Seeing first person changes gesture but saying first person does not

Gesture ◽  
2018 ◽  
Vol 17 (1) ◽  
pp. 158-175 ◽  
Author(s):  
Fey Parrill ◽  
Kashmiri Stec
Keyword(s):  
Mental Imagery ◽  
Point Of View ◽  
The Other ◽  
First Person ◽  
Second Person ◽  
Motor Action ◽  
The Third ◽  
Path Component ◽  
Third Person ◽  
The Third Person

Abstract Events with a motor action component (e.g., handling an object) tend to evoke gestures from the point of view of a character (character viewpoint, or CVPT) while events with a path component (moving through space) tend to evoke gestures from the point of view of an observer (observer viewpoint, or OVPT). Events that combine both components (e.g., rowing a boat across a lake) seem to evoke both types of gesture, but it is unclear why narrators use one or the other. We carry out two manipulations to explore whether gestural viewpoint can be manipulated. Participants read a series of stories and retold them in two conditions. In the image condition, story sentences were presented with images from either the actor’s perspective (actor version) or the observer’s perspective (observer version). In the linguistic condition, the same sentences were presented in either the second person (you…) or the third person point of view (h/she…). The second person led participants to use the first person (I) in retelling. Gestures produced during retelling were coded as CVPT or OVPT. Participants produced significantly more CVPT gestures after seeing images from the point of view of an actor, but the linguistic manipulation did not affect viewpoint in gesture. Neither manipulation affected overall gesture rate, or co-occurring speech. We relate these findings to frameworks in which motor action and mental imagery are linked to viewpoint in gesture.

scholarly journals Pensamiento crítico versus razón arrogante

2005 ◽  
pp. 11-27
Author(s):  
Carlos Pereda
Keyword(s):  
Point Of View ◽  
The Other ◽  
First Person ◽  
Critical Thought ◽  
Ethical Implications ◽  
The Third ◽  
Third Person ◽  
Multiple Levels ◽  
The One ◽  
The Third Person

In this article, several levels in which can be proposed/presented the old dilemma of liberty and determinism are discussed and which is the task of critical thought or, particularly, of this critical thought that is philosophy. On the one hand, this dilemma is confronted in its metaphysical side. On the other, its epistemological and ethical implications are considered. Along this multiple levels I particularly consider the crash between the point of view of the first person and the third person.

scholarly journals Caracteres da experiência

Phainomenon ◽  
2001 ◽  
Vol 2 (1) ◽  
pp. 5-36
Author(s):  
Andre Barata
Keyword(s):  
Phenomenal Consciousness ◽  
The Other ◽  
Reference Object ◽  
First Person ◽  
The Third ◽  
Intentional Consciousness ◽  
Third Person ◽  
Points Of View ◽  
Intentional Experience ◽  
The Third Person

Abstract The discrimination between two points of view, or perspectives, in respect to consciousness, one on the first-person other on the third-person, deals with two concepts of consciousness- respectively, phenomenal consciousness and intentional consciousness (sections 1 and 2). I will accept, generally, this idea. However, I will argue that are not two, but three kinds of consciousness and typ of experience, making my point introducing the concept of different characters of experience (section 3). These characters are ‘experience’, ‘signification’ and ‘reference/object’, and when all of them occur I say that we have an intentional experience. If it lacks the last one, we have a meaningful experience, but without reference. Finally, if the only occurrence is ‘experience’, then the type of experience we live is a meaningless or mute experience. This ‘taxonomy’ allows classifying a perceptum as an intentional experience, a quale as a meaningful experience and a sense datum as a mute experience. On the other hand, it represents, as I claim, an approach much more clear, than those usually appears, to the question ‘what qualia really are? ‘ (sections 4 e 5). Moreover: it makes possible talk about objectivity of qualia, an objectivity without object (section 6).

scholarly journals ANALISIS DEIKSIS DALAM BAHASA GORONTALO

2021 ◽  
Vol 22 (1) ◽  
pp. 68-80
Author(s):  
Aryati Hamzah ◽  
William I. S. Mooduto ◽  
Imam Mashudi
Keyword(s):  
First Person ◽  
Second Person ◽  
Person Plural ◽  
The Third ◽  
Third Person ◽  
First Person Plural ◽  
Two Stages ◽  
The Third Person

This research aims to describe the use of deixis in Gorontalo Language. This research was conducted in two stages namely the stage of preparation and implementation of the research. This research was conducted for 1 year. The result of the research showed that the form and meaning of deixis are person deixis, time and place. Persona deixis is divided into several types is deixis of first-person singular (wa’u ‘1sg’, watiya ‘1sg’), deixis of the first person plural (ami ‘1pl.excl’), deixis of the second person singular (yi’o ‘2sg’, tingoli ‘2sg’), deixis of the second person plural (tingoli ‘2pl’, timongoli ‘2pl’), and deixis of the third person singular (tio ‘3sg’) and timongolio ‘3pl’ as a deixis of the third person plural. Whereas, deixis of place are teye, teyamai ‘here’, tetomota ‘there’ this means to show the location of the room and the place of conversation or interlocutor. Deixis time among others yindhie ‘today’, lombu ‘tomorrow’, olango ‘yesterday’, dumodupo ‘morning’, mohulonu ‘afternoon’, hui ‘night’ which have the meaning to show the time when the speech or sentence is being delivered.

scholarly journals BENTUK DAN PENGGUNAAN PRONOMINA PERSONA BAGI MAHASISWA STKIP BANJARMASIN (THE FORM AND USE OF PERSONAL PRONOUNS BY STKIP STUDENT IN BANJARMASIN)

Kadera Bahasa ◽  
2018 ◽  
Vol 8 (2) ◽  
Author(s):  
Eka Suryatin
Keyword(s):  
Short Form ◽  
First Person ◽  
Personal Pronouns ◽  
Second Person ◽  
Person Plural ◽  
The Third ◽  
Full Form ◽  
Third Person ◽  
First Person Plural ◽  
The Third Person

This study discusses the forms and variations in the use of personal pronouns by STKIP students in Banjarmasin. The purpose of this study is to describe the forms and variations in the use personal pronouns by STKIP students in Banjarmasin. This research is a qualitative descriptive study. The data collection is obtained by observation techniques, see, and record. Research data are in the form the speech used by STKIP students in Banjarmasin, Department of PBSID (Local or Indonesian Language and Literature Education). The results show that the using personal pronouns are three forms, namely the first person, second person, and third person. Based on the type of reference personal pronoun used by STKIP students in Banjarmasin are singular and plural pronoun.When it is viewed from the morphological distribution, there are a full form and a short form. The short forms are usually used in proclitic (appears before its host) and also enclitic (appear after its host). Personal pronouns used by the students in their speech are varied. Although they are in Banjar, they do not only use personal pronouns in Banjar language, a part of the students use the first person singular pronoun gue ‘aku’. Personal pronouns in Banjar language used by the STKIP students in Banjarmasin are the first person singular pronoun, ulun, unda, sorang, saurang and aku. First person singular pronoun aku has some variations –ku and ku- that are bound morpheme. First person plural is kami and kita. The second person pronouns are pian, ikam, nyawa, and kamu. Meanwhile, the third person singular pronouns are Inya and Sidin. The third person plural pronoun is bubuhannya. The use of personal pronouns by STKIP students in Banjarmasin are dominantly consist of five speech components only that are based on the situation, the partner, the intent, the content of the message, and how the speaker tells the speech.

scholarly journals Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

Optative forms *

2020 ◽  
pp. 210-214
Author(s):  
Gerjan van Schaaik
Keyword(s):  
Dominant Role ◽  
First Person ◽  
Second Person ◽  
The Third ◽  
Third Person ◽  
The Third Person

The optative (also referred to as subjunctive by some) plays a dominant role in day-to-day conversations and expresses desirability. There are forms for all six grammatical persons. For the first-person singular and plural there are affirmative forms and negative forms, and in combination with the question particle, the sum total is four forms per grammatical person. Typically, such declarative forms are used to state something that is judged as desirable by the speaker, but the questioned forms clearly serve as a proposal with an invitation to comment on it. For the second person (singular and plural) there are only affirmative and negated forms, but question forms are nonexistent. Although there is also an optative suffix for the third-person singular, its usage is limited mainly to adverbial doublets.

scholarly journals ANALYZING THE DEIXIS OF SONG LYRICS IN ADELE ENTITLED ALL I ASK

2021 ◽  
Vol 4 (1) ◽  
pp. 134
Author(s):  
Rian Abdus Salamudin ◽  
Efransyah Efransyah
Keyword(s):  
Qualitative Method ◽  
First Person ◽  
Second Person ◽  
The Third ◽  
Spatial Deixis ◽  
Third Person ◽  
Song Lyric ◽  
Song Lyrics ◽  
The Third Person ◽  
Descriptive Qualitative

The title of this research is analyzing the Deixis of Song Lyrics in Adele entitled “All I Ask”. The researchers used a descriptive qualitative method in this research. This research are aimed to find out the types of deixis (Personal, Spatial, and Temporal) and the most dominant deixis which found in the lyrics of Adele's song. Based on the results and discussion, the researchers concluded that all deixis which proposed by Yule are found in Adele’s song lyrics. Personal deixis is mostly found in 38 occurrences dominate in this song. The words are “I, me, we, our, ours, us, and my” as the first person deixis, “you, and your” as the second person deixis, and “they and it” as the third person deixis. In the second position is spatial deixis, this, and in your eyes which found in 5 occurrences. The third position is temporal deixis, coming next, tomorrow, and last night which found in 3 occurrences. Keywords:  Deixis, Song, Lyric 

Taking the perspective of the narrator

2018 ◽  
Vol 72 (5) ◽  
pp. 1055-1067 ◽  
Author(s):  
Sarah D Creer ◽  
Anne E Cook ◽  
Edward J O’Brien
Keyword(s):  
Point Of View ◽  
First Person ◽  
Strategic Processing ◽  
The Third ◽  
Third Person ◽  
The Third Person ◽  
Do So

Readers do not always adopt the perspective of the protagonist; however, they will under certain conditions. Experiments 1a and 1b showed that readers will take the perspective of the protagonist from the third-person point of view, but only when explicitly instructed to do so. Experiment 2 demonstrated that reading from the first-person point of view is a text-based manipulation that encourages readers to adopt the perspective of the protagonist. The results of Experiments 3a and 3b replicated the findings of Experiments 1a and 2. Experiment 4 established that simply increasing readers’ attention to the text does not lead to adoption of the protagonist’s perspective; moreover, this suggests that when it does occur, protagonist perspective adoption is not the result of increased attention, but strategic processing.

scholarly journals KLITIK –NYA DALAM BAHASA INDONESIA

2012 ◽  
Vol 11 (1) ◽  
pp. 120
Author(s):  
I Wayan Pastika
Keyword(s):  
Point Of View ◽  
Second Person ◽  
The Third ◽  
Person Pronoun ◽  
Third Person ◽  
The Third Person ◽  
Bahasa Indonesia

The –nya clitic is discussable in terms of not only microlinguisctic domains (phonology, morphology and syntax) but also macrolinguistic perspectives like pragmatics and sociolinguistics. In terms of microlinguistics, there are three important findings of the –nya clitic structure : it can appear (a) as a genitive form, (b) as a definite marker, and (c) as a third person pronoun attached to different word categories (verbs, adjectives, and adverbs). Pragmatically speaking, the –nya clitic can distinguish ‘the old information’ from ‘the new one’ overtly and covertly. From the sociolinguistic point of view the –nya clitic is functioned to avoid the use of the second person that directly threatens the interlocutor’s face. The –nya clitic is also used to measure the degree of closeness between the addresser and the addressee (speech participants): the use of -nya indicates closer relationship (as in bukunya mana?), whereas the use of second person forms indicates formality (as in Dimana Buku Anda?). In informal situations, the speaker tends to choose the third person–nya as a marked form instead of the second person forms such as Anda, kamu, Saudara,  Bapak, Ibu, and Dik, which are unmarked. Therefore,  the –nya clitic is grammatically, pragmatically, and sociolinguistically very dynamic in different speech registers.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

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