Person and deixis in Heiltsuk pronouns

2019 ◽  
Vol 64 (4) ◽  
pp. 574-591
Author(s):  
Bronwyn M. Bjorkman ◽  
Elizabeth Cowper ◽  
Daniel Currie Hall ◽  
Andrew Peters
Keyword(s):  
Second Person ◽  
Third Person ◽  
Spatial Element

AbstractHarbour (2016) argues for a parsimonious universal set of features for grammatical person distinctions, and suggests (ch. 7) that the same features may also form the basis for systems of deixis. We apply this proposal to an analysis of Heiltsuk, a Wakashan language with a particularly rich set of person-based deictic contrasts (Rath 1981). Heiltsuk demonstratives and third-person pronominal enclitics distinguish proximal-to-speaker, proximal-to-addressee, and distal (in addition to an orthogonal visibility contrast). There are no forms marking proximity to third persons (e.g., ‘near them’) or identifying the location of discourse participants (e.g., ‘you near me’ vs. ‘you over there’), nor does the deictic system make use of the clusivity contrast that appears in the pronoun paradigm (e.g., ‘this near you and me’ vs. ‘this near me and others’). We account for the pattern by implementing Harbour's spatial element χ as a function that yields proximity to its first- or second-person argument.

AN ANALYSIS DEIXIS IN “NOM NOM’S ENTOURAGE” MANUSCRIPT ON WE ARE BARE BEARS MOVIE SEASON

2021 ◽  
Vol 4 (1) ◽  
pp. 80
Author(s):  
Arni Rahmah Wasdili ◽  
Iman Santoso
Keyword(s):  
Qualitative Method ◽  
Second Person ◽  
Social Differences ◽  
The Social ◽  
Third Person ◽  
Social Deixis ◽  
Descriptive Qualitative

The tittle of this research is An AnalysisDeixis in “Nom nom’s Entourage” Manuscript on We are Bare BearsMovie Seaso. Deixis is one of branch from pragmatics that shown relation between language and context in that language it self. The aim from this research is to know and identify the type of deixis in Nom nom’s Entourage movie season. That have some steps to collecting the data firs is watching the We Are Bare Bears movie season with Nom nom’s Entourage title. Second is reading the script of that movie. Third, selecting and collect the data. Fourth is classifying the type of deixis and the last is produce the conclution. This research using descriptive qualitative method to analyze the data. The result from this research is that have five type of deixis there are person deixis, time deixis, place deixis, social deixis and discourse deixis. Person deixis divided to three part there are firs person as speaker, second person as hearer and third person as other, with 195 word in that movie. Time deixis shows a certain period of time, consist of 10 word in that movie. Place deixis describe the location in a conversation, consist of  26 word in that movie. Social deixis is show how the social differences when talking with other, consist of 18 word in that movie. Discourse deixis is show deitic expressions which point to prior succeeding parts of the discourse with 4 word in that movie. Keywords:  Pragmatics, Deixis, Movie

scholarly journals AN ANALYSIS OF DEIXIS USING “BEAUTY AND THE BEAST” MOVIE SCRIPT

2018 ◽  
Vol 1 (4) ◽  
pp. 413
Author(s):  
Elisa Fadlilah ◽  
Rika Septyani
Keyword(s):  
Qualitative Research ◽  
First Person ◽  
Second Person ◽  
Beauty And The Beast ◽  
Third Person ◽  
Movie Script ◽  
Descriptive Qualitative

This study deals with the English deixis. The objectives of this study are to analyze type of deixis and to find out the frequency of each deixis in the movie entitled Beauty and The Beast. This study was conducted by using descriptive qualitative research. The source of data was taken from the movie script of Beauty and The Beast. Documentary technique is used in collecting data. The findings showed that there are three types of deixis found in the Beauty and The Beast movie script and there are nine frequencies of deixis, namely person deixis in greater occurrences than another. Type of person deixis is used 128 times or (84,21%), which consists of first person used 53 times or (34,86 %), second person used 52 times or (34,21 %), and third person used 23 times or (15,13 %). The next, spatial (place) deixis is used 12 times or (7,89 %) and the last, temporal (time) deixis is used 12 times or (7,89 %) which consists of present used 5 times or (3,28 %), past used 5 times or (3,28 %), future used 2 times or (1,31 %). The least frequently used by the Beast in Beauty and the Beast Speech film`s dialogue was first person deixis used 53 times or (34,86 %). Keywords:  Pragmatic, Movie,  Deixis

AN ANALYSIS OF DEIXIS EXISTED ON ARTICLES AT JAKARTA POST

2020 ◽  
Vol 8 (2) ◽  
pp. 146-169
Author(s):  
Maria Ramasari
Keyword(s):  
Qualitative Research ◽  
Text Analysis ◽  
Research Method ◽  
Contextual Information ◽  
Second Person ◽  
Information Research ◽  
Third Person ◽  
Participant Role ◽  
The Moment

The use of deixis on every language has different forms including English because of the various different context, such as grammatical rules and also background of culture or custom in society. This research is conducted to identify and analyze the forms of Deixis existed on Articles at Jakarta Post as contextual information. Research method of analyzing data used was descriptive qualitative research. Human instrument and text analysis are used as instruments of collecting data. Based on the data analyzed, it was found that pronoun of person deixis was most frequently used (existed) as second person deixis, third person deixis, possessive personal plural person deixis, and reflective personal person deixis that was used as reference to participant role of a referent for describing the speaker, the addressee and referent which are neither speaker nor addressee in written forms. In addition, the deixis with focus on time was also existed on Jakarta Post’s articles as the moment of utterance which is the coding time (the time of utterance conveyed by informants) and receiving time (the time of recovery of information by the hearer who got the information). The deixis of place that was existed on articles of Jakarta Post, was deictic reference to describe the current locations of informants indicated.

Introduction to the Special Issue on First-Person Methods in HCI

2021 ◽  
Vol 28 (6) ◽  
pp. 1-12
Author(s):  
Audrey Desjardins ◽  
Oscar Tomico ◽  
Andrés Lucero ◽  
Marta E. Cecchinato ◽  
Carman Neustaedter
Keyword(s):  
Human Computer Interaction ◽  
First Person ◽  
Special Issue ◽  
Second Person ◽  
Third Person ◽  
The Difference ◽  
Future Work ◽  
Computer Interaction

In this introduction to the special issue on First-Person Methods in (Human-Computer Interaction) HCI, we present a brief overview of first-person methods, their origin, and their use in Human-Computer Interaction. We also detail the difference between first-person methods, second-person, and third-person methods, as a way to guide the reader when engaging the special issue articles. We articulate our motivation for putting together this special issue: we wanted a collection of works that would allow HCI researchers to develop further, define, and outline practices, techniques and implications of first-person methods. We trace links between the articles in this special issue and conclude with questions and directions for future work in this methodological space: working with boundaries, risk, and accountability.

The nominal system

2019 ◽  
pp. 58-101
Author(s):  
D. Gary Miller
Keyword(s):  
Negative Polarity ◽  
Second Person ◽  
Nominal System ◽  
The Third ◽  
Case System ◽  
System P ◽  
Local Case ◽  
Third Person ◽  
Syntactic Status ◽  
The Third Person

Nouns are inflected for gender (masculine, feminine, neuter), number (singular and plural), and case: nominative, accusative, genitive, dative. Except in -u- stems, the vocative has the form of the accusative and/or is syncretized with the nominative. Demonstratives and pronominals have a residual instrumental, e.g. þe (by this), and ablative, e.g. jáinþro (from there). Adjectives are similarly inflected but also have strong and weak forms. Comparatives and nonpast participles are weak. The precise syntactic status of D-words (demonstratives, determiners, and articles) is impossible to test. Personal pronouns of the first and second person are inflected for singular, plural, and dual, and have no gender distinction. The third person pronoun has all three genders but only singular and plural number. Interrogative and indefinite pronouns are morphologically identical. Gothic has a rich negative polarity system. Numerals are partly inflected and partly indeclinable. Deictic adverbs belong to an old local case system.

Rhetorical Questions in Oratio Obliqua

1952 ◽  
Vol 21 (61) ◽  
pp. 37-42 ◽  
Author(s):  
E. C. Woodcock
Keyword(s):  
Human Mind ◽  
Latin Literature ◽  
Objective Data ◽  
Second Person ◽  
Third Person ◽  
Rhetorical Questions

The following is the rule about rhetorical questions in O.O. which is given in most authoritative grammars:Questions in the indicative in O.R., if they are part of a continuous report of a speech, are put in the infinitive, if they are of the first or third person; in the subjunctive, if they are of the second person, i.e. cur fngio? becomes cur se fugere? cur fugis? becomes cur Me fugeret? and cur fugit? becomes cur ilium fugere?But this rule is based merely on statistics. It is useful as a rough ruleof-thumb for Latin composition, but as a guide to the interpretation of Latin literature it is worse than useless, because it not only leaves an untidy litter of exceptions to puzzle the learner in many passages of Caesar and Livy, but, like so many grammar-book rules, it obscures the fact that syntactical constructions as well as words and inflexions come into use only as channels for the expression of particular notions in the human mind. The interaction upon one another of habitual methods of expression does cause exceptions to any rule that can be drawn up, and consequently the best accounts, such as are given by Kuhner-Stegmann (ii, pp. 537 ff.) and Riemann, Syntaxe latine (pp. 446–8), are too complicated to be of much use to a schoolboy. Nevertheless, an author's choice of construction is normally determined by the notion which he wishes to express, and it is of the utmost importance that a student should be made to understand that linguistic phenomena are the audible or visible results of a people's effort to think and to express living ideas, and not merely a collection of objective data which can be reduced only to statistical rules.

scholarly journals Referential hierarchies: A new look at some historical and typological patterns

Linguistics ◽  
2016 ◽  
Vol 54 (3) ◽  
Author(s):  
Spike Gildea ◽  
Fernando Zúñiga
Keyword(s):  
First Person ◽  
Historical Sources ◽  
Second Person ◽  
Case Marking ◽  
Asymmetrical Pattern ◽  
Third Person ◽  
Grammatical Change ◽  
Formal Properties ◽  
Constituent Ordering ◽  
Person Marking

AbstractThis paper proposes a diachronic typology for the various patterns that have been referred to as Hierarchical Alignment or Inverse Alignment. Previous typological studies have tried to explain such patterns as grammatical reflections of a universal Referential Hierarchy, in which first person outranks second person outranks third person and humans outrank other animates outrank inanimates. However, our study shows that most of the formal properties of hierarchy-sensitive constructions are essentially predictable from their historical sources. We have identified three sources for hierarchical person marking, three for direction marking, two for obviative case marking, and one for hierarchical constituent ordering. These sources suggest that there is more than one explanation for hierarchical alignment: one is consistent with Givón’s claim that hierarchical patterns are a grammaticalization of generic topicality; another is consistent with DeLancey’s claim that hierarchies reflect the deictic distinction between present (1/2) and distant (3) participants; another is simply a new manifestation of a common asymmetrical pattern, the use of zero marking for third persons. More importantly, the evolution of hierarchical grammatical patterns does not reflect a consistent universal ranking of participants – at least in those cases where we can see (or infer) historical stages in the evolution of these properties, different historical stages appear to reflect different hierarchical rankings of participants, especially first and second person. This leads us to conclude that the diversity of hierarchical patterns is an artifact of grammatical change, and that in general, the presence of hierarchical patterns in synchronic grammars is not somehow conditioned by some more general universal hierarchy.

Hera in Sappho, fr. 17 L-P, V—and Aeneid I?

Mnemosyne ◽  
2004 ◽  
Vol 57 (4) ◽  
pp. 387-406 ◽  
Author(s):  
Joel Lidov
Keyword(s):  
Second Person ◽  
The Third ◽  
Third Person ◽  
Third Line ◽  
Suggested Reading

AbstractIn current commentaries and translations, the first stanza of Sappho fr. 17 is read as a prayer for Hera's presence. This understanding was created by modifying Wilamowitz's interpretation of the fragment as a dream narrative, but it depends on an improbable use of the opening word πλασιον involves an awkward third-person periphrasis for the second-person appeal, and creates insoluble difficulties of supplementation and usage in the third line. It is more fruitful to read the stanza as a deprecation of the god's anger, as in fr. 1.1-4; a suggested reading of χαλεπην ϑυελλαν (cf.Il. 21.335) gives αραταν a meaning within its normal, somewhat pejorative connotation, and allows a more plausible reconstruction of the end of line 3; attributing the source of the Atridae's distress to Hera is consistent with a number of indications of a narrative pattern in which Hera sends disruptive storms.

The Northumbrian Old English glosses

2019 ◽  
Vol 72 (2) ◽  
pp. 119-133
Author(s):  
Elly van Gelderen
Keyword(s):  
Old English ◽  
Null Subjects ◽  
Second Person ◽  
Verbal Inflection ◽  
Linguistic Differences ◽  
English Grammar ◽  
Overt Pronouns ◽  
Early Use ◽  
Third Person

Abstract The articles in this volume contribute to our understanding of Northumbrian Old English of the 10th century, of the nature of external influence, and of the authorship of the glosses. This introduction provides a background to these three areas. Most of the introduction and contributions examine the Lindisfarne Glosses with some discussion of the Rushworth and Durham Glosses. Section 2 shows that the Lindisfarne glossator often adds a (first and second person) pronoun where the Latin has none but allows third person null subjects. Therefore, although the Latin original has obvious influence, Old English grammar comes through. Section 3 reviews the loss of third person -th verbal inflection in favor of -s, especially in Matthew. This reduction may be relevant to the role of external (Scandinavian and British Celtic) influence and is also interesting when the language of the Lindisfarne and Durham Glosses is compared. In Section 4, the use of overt pronouns, relatives, and demonstratives shows an early use of th-pronouns, casting doubt on a Norse origin of they. Section 5 looks at negation mainly from a northern versus southern perspective and Section 6 sums up. Section 7 previews the other contributions and their major themes, namely possible external (Latin, Norse, or British Celtic) influence, the linguistic differences among glossators, the spacing of ‘prefixes’ as evidence for grammaticalization, and the role of doublets.

Embodying “you”: Levinas and a question of the second person

2005 ◽  
Vol 34 (2) ◽  
Author(s):  
Carrol Clarkson
Keyword(s):  
Literary Text ◽  
The Other ◽  
Second Person ◽  
Dynamic Potential ◽  
Third Person

AbstractIn this paper I examine the effects of considering Levinas’s philosophy of the relation to the Other as a relation to a second person “you,” rather than to a third person “he.” To think of the Other as “you” sheds further light on the ethical encounter that Levinas terms the “Saying:” it provokes us to think of the event of reading a literary text as an event of the Saying. In the dynamic potential of the literary text to instantiate an “I” and a “you” (which is to say, an addresser and an addressee) each time it is read, and in ways that cannot be exhaustively predicted or epistemologically saturated in advance, the artwork effects an open yet responsive encounter with the Other.

Sign in / Sign up

Export Citation Format

Share Document