Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.

For 21st century ethicists, one’s character is thought to be a matter of one’s internal dispositions and their external manifestation in action. This assumption, which is universally accepted among contemporary authors, would not have been shared by 18th century writers. Alongside one’s internal dispositions, Butler, Hutcheson, Hume, and their peers also considered one’s social roles to be part of one’s character. This paper outlines the attractions of the earlier conception of character and responds to objections that must be faced by any account that includes social roles among character’s ingredients.

Fiction writing is the result of a language skill that requires creativity of the author. Creativity is a talent that is potentially owned by everyone. Creativity can be identified and nurtured through appropriate learning. Creativity is the result of interaction between the individual and the environment. Someone affect and are affected by the environment in which he was. Fiction writing including one type of creative writing is a kind of writing kreatif. Writing result of the author's imagination by creating a picture in his mind. Creativity is a pattern of thought or ideas that arise spontaneously, imaginative, and characterize the results of artistic. This study uses text as an object of study. These text analysis can be used as a complementary study on the process of writing and needed to build a more integrative theory of writing. Practice writing learning a second language requires support writing theory and the theory of learning to write a second language acquired through the study of the nature of writing and learning to write a second language. Background is the factual elements of narrative fiction. This research was conducted using qualitative research design approach to the socio-psycho-structural. To gain an understanding of the background on the writing aspect of narrative fiction, here presented on the nature of the background, background elements and background functions. Generally, this study aimed to describe the background representation in fiction writing. In particular, this study aims to describe the background of the representation of the place, time setting, social background, and background ambience. Each event must have occurred on a particular place and time, and any place and time must have certain situations and conditions that must be adapted to her character development. A certain place would not have been suitable for a character to another.

The topic of character construction and interpretation in fiction, or fictional characterisation, seems to spill into a multitude of disciplines and be approachable from a multitude of perspectives. This chapter discusses work in the linguistics-related field of stylistics, especially cognitive stylistics and the stylistics of drama, but also draws on narratology and other fields besides. Having outlined some ontological and interpretative fundamentals, it describes how characters are constructed in the interaction between top-down knowledge from the reader/perceiver's head and bottom-up information from the text. Focusing on the latter, it argues that three dimensions are key in characterisation: narratorial control, the presentation of self or other, and the explicitness or implicitness of the textual cue. It elaborates on narratorial filters (point of view, mind style and the presentation of speech and thought), character indexing (through, for example, speech acts) and inter-character dynamics (through, for example, the manipulation of social relations).

Why do we want or need to analyze fictional characters, at all? Why don’t we leave our understanding of characters up to individual intuitions and gut feelings? Or, phrased differently: What are the possible uses of systematical theories, methods, models, and categories for analyzing characters? In my paper, I will propose that there are at least three areas of practice where systematical theories to character analysis are put to different kinds of use: (1) creation, (2) interpretation, and (3) cultural critique of characters. In those contexts, nothing would be more practical than a good theory, like Bela Balazs famously said. However, the criteria for what makes a theory “good” or “useful” also depend on how it is to be used. To illustrate those kinds of questions, I will give a brief overview of my own model for analysing characters and indicate some of its possible uses, drawing primarily on film characters as examples. For instance, theoretically distinguishing between four gen...