In "Narrative Discourse: An Essay in Method," Gérard Genette explores the concept of focalization in narrative structure. He distinguishes three types of focalization: nonfocalized, internal, and external. Nonfocalized narrative is characterized by an omniscient narrator, while internal focalization involves the narrator knowing only what a specific character knows, and external focalization involves the narrator knowing less than the character. Genette uses terms like "focalization" to describe the focus of the narrative, which can be internal (the character's perspective) or external (an observer's perspective). Internal focalization includes fixed, variable, and multiple focalizations. Fixed focalization is exemplified by works like "The Ambassadors," where the narrative is centered on a single character. Variable focalization is seen in "Madame Bovary," where the focal character shifts. Multiple focalization is found in epistolary novels, where different characters' perspectives are used to narrate the same event. External focalization is popularized by authors like Dashiell Hammett and Hemingway, where the narrator remains an observer without knowing the character's inner thoughts. Genette notes that focalization is not always consistent throughout a narrative and can vary. He also discusses the distinction between internal and external focalization, noting that external focalization can sometimes be seen as internal focalization through another character's perspective. He emphasizes that internal focalization is not always strictly applied and can be flexible, as seen in Balzac's works. Genette also addresses the concept of "alterations" in focalization, where the narrative temporarily deviates from the usual focalization. These alterations can be either lateral omissions (paralipsis) or additions (paralepsis). Paralipsis involves omitting information that the character knows, while paralepsis involves adding information that the character does not know. He uses examples from Stendhal and Agatha Christie to illustrate these concepts. Finally, Genette discusses the polymodality of narrative, noting that the use of the first person does not necessarily mean the narrative is focalized through the hero. The autobiographical narrator, being one with the hero, is more naturally authorized to speak in the hero's name than a third-person narrator. The impersonal narrative tends toward internal focalization due to its respect for the characters' ignorance.In "Narrative Discourse: An Essay in Method," Gérard Genette explores the concept of focalization in narrative structure. He distinguishes three types of focalization: nonfocalized, internal, and external. Nonfocalized narrative is characterized by an omniscient narrator, while internal focalization involves the narrator knowing only what a specific character knows, and external focalization involves the narrator knowing less than the character. Genette uses terms like "focalization" to describe the focus of the narrative, which can be internal (the character's perspective) or external (an observer's perspective). Internal focalization includes fixed, variable, and multiple focalizations. Fixed focalization is exemplified by works like "The Ambassadors," where the narrative is centered on a single character. Variable focalization is seen in "Madame Bovary," where the focal character shifts. Multiple focalization is found in epistolary novels, where different characters' perspectives are used to narrate the same event. External focalization is popularized by authors like Dashiell Hammett and Hemingway, where the narrator remains an observer without knowing the character's inner thoughts. Genette notes that focalization is not always consistent throughout a narrative and can vary. He also discusses the distinction between internal and external focalization, noting that external focalization can sometimes be seen as internal focalization through another character's perspective. He emphasizes that internal focalization is not always strictly applied and can be flexible, as seen in Balzac's works. Genette also addresses the concept of "alterations" in focalization, where the narrative temporarily deviates from the usual focalization. These alterations can be either lateral omissions (paralipsis) or additions (paralepsis). Paralipsis involves omitting information that the character knows, while paralepsis involves adding information that the character does not know. He uses examples from Stendhal and Agatha Christie to illustrate these concepts. Finally, Genette discusses the polymodality of narrative, noting that the use of the first person does not necessarily mean the narrative is focalized through the hero. The autobiographical narrator, being one with the hero, is more naturally authorized to speak in the hero's name than a third-person narrator. The impersonal narrative tends toward internal focalization due to its respect for the characters' ignorance.