Narrative to character
Because a narrative is a representation, (emphasis on re) character originates in a factual reality (reality in an actual causality moreso) moreso than virtual sense. Characters and 'character', in reality, as well as, universal phenomena of characterization in fiction literature as a second sense or (re) of a literary reality, narrative (it's representation)
Involves the allowance of this realistic quality of literary characterization and in the characterization process action is one result. Action: relies on thought and character. Action as a result relies on reaction as a reactive end, yet action as a reaction is not the whole process and characterization its features interchangeable and ever-changing methods are pretty to an example in critical theory involving the term accent and its connection to narrative and characterization. The interchangeable and changeable form that characters characterized can involve many processes with the idea of the term accent. Actant as the theoretical structure of an action (isotope structure) and in its features mix with a character's potentials these change abilities thus further a stable narratives allegorical, metaphorical, literal tensions magnified solely due to the ever-changing types of characters involved in the characterization process. This dynamic is the potential of a fluid changeable character process involving characters, characteristics, actants: the so titled of the characters eg. the bad guy or the pious priest or the quintessential negation of the unreliable hero personified by a title.
In any order these of characterization into actin situations structures are the movements, motions, the underlying processes, that allow narrative in these processes to be interpreted even more so lucid, because the changeability in contrast to the stability of a narrative are proven to show again the narratives not so interpretable characteristics though magnified through the tension contrast of stability and changeability.
The priority in human interpretation relies on relating, so obviously narration takes a backseat to character and character types eg introducing of the main characters, plot climax, thematic climax, usually involves change or incident, change within a character, or incident involving change of or reaction of action or impression then more reacting on levels of passivity, assertiveness, lack of action, perception, intention, and action again etc
the main focus of the priority of categorization is change period and for narrative this axiom of life or literature involving literary devices or concepts is simplified literature as priority over reaction of a reader.yet, the universal qualities of themes are precisely connected to what makes literature literature as well. Simply put multi modes of literary mediums can incite emotions and reaches not rested or exclusive of the themes of literature involving people in both a priori results and you inconceivable surprise of storytelling and it's experiential representation. Literariness, whether whole or of the thematic as narrowed deductively are two pieces that if analyzed singularly or holistically both prove that the whole is not solely merely the sum of its parts. This is because of the mystery of creation and creativity of representation of a reality that is more than the sum of its parts and the tradition understands that nothing can ever be completely understood. The human condition and characterization is what unites a narrative and its priorities as representation of the human desire in realism as a genre as form or written thought of memetic diseases in the precise process of creative imagination pretending to key factor the ties literary forms allow give to the priority its readers and are more than not the characters and characterizations in the narrative tradition of representation.
Character to life
Characters or universally complex and simple. In reality though literature involves larger than Life non-actual experiences that become are broadened experience allowing the giving of honesty that unites our deepest concerns and highest attributes. Honesty that stems from a genuine aptitude honesty, usually gives to an author his or her stories qualities whether or not an author has concrete qualifications. Yet the reader can easily pinpoint his or her own priorities bearing in a theme or character or an universal literary priority as well as okay the awareness of the author's knowledge which made not be fully acknowledgment beforehand period depending on the readers awarenesses. But a reader's experience and/or lack of experience, can be interpreted by the reader. Regardless of this a lack of experience can give way to curiosity and a future with this experience as a experience chosen. a relating to an office knowledge can give the reader a critical awareness or reinforcement of the readers experiential support or experienced precursor to the unique qualities of reciprocal advancement in many domains of life. yet how literature like memory creates a reality that is nostalgic and it's reinforcement of itself. Synonymous with mystery. It's simplicity is shown by the universal qualities of the mystery of simplicity of unity and the mystery of the complex explanatory. In reality. In reality, though respectfully, people are simple and situations are complicated with all due respect, to the person of reality, and literary sense, of comedy or tragedy. and for characters action, in a scientific sense, is the connection of the will. The object of desire reflected as either simply put to feel or to do period action involves character and thoughts as tangibles. Get character and thought involves the mystery yet highly subjective and tangible intention, or impression. Incident to form ones small situation it can be quantified to the complexity of a society situation as a holistic experience this can action of an incident as major life-changing phenomena of the complex situational progression which is just as big to a single person as everyday stresses built up after a while. These explored are very ineffable in the relationship of the actual experience yet not the imaginative in a given text. And that this clarity can allow another interpretation should always be understood in terms of the reach of the leisurely art that involves entertainment and educational concern. People have done more than anything or all things ever written about ever about the history of humankind and everyone pretty much knows this. Importantly there is a very good distinction involved in say tragedy and character period in a very realistic sense modernly modern fiction has neglected character in terms of the features that produce the tragic plot climax or just the tragic in general . It's been made possible the tragic due to action and incident the negation of characters privy to the dynamic of the surprise or the senseless suspense of the mysteries outcome of the fictional and sometimes yet overall negation of reality though navigates reality in its easily approachable opaque perimeter and is involved in the tragic tragedy through life and character not negated creating all else. This allows the simplest of Truth to show the generous nobility and integrity of the overarching possibilities that negate tragedy that pervade possibility in every aspect of story worlds or excerpts and literature and the like. Long story short the negation of character in tragedy allows characteristics that gives the person a look at the realistic possibilities all people allow and are concerned themselves with ad infinitum. Because character then involves itself in every other aspect of life outside of tragedy. Character and life are two good things love does have and it's stability, the negation of it character in ragedy is nothing but the characterization and character involved especially in life more so than literature in every other aspect of every other situation in life beyond the tragic. Life is not ever neglected when we can be here with character in all our situations choosingly as well as be here too to and for each other.
Part 1 (The water surface non-react of the ever-present window of beginnings and now, where and when, all else follows)
Night
There was the universe, it's beginnings is one of two or both. Imperfection, or accident-
Night (nature described by humans )
Light
Then, and exclusive form (from our words explaining) light.
Sight
Then, functional became conscious, then (exclusive to us) sight.
Height
Then even now, how high! The lights great heights (nature or human nature)
Bright
And, isn't light so bright, after heights affinity, the sun, bright
Night
Then and again and again the sun is given to the moon's light, dreaming till (light) and dreams end and waking Life begins again becoming true, night
Right
Birthright of all humans the daylight and the night light etc right
Might
Strength and Powers energy, we might get it right, we might........
Part 2
The bear foreground, its intention the suns, sunment paves.....
Realistic or realism? As the painter or painting?
Lexical obsession to the mimesis of symbol our converted digesis: narration, and all its forms and for this, nature, is brought out paintbrush to canvas, by a technician.
Of that mysterious apparatus or tool in reprover origin, creativity. the realism artist first learns; the fundamentals of drawing and from pencil to paintbrush if this art is so lucky, is, only enough to gain resemblance of artistry, only by the second yet most fundamental visibility as Monet puts it, to paraphrase the statement: the beginning painter does not use his imagination, he or she must learn the repetitive process of principles first principal practices that the fundamentals of perspective and the likes to require as prerequisite then gives the allowance way two of the imagination, after hundreds, thousands of repetitions to the way of the singular mimicry of realism and it's all in medium. this is a significance of the artist, of the imagination period his imagination identity according to monet, it's The crucial decide of the freedom to gain mastery a free or practice and awareness of the knowledgeable knowledge of patience and the fruition of momentum of mystery of creation, technician, creativity, imagination, artistry. Furthermore, rested the artist bears his learnings with the brightest areas of his paintings (in realism ) which is to the foreground period when an office paints, it may be easy to easily overlook this solid natural fact period but with proper preparation of study and little effort to the painter sees the for the ground for what it is.the sun directly gives its quiet power over to the ground, without shade (in the morning the shadows are long and narrow, in the midday they are short and darkest, in the evening they fan out toward the night )this brightest of natural is the, in your potential; dirt, or grass, water; anything grounded really, and, you're a capacity for narration becomes as limited as your curiosity and metaphorical potentials as Robert frost, and I worship the ground those walked on. Not really, but Frost did write" two rows of verge in a wood and I, I took the one less traveled by, and that has made all the difference ". The similarities are endless we are all different we are all the same.
Of silence: all knowingness
Subject is to research, as is: origin,
To observation
Observation is to research, as is,
Origin: creation
Creation is to research as is, origin,
To subject
Subject is to, research, as is origin
Origin is to research, as is, origin as
Direction
United States • 40 years old