Anaphora in Dravidian

2017 ◽  
Author(s):  
K. A. Jayaseelan
Keyword(s):  
Point Of View ◽  
Long Distance ◽  
European Languages ◽  
Light Verb ◽  
Third Person ◽  
The Subject ◽  
Pronominal System ◽  
Asian Languages ◽  
The Third Person ◽  
Preceding Discourse

The Dravidian languages have a long-distance reflexive anaphor taan. (It is taan in Tamil and Malayalam, taanu in Kannada and tanu in Telugu.) As is the case with other long-distance anaphors, it is subject-oriented; it is also [+human] and third person. Interestingly, it is infelicitous if bound within the minimal clause when it is an argument of the verb. (That is, it seems to obey Principle B of the binding theory.) Although it is subject-oriented in the normal case, it can be bound by a non-subject if the verb is a “psych predicate,” that is, a predicate that denotes a feeling; in this case, it can be bound by the experiencer of the feeling. Again, in a discourse that depicts the thoughts, feelings, or point of view of a protagonist—the so-called “logophoric contexts”—it can be coreferential with the protagonist even if the latter is mentioned only in the preceding discourse (not within the sentence). These latter facts suggest that the anaphor is in fact coindexed with the perspective of the clause (rather than with the subject per se). In cases where this anaphor needs to be coindexed with the minimal subject (to express a meaning like ‘John loves himself’), the Dravidian languages exhibit two strategies to circumvent the Principle B effect. Malayalam adds an emphasis marker tanne to the anaphor; taan tanne can corefer with the minimal subject. This strategy parallels the strategy of European languages and East Asian languages (cf. Scandinavian seg selv). The three other major Dravidian languages—Tamil, Telugu, and Kannada—use a verbal reflexive: they add a light verb koL- (lit. ‘take’) to the verbal complex, which has the effect of reflexivizing the transitive predicate. (It either makes the verb intransitive or gives it a self-benefactive meaning.) The Dravidian languages also have reciprocal and distributive anaphors. These have bipartite structures. An example of a Malayalam reciprocal anaphor is oral … matte aaL (‘one person … other person’). The distributive anaphor in Malayalam has the form awar-awar (‘they-they’); it is a reduplicated pronoun. The reciprocals and distributives are strict anaphors in the sense that they apparently obey Principle A; they must be bound in the domain of the minimal subject. They are not subject-oriented. A noteworthy fact about the pronominal system of Dravidian is that the third person pronouns come in proximal-distal pairs, the proximal pronoun being used to refer to something nearby and the distal pronoun being used elsewhere.

GENRE OF IN MODERN TATAR LITERATURE: FEATURES OF FUNCTIONING (BASED ON THE MATERIAL OF R. GABDULKHAKOVA'S "SMALL" PROSE)

2021 ◽  
pp. 83-90
Author(s):  
В.Р. Аминева
Keyword(s):  
Space Time ◽  
Moral Truth ◽  
First Person ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
Lyrical Subject ◽  
The Individual ◽  
The Relationship ◽  
The Third Person

На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.

Subject-verb agreement in Newfoundland French

1994 ◽  
Vol 6 (3) ◽  
pp. 239-253 ◽  
Author(s):  
Ruth King
Keyword(s):  
Relative Pronoun ◽  
Gender Agreement ◽  
Verb Agreement ◽  
Number Marking ◽  
The Third ◽  
Grammatical Variation ◽  
Third Person ◽  
The Subject ◽  
Plural Subject ◽  
The Third Person

ABSTRACTIn Newfoundland French the verb does not agree in number with a plural subject in one particular construction–subject relative clauses–but rather displays default singular marking. Agreement is made with the subject relative pronoun, which does not have a morphological feature for number associated with it. This absence of a number feature results in a form consistently spelled out as homophonous with the third-person singular. Gender agreement transmitted in subject relatives containing a predicate adjective is evidence that number marking is at issue, not agreement in general. An exception to this pattern is the (variable) marking of plural agreement in the il y en a construction, explained in terms that are independent from the analysis of the default singular. Newfoundland French agreement is then compared with data from other French varieties, and the approach taken in this study is compared with those of other studies of grammatical variation.

Islam and the West

2012 ◽  
Vol 38 (4-5) ◽  
pp. 477-483 ◽  
Author(s):  
Akeel Bilgrami
Keyword(s):  
Point Of View ◽  
Clash Of Civilizations ◽  
The West ◽  
Religious Identities ◽  
The Third ◽  
Third Person ◽  
History Of ◽  
Short Essay ◽  
The Third Person ◽  
Western Media

This short essay analyzes the deception and self-deception in talk of ‘the clash of civilizations’ and proceeds to diagnose what is wrong in the standard understanding of Islam in the Western media today by looking to the abiding history of colonial relations with Islam down to this day and also looking to the relation between ideals of democracy and the formation of religious identities. The essay closes with some remarks about the nature of identity and the importance to one's own agency of the distinction between the first and the third person point of view in Muslim self-understanding.

Blind Men Speaking of Colors: Paul's Recollection and the Self-Image of Early Thirteenth-Century Theologians

2014 ◽  
Vol 107 (4) ◽  
pp. 425-446
Author(s):  
Ayelet Even-Ezra
Keyword(s):  
Thirteenth Century ◽  
The Body ◽  
The Self ◽  
First Person ◽  
Knowledge Of God ◽  
The Third ◽  
Self Image ◽  
Third Person ◽  
The Subject ◽  
The Third Person

In the Second Epistle to the Corinthians, Paul writes: It is doubtless not profitable for me to boast. I will come to visions and revelations of the Lord: I know a man in Christ who fourteen years ago—whether in the body I do not know, or whether out of the body I do not know, God knows—such a one was caught up to the third heaven. And I know such a man—whether in the body or out of the body I do not know, God knows—how he was caught up into Paradise and heard inexpressible words, which it is not lawful for a man to utter. Of such a one I will boast; yet of myself I will not boast, except in my infirmities. (2 Cor 12:1–5 nkiv) This brief and enigmatic account is caught between multiple dialectics of power and infirmity, pride and humility, unveiling and secrecy. At this point in his letter Paul is turning to a new source of power in order to establish his authority against the crowd of boasting false apostles who populate the previous paragraphs. He wishes to divulge his intimate, occult knowledge of God, but at the same time keep his position as antihero that is prevalent throughout the epistle. These dialectics are enhanced by a sophisticated play of first and third person. The third person denotes the subject who experienced rapture fourteen years ago, while the first person denotes the narrator in the present. Only after several verses does the reader realize that these two are in fact the same person. This alienation allows Paul the intricate play of boasting, for “of such a one I will boast, yet of myself I will not boast.”

Why Can I See My Avatar? Embodied Visual Engagement in the Third-Person Video Game

2016 ◽  
Vol 12 (2) ◽  
pp. 179-199 ◽  
Author(s):  
Daniel Black
Keyword(s):  
Video Game ◽  
Point Of View ◽  
First Person ◽  
Separate Entity ◽  
Entertainment Media ◽  
Film And Television ◽  
Representational Space ◽  
Third Person ◽  
The Third Person ◽  
Visual Engagement

This essay seeks to answer two questions raised by the success of video games where the player looks at the character she is playing rather than seeming to inhabit the same coordinates as the character within the game space. First, why is the experience of playing these games not innately inferior to that of playing games with a first-person point of view, given that the sense of being a character sensing and acting inside the game space could be expected to be much stronger when the character’s body seems to be one’s own rather than a separate entity in the game space? And second, if the first-person point of view is so “immersive” and provides such a sense of being “inside” the representational space as is sometimes claimed, why has it never been so prominent in other audiovisual entertainment media such as film and television?

A Special Use of the Third Person Singular Pronoun

1999 ◽  
Vol 28 (1) ◽  
pp. 3-22
Author(s):  
Xu Liejiong
Keyword(s):  
Relative Clause ◽  
The Third ◽  
Third Person ◽  
New Type ◽  
The Subject ◽  
The Third Person

The special use of the 3rd person singular pronoun ta in Chinese distinguishes itself in that (i) its antecedent NP can be [±animate] and (ü) in that the antecedent can be plural as weIl as singular. Syntactically, the antecedent occurs typically as a sentence topic, a subtopic (i.e. topic within VP), as the object of ba, the subject of bei or the head of a relative clause. Semantically, a verb that takes such a pronoun as its object must be a predicate involving the features of disposal, telicity, irrealis and agentivity. This pronoun cannot be identified with any of the pronominal categories known from the literature, but it represents a new type: the D-pronoun.

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 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.

Methodology

2020 ◽  
pp. 23-56
Author(s):  
Zygmunt Frajzyngier ◽  
Marielle Butters
Keyword(s):  
Goal Orientation ◽  
Point Of View ◽  
Functional Domain ◽  
European Languages ◽  
Structural Functions ◽  
The Subject

A prerequisite for the discovery of functions is the determination of formal means of coding within the language. The discovery of functions and motivations for the emergence of functions is based on the claim that each function is a member of some functional domain. A determining characteristic of a function is its contrast with other functions within the domain. The chapter postulates that a distinction should be made between structural functions that allow the listener to identify the types of constituents in the clause and functions encoding meaning. The chapter illustrates the discovery of the functions of the following: the ‘progressive’ and the ‘perfect’ forms in English; ‘reflexives’ in some Indo-European languages; point of view of the subject; and goal orientation in several languages; pronouns in several languages.

Morphosyntactic Transfer from a Spoken Heritage Dialect to the Standard Variety

2020 ◽  
Vol 17 (2) ◽  
pp. 202-233
Author(s):  
Reem Faraj
Keyword(s):  
Heritage Language ◽  
Native Speakers ◽  
Control Groups ◽  
Heritage Speakers ◽  
Standard Arabic ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
The Third Person ◽  
Modern Standard

This study examines cases of morphosyntactic transfer from Syrian Arabic to Modern Standard Arabic (MSA) in the production of heritage speakers who are not only bilingual (L1 Syrian Arabic, L2 English), but also diglossic; Syrian Arabic is their heritage language (HL), and MSA is the form they learned in school. Two control groups, native speakers of Syrian Arabic and learners of MSA, were also included. The proposal presented here is that adolescent heritage speakers of Syrian Arabic have a more developed Syrian Arabic grammar, which results in- transfer to MSA, and that degree and duration of input-output and exposure to both varieties impact the type and number of non-target forms in the production of the studied heritage group. The goal is to find the extent of such transfer, how it is manifested, and whether it is also related to sentence and subject type or other factors. The focus of this study is verbs in SV and VS sentences in MSA, where the subject is a nominal DP and the verb is in the third person. The agreement patterns in VS and SV sentences are asymmetrical in MSA but they are not in Syrian Arabic. The SV order in MSA reflects different agreement patterns with both genders and all three numbers, whereas in Syrian Arabic there is one default non-singular verb form. In this paper I provide a formal account of the differences among the agreement patterns in MSA and Syrian Arabic within the Minimalist framework. Using this approach, a morphosyntactic transfer of agreement features from Syrian Arabic to MSA is argued to be a transfer of T0 features. The results demonstrate that errors in the MSA verb produced by the heritage speakers differ from those of MSA learners and that more than half of the heritage speakers’ errors are compatible with morphosyntactic agreement forms in Syrian Arabic. These findings provide evidence for transfer from Syrian Arabic to MSA. It is possible that when three linguistic systems are competing (L1, L2, and L3) and where L1 is the most dominant, L2 is less developed than L1 but more developed than L3, and L2 and L3 are typologically close, transfer takes place from L2 to L3. More research to address this question is needed. The study contributes to the understanding of agreement in heritage speakers’ production and the phenomenon of transfer in bilingual and diglossic situations.

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