particular identity category are inescapable for a creator, who must balance creating an authentic real character, with the creator's knowledge of how the [[audience]] will receive particular characterization choices.		: The interplay of a given characterization with the various stereotypes -- oftentimes conflicting stereotypes -- assigned to a particular identity category are inescapable for a creator, who must balance creating an authentic real character, with the creator's knowledge of how the [[audience]] will receive particular characterization choices.
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	* Society and fictional universe: The society into which a character is placed shapes the character, both within the fictional universe, and as an authorial decision. An author may choose to create a patriarchal society in order to ''critique'' patriarchy; in order to ''explore'' how people live in patriarchy; in order to ''support'' patriarchy; without thought for its political implications but because it seems "exotic" or fraught with dramatic tension; or unquestioningly as a default. Similarly, a fictional universe in which deities are real, or prophecies come true, affects the character.		* Society and fictional universe: The society into which a character is placed shapes the character, both within the fictional universe, and as an authorial decision. An author may choose to create a patriarchal society in order to ''critique'' patriarchy; in order to ''explore'' how people live in patriarchy; in order to ''support'' patriarchy; without thought for its political implications but because it seems "exotic" or fraught with dramatic tension; or unquestioningly as a default. Similarly, a fictional universe in which deities are real, or prophecies come true, affects the character.

			* Psychosocial realism: If one goal of the writing is to create believable, identifiable characters, then psychosocial realism is a key to consistent, believable characterization. This requires that the character notice and react to her society in realistic ways. If she has been raised in a sexist society, then she will notice things differently than if she has been raised in a nonsexist society. Some things will be marked when events or settings shift and transition, and other things won't be marked. What is marked for the character may be different from what is marked for the reader, and this requires the writer to translate for the reader.

	* Plot and character arc: The change and evolution of a character during the course of a work, as a result of the actions that changes that happen ''to'' the character or around the character, are a significant shaper of characterization for the audience. See [[character assassination]].		* Plot and character arc: The change and evolution of a character during the course of a work, as a result of the actions that changes that happen ''to'' the character or around the character, are a significant shaper of characterization for the audience. See [[character assassination]].

Lquilter: character

2007-05-06T16:54:32Z

character

← Older revision		Revision as of 09:54, 6 May 2007
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	'''Characterization''' is a central preoccupation of feminist and social criticism of cultural works.		'''Characterization''' is a central preoccupation of feminist and social criticism of cultural works.

	Characterization consists of (a) the initial set of attributes given to the character, including the character's personality, moral character, habits, life history, etc.; and (b) the character's arc, including the events that befall the character, the character's actions, and changes in the character's personality, outlook, etc., over the course of the work.		Characterization consists of (a) the initial set of attributes given to the [[character]], including the character's personality, moral character, habits, life history, etc.; and (b) the character's arc, including the events that befall the character, the character's actions, and changes in the character's personality, outlook, etc., over the course of the work.

	Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work; audiences can also ''feedback'' to the creators, shaping the ''production'' of serial works and sequelae, as well as its reception.)		Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work; audiences can also ''feedback'' to the creators, shaping the ''production'' of serial works and sequelae, as well as its reception.)

Lquilter: link

2007-05-06T16:53:50Z

link

← Older revision		Revision as of 09:53, 6 May 2007
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	Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work; audiences can also ''feedback'' to the creators, shaping the ''production'' of serial works and sequelae, as well as its reception.)		Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work; audiences can also ''feedback'' to the creators, shaping the ''production'' of serial works and sequelae, as well as its reception.)

	To some extent, characterization from the creator's sense can be broken down into (a) what happened to the character ''before'' the work: the initial character, her backstory, personality, identity, etc.; and (b) what happens to the character ''during'' the work: her character arc, relationships developed, identities evolved, etc. A third axis might represent the audience response to the character; this can feed directly into development of the character, and can even affect the character's backstory through [[~~retconning~~]], [[fanfiction]], etc.		To some extent, characterization from the creator's sense can be broken down into (a) what happened to the character ''before'' the work: the initial character, her backstory, personality, identity, etc.; and (b) what happens to the character ''during'' the work: her character arc, relationships developed, identities evolved, etc. A third axis might represent the audience response to the character; this can feed directly into development of the character, and can even affect the character's backstory through [[retcon]]ning, [[fanfiction]], etc.

	==Aspects of characterization==		==Aspects of characterization==

Lquilter: notes

2007-05-06T16:52:04Z

notes

← Older revision		Revision as of 09:52, 6 May 2007
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	Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work; audiences can also ''feedback'' to the creators, shaping the ''production'' of serial works and sequelae, as well as its reception.)		Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work; audiences can also ''feedback'' to the creators, shaping the ''production'' of serial works and sequelae, as well as its reception.)

			To some extent, characterization from the creator's sense can be broken down into (a) what happened to the character ''before'' the work: the initial character, her backstory, personality, identity, etc.; and (b) what happens to the character ''during'' the work: her character arc, relationships developed, identities evolved, etc. A third axis might represent the audience response to the character; this can feed directly into development of the character, and can even affect the character's backstory through [[retconning]], [[fanfiction]], etc.

	==Aspects of characterization==		==Aspects of characterization==

Lquilter: /* Aspects of characterization */

2007-05-01T18:59:44Z

Aspects of characterization

← Older revision		Revision as of 11:59, 1 May 2007
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	: The interplay of a given characterization with the various stereotypes -- oftentimes conflicting stereotypes -- assigned to a particular identity category are inescapable for a creator, who must balance creating an authentic real character, with the creator's knowledge of how the [[audience]] will receive particular characterization choices.		: The interplay of a given characterization with the various stereotypes -- oftentimes conflicting stereotypes -- assigned to a particular identity category are inescapable for a creator, who must balance creating an authentic real character, with the creator's knowledge of how the [[audience]] will receive particular characterization choices.

	: See [[:Category:Works by type of character]]; [[:Category:Gender identity themes]].		: See
			:* [[Encyclopedia of female characters]]
			:* [[Index to female characters by identity]]
			:* [[Index to women of color in SF]] (includes characters and real people)
			:* [[Index to queer women in SF]] (includes characters and real people)
			:* [[:Category:Works by type of character]]
			:* [[:Category:Gender identity themes]].

	* Personal history and life stage: The personal history and life story of a character are a significant aspect of characterization. This includes how long the character has lived, what they have been doing with their life, etc. Consider the narrative differences between children, adolescents, young adults, middle-aged people, and elderly people; their relative levels of knowledge and life experience; their perspectives; how much personal history they have had, and how significant specific parts of that personal history might be.		* Personal history and life stage: The personal history and life story of a character are a significant aspect of characterization. This includes how long the character has lived, what they have been doing with their life, etc. Consider the narrative differences between children, adolescents, young adults, middle-aged people, and elderly people; their relative levels of knowledge and life experience; their perspectives; how much personal history they have had, and how significant specific parts of that personal history might be.

Lquilter: /* Aspects of characterization */ stub

2007-03-21T16:00:13Z

Aspects of characterization: stub

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	* Plot and character arc: The change and evolution of a character during the course of a work, as a result of the actions that changes that happen ''to'' the character or around the character, are a significant shaper of characterization for the audience. See [[character assassination]].		* Plot and character arc: The change and evolution of a character during the course of a work, as a result of the actions that changes that happen ''to'' the character or around the character, are a significant shaper of characterization for the audience. See [[character assassination]].

			* Mode and genre: The mode and genre of a work undeniably lend shape and tone to a characterization. A tragic hero in a [[tragedy]] is going to be somewhat different than a tragic hero in a [[comedy]]; different aspects of the character will be played up or featured; the dialog and so on will be different; the eventual resolution of the character's arc may be predetermined.

	==Notes==		==Notes==

Lquilter: audience studies

2007-03-21T15:57:06Z

audience studies

← Older revision		Revision as of 08:57, 21 March 2007
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	Characterization consists of (a) the initial set of attributes given to the character, including the character's personality, moral character, habits, life history, etc.; and (b) the character's arc, including the events that befall the character, the character's actions, and changes in the character's personality, outlook, etc., over the course of the work.		Characterization consists of (a) the initial set of attributes given to the character, including the character's personality, moral character, habits, life history, etc.; and (b) the character's arc, including the events that befall the character, the character's actions, and changes in the character's personality, outlook, etc., over the course of the work.

	Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work.)		Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between. (See also [[audience theory]] for information about how the ''audience'''s reception of a work can shape the work; audiences can also ''feedback'' to the creators, shaping the ''production'' of serial works and sequelae, as well as its reception.)

	==Aspects of characterization==		==Aspects of characterization==

Lquilter: see also

2007-03-21T15:55:50Z

Lquilter: minor rephrase, plus more

2007-03-21T15:55:05Z

minor rephrase, plus more

← Older revision		Revision as of 08:55, 21 March 2007
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	Characterization consists of (a) the initial set of attributes given to the character, including the character's personality, moral character, habits, life history, etc.; and (b) the character's arc, including the events that befall the character, the character's actions, and changes in the character's personality, outlook, etc., over the course of the work.		Characterization consists of (a) the initial set of attributes given to the character, including the character's personality, moral character, habits, life history, etc.; and (b) the character's arc, including the events that befall the character, the character's actions, and changes in the character's personality, outlook, etc., over the course of the work.

	Because fictional characters are defined and created by people who live in societies built around various forms of oppression, which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies.		Because fictional characters are defined and created by people who live in societies built around various forms of oppression, prejudices, and beliefs about the world, each of which entail their own ideologies, characterization both defines and demonstrates the creators' ability to avoid sexist, racist, and other social prejudices conveyed in those ideologies. In other words, does the creator successfully create ''people'', real, believable people (of whatever species or kind); or does the creator only rely on stereotypes, archetypes, and other characterization shortcuts? Most creators and creations will fall somewhere in between.

	==Aspects of characterization==		==Aspects of characterization==

Lquilter: /* Aspects of characterization */ more

2007-03-21T15:50:49Z

Aspects of characterization: more

← Older revision		Revision as of 08:50, 21 March 2007
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	==Aspects of characterization==		==Aspects of characterization==
	* Identities: Gender, sex, ethnicity, and sexuality are ''always'' signficant identities for characters, whether they are [[marked]] as such or assumed as "defaults". Numerous other identities may be significant to characters, as well, from identities that are significant in real life (age, nationality, social class), to identities that are significant in fictional universes (e.g., sleeps on stomach versus sleeps on back<ref>Example from [[Edward Stein]]'s ''The Mismeasure of Desire: The Science, Theory and Ethics of Sexual Orientation'' (1998).</ref>; to identities that have significance in the fictional universe but are used as metaphors for identity issues in the creator's time and society. For the latter, see, e.g., mutant identity as a signifier for race and ethnicity in [[The X-Men]] comic series, and later as a signifier for gay identity in [[The X-Men]] movies; see numerous examples on [[Star Trek]]; see [[vampire]]s and [[werewolves]] which are often used as signifiers for various identities. See [[:Category:Works by type of character]]; [[:Category:Gender identity themes]].		* Identities: Gender, sex, ethnicity, and sexuality are ''always'' signficant identities for characters, whether they are [[marked]] as such or assumed as "defaults". Numerous other identities may be significant to characters, as well, from identities that are significant in real life (age, nationality, social class), to identities that are significant in fictional universes (e.g., sleeps on stomach versus sleeps on back<ref>Example from [[Edward Stein]]'s ''The Mismeasure of Desire: The Science, Theory and Ethics of Sexual Orientation'' (1998).</ref>; to identities that have significance in the fictional universe but are used as metaphors for identity issues in the creator's time and society. For the latter, see, e.g., mutant identity as a signifier for race and ethnicity in [[The X-Men]] comic series, and later as a signifier for gay identity in [[The X-Men]] movies; see numerous examples on [[Star Trek]]; see [[vampire]]s and [[werewolves]] which are often used as signifiers for various identities.

			: The interplay of a given characterization with the various stereotypes -- oftentimes conflicting stereotypes -- assigned to a particular identity category are inescapable for a creator, who must balance creating an authentic real character, with the creator's knowledge of how the [[audience]] will receive particular characterization choices.

			: See [[:Category:Works by type of character]]; [[:Category:Gender identity themes]].

	* Personal history and life stage: The personal history and life story of a character are a significant aspect of characterization. This includes how long the character has lived, what they have been doing with their life, etc. Consider the narrative differences between children, adolescents, young adults, middle-aged people, and elderly people; their relative levels of knowledge and life experience; their perspectives; how much personal history they have had, and how significant specific parts of that personal history might be.		* Personal history and life stage: The personal history and life story of a character are a significant aspect of characterization. This includes how long the character has lived, what they have been doing with their life, etc. Consider the narrative differences between children, adolescents, young adults, middle-aged people, and elderly people; their relative levels of knowledge and life experience; their perspectives; how much personal history they have had, and how significant specific parts of that personal history might be.
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	* Relationships: A character's relationship with other characters help define the character. A character who is, for instance, the only female in a cast of men may be a [[token]], an "[[exceptional woman]]", male-identified, fighting sexism by entering into a historically (in that fictional world) male-dominated field; etc. See also "[[The Rule]]". See [[:Category:Sexuality themes]]		* Relationships: A character's relationship with other characters help define the character. A character who is, for instance, the only female in a cast of men may be a [[token]], an "[[exceptional woman]]", male-identified, fighting sexism by entering into a historically (in that fictional world) male-dominated field; etc. See also "[[The Rule]]". See [[:Category:Sexuality themes]]

	* Society and fictional universe: The society into which a character is placed shapes the character, both within the fictional universe, and as an authorial decision. An author may choose to create a patriarchal society in order to ''critique'' patriarchy; in order to ''explore'' how people live in patriarchy; in order to ''support'' patriarchy; without thought for its political implications but because it seems "exotic" or fraught with dramatic tension; or unquestioningly as a default. Similarly, a fictional universe in which deities are real, or prophecies come true, affects the character.		* Society and fictional universe: The society into which a character is placed shapes the character, both within the fictional universe, and as an authorial decision. An author may choose to create a patriarchal society in order to ''critique'' patriarchy; in order to ''explore'' how people live in patriarchy; in order to ''support'' patriarchy; without thought for its political implications but because it seems "exotic" or fraught with dramatic tension; or unquestioningly as a default. Similarly, a fictional universe in which deities are real, or prophecies come true, affects the character.

			* Plot and character arc: The change and evolution of a character during the course of a work, as a result of the actions that changes that happen ''to'' the character or around the character, are a significant shaper of characterization for the audience. See [[character assassination]].

	==Notes==		==Notes==