What is the type of novel called that is described from different perspectives?

This paper follows Professor Shen Dan's categorization of narrative perspectives of novels in his book Narratology and Novel Problematics Research.

Professor Shen classifies narrative perspectives into four categories: zero perspective; internal perspective (including three classifications: fixed, transformative and multiple); first-person external perspective (including two perspectives: first-person retrospective and first-person outsider) and third-person external perspective.

I. Zero point of view, that is, the traditional omniscient narration, this kind of novel does not have a fixed focus on the characters, the narrator can be from any angle, any time and space to narrate; the story of the ins and outs of the knowledge, and sometimes will make comments. Typical of this is the first chapter of The Sorcerer's Stone, which not only describes Mr. and Mrs. Dursley in critical terms, but also recounts sights that the main characters do not witness, such as "None of them noticed a tawny owl fluttering its wings as it flew past the window" (p. 2). The advantage of this narrative technique is that it can unfold from the whole picture, introduce the background of the story in a more comprehensive way, and provide information that the characters cannot know, but the disadvantage is that the reader is farther away from the characters, and it is difficult to have ****sing with the characters, and it is basically used in modern literature for long epic sagas such as The Lord of the Rings, or humorous satire such as Hitchhiker's Guide to the Milky Way, and it is already rarely seen. Rowling essentially abandons this perspective from the second chapter onward in favor of a fixed internal perspective.

The second, internal point of view, refers to the point of view of the main characters in the novel, using the eyes of the characters as they are experiencing the events.

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1) First, there is the fixed internal point of view, which means that only one focused character at the center of the story is used for the entire text, and that the development of the story is described from the point of view of one character. Both the first-person empirical point of view and the third-person limited point of view are included. Both perspectives are used very much in homoerotic fiction, with examples of first-person being 00_Ling's Sunshine on the Tip of the Grass, while Manraviel's I Know You Care basically utilizes a third-person fixed internal point of view. Fixed internal point of view directly shows the main character's thoughts and emotions, which not only can delicately portray the character's heart, but also the reader can easily substitute.

The third-person limited point of view is the mainstream point of view in twentieth-century literature, because while ensuring a sense of reality, both the author and the reader can maintain a certain critical distance, and it is not too far away from the characters to lead to the reader's indifference to the fate of the characters.

One of the great advantages of a fixed internal point of view in literature is that it allows for the creation of unreliably focused characters. Rowling's Harry is a prime example of this. In The Sorcerer's Stone, because the reader has been following Harry's perspective through the plot development, it is not until the very end that the culprit turns out to be not Snape, whom Harry has always suspected, but the seemingly cowardly and incompetent Chilo. Not only do unreliable focusing characters help create suspense and surprise endings, but if the focusing character is biased against an important character in the novel, readers tend to sympathize to a greater degree with the misinterpreted character when the truth comes out. In the case of companion novels, the effect of this biased focus can be even more pronounced because many readers already have a favorable opinion of some of the characters before they read them and know more about their backgrounds than the focusing character. Many characters in Harry Potter novels loathe each other, such as Harry and Malfoy, Harry and Snape, Sirius and Snape, etc. If one of these characters is taken from the point of view of one of the characters, deliberately highlighting his/her prejudice against the other character, and implicitly emphasizing the nobility of the character who has been discriminated against, it would produce a very good effect. Unfortunately, however, this form does not appear much in homoerotic novels; one possibility is that homoerotic authors are unwilling to substitute characters they dislike, and another is that this kind of perspective requires a high level of narrative ability, which homoerotic authors are not capable of.

2) Transformative internal point of view means that the author takes the point of view of different characters throughout the novel, but each scene is strictly from the point of view of a single character, which still belongs to internal focus. This technique is very close to the third-person limited point of view, only the focus on the characters constantly changing. Transitional internal point of view is more common in longer novels, a typical example is ROBIN4's "Promise Unbroken", which tells the story of Harry's journey to Hogwarts and his acquaintance with Ron and Hermione, with the point of view constantly switching between the three of them. This writing style ensures that the reader is close to the characters and can easily sympathize and **** with them, but also allows for a comprehensive narrative of plot developments.

3) Multiple internal perspectives are describing the same event from the eyes of several different characters.

1) First-person retrospective perspective, which refers to the first-person protagonist recalling the year's experience after the main plot of the novel has already taken place, and at the same time making some commentarial points. First-person novels often mix first-person experiential perspective and retrospective perspective, such as Fitzgerald's The Great Gatsby. This style of writing allows the protagonist himself, rather than an omniscient narrator, to provide sophisticated critical insights that help the reader understand the keys in the storyline, while highlighting the protagonist's growth process, which is a quite useful technique. However, first-person retrospective perspectives seem to be rare in homage novels; on the one hand, this is because most homage novels are short and do not have room for the protagonist's retrospectives, but on the other hand, it may be due to the limitations of the level of writing as well. Li Shengping's Lonely Heart is a good example. The paragraph "Later, I had thought more than once that if I hadn't landed in this city, hadn't met that witch whose name I couldn't remember, my life probably wouldn't have changed much, but I would never have known its meaning" is a typical retrospective perspective, which highlights the theme of the novel and has a very good effect.

2) The first-person bystander perspective, that is, the first-person narrator is not the main character of the story, in the edge of the story completely from the perspective of the bystander narrative. Lockwood in Wuthering Heights is this kind of first-person narrator who is basically an outsider.

Fourth, third-person outside perspective, and the first-person bystander outside perspective is very close, but with the third person, still with the outsider's point of view at the edge of the story to observe.