scholarly journals How to Testify to the Emergence of an Idea in Conversation: Methodological Avenues for Exploring Children’s Interviews

2020 ◽  
pp. 1-18
Author(s):  
Christine Sorsana
Keyword(s):  
Cognitive Development ◽  
Social Interactions ◽  
Point Of View ◽  
First Person ◽  
New Thinking ◽  
Third Person ◽  
New Ideas ◽  
The Impact

In line with socioconstructivist works analysing the impact of social interactions on cognitive development, the present study discusses how to capture, describe, and analyse the emergent co-production of new ideas or creative cognitive solutions. After introducing the methodologies that are currently used in this field, we recall the relevance of pragmatic analyses of conversations. We then identify several possible methodologies for probing and finely analysing the emergence of children’s new thinking, by cross-referencing third-person (i.e., from the researcher’s point of view) and first-person (i.e., from the children’s point of view, following an explicitation interview) analyses.

scholarly journals The impact of video game character viewpoints and task on perceptions of cognitive and similarity identification

2020 ◽  
Vol 14 (4) ◽  
Author(s):  
Vincent J. Cicchirillo
Keyword(s):  
Experimental Design ◽  
Current Literature ◽  
Video Game ◽  
Point Of View ◽  
First Person ◽  
Theoretical Understanding ◽  
Task Motivation ◽  
Third Person ◽  
The Impact ◽  
And Task

The following study examines the effect of character viewpoints in a video game and task (motivation) on outcomes associated with identification and enjoyment. The study employs a 2 (first-person viewpoint vs. third-person viewpoint) × 2 (task vs. no task) experimental design to test potential theoretical impacts of identification. Specifically, this study looked at how first-person and third-person viewpoints impact identification (cognitive vs. similarity) and enjoyment after playing a video game. The results showed that third-person perspectives through manipulated gaming objectives (task) positively impacted identification. Furthermore, task was associated with higher game play enjoyment. This study adds to the current literature by comparing different type’s identification (cognitive vs. similarity) and how these concepts are impacted by point-of-view and motivation. Thus, extending our theoretical understanding of identification.

scholarly journals Social Skills Amongst MMORPG-Gamers: Empirical Study

2018 ◽  
Vol 50 ◽  
pp. 01008 ◽  
Author(s):  
Olga Sergeyeva ◽  
Anna Tsareva ◽  
Nadezhda Zinoveva ◽  
Olga Kononova
Keyword(s):  
Computer Games ◽  
Interpersonal Relations ◽  
Real Life ◽  
Point Of View ◽  
Ordinary People ◽  
Social Culture ◽  
The Real ◽  
New Ideas ◽  
The Impact ◽  
Social Interaction Skills

The research paper addresses the issue of the impact of MMORPGs on social culture and communication skills of individuals. The mainstream discourse about computer games which take individuals away from reality and substitute the real life by the fictional one is complemented by brand new ideas, which affirm that computer games do not substitute but supplement the real life and expand its possibilities. To confirm the presented point of view we use diagnostic questionnaire of interpersonal relations by A.A. Rukavishnikov. This questionnaire is aimed to evaluate typical ways of respondent’s attitude towards other people. At this point we have 43 gamers and 29 non-gamers involved in our research, aged 18 to 57. The comparison of a user and non-user answers gives a bigger view on an overall gaming experience. In the obtained indices we note that there are no fundamental differences between MMORPGs gamers and ordinary people. During research, MMORPGs users have showed many important social interaction skills such as striving to control own actions, collaborate with others, though with a low interest in emotionally charged relationships. Authors discuss the idea about the differences between addiction and fascination among gamers.

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?

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.

scholarly journals The first-person perspective description error in naturalism

2021 ◽  
Vol 37 (3) ◽  
pp. 403-415
Author(s):  
Diana E. Gasparyan ◽  
Keyword(s):  
Point Of View ◽  
First Person ◽  
Person Perspective ◽  
Work Strategies ◽  
The World ◽  
Third Person ◽  
First Person Perspective ◽  
The Difference ◽  
Radical Naturalism ◽  
Third Person Perspective

In this article, it is shown that in some theories defending the non-reductive nature of the firstperson perspective it is possible to find a very inconsistent attitude. Such theories are associated by the author to a so-called moderate naturalism. The article demonstrates the difference between moderate and radical naturalism. Radical naturalism completely abandons the idea of subjectivity as unobservable from a third-person perspective. On the contrary, moderate naturalism defends the irreducibility of subjectivity, but believes subjectivity to be a part of the nature. As a case of moderate naturalism, the article considers the approaches of Lynne Baker and Thomas Metzinger. Exemplifying these approaches to the first-person perspective, it is shown that in the case of certain work strategies focused on the first-person perspective, it is possible that a so-called description error may appear, by which a description error of subjectivity — when it is placed in the world as a part of nature, existing according to its laws — is understood. The logic of this error points to one of Ludwig Wittgenstein’s statements about the incorrect placement of the eye in the perspective of the eye view itself. If the first-person perspective is introduced as a point of view (or a point of observation), then its subsequent shift to the observation result area leads to description error. If there is no observation, as well as no viewpoint, we lose the very idea of first-person perspective and actually take the position of radical naturalism.

scholarly journals A study of dialogic expansion and contraction in spoken discourse using corpus and experimental techniques

Corpora ◽  
2016 ◽  
Vol 11 (2) ◽  
pp. 191-225 ◽  
Author(s):  
Nele Põldvere ◽  
Matteo Fuoli ◽  
Carita Paradis
Keyword(s):  
Contextual Factors ◽  
Experimental Methods ◽  
Appraisal Theory ◽  
First Person ◽  
British English ◽  
Spoken Discourse ◽  
New Ideas ◽  
The Impact ◽  
Dialogic Space

This study examines the dialogic functions of expansion and contraction of first-person epistemic and evidential Complement-Taking Predicate (CTP) constructions, such as I think complement, I suppose complement and I know complement, in spoken discourse. It combines corpus and experimental methods (i) to investigate whether CTP constructions are used to open up the dialogic space for new ideas or counterarguments, or to fend off alternative views, and (ii) to identify what contextual factors play a role in determining the dialogic force of the constructions. First, an exploratory analysis of CTP constructions in the London–Lund Corpus (LLC) of spoken British English is carried out with the aim to identify important contextual factors and generate hypotheses about their dialogic effects. Then, a laboratory experiment is conducted to test the impact of the three most prominent factors for speakers' interpretations of utterances containing CTPs. The results indicate that CTP constructions do not only serve to expand the dialogic context in which they occur, but also to restrict alternative views. Interlocutor status, the co-occurrence of other stance markers and prosodic marking of first-person CTP are shown to have a significant effect on the dialogic function of the expressions. These findings call into question some claims in appraisal theory about the role of CTP constructions in discourse, and highlight the need for a flexible approach to the analysis of these poly-functional stance expressions.

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.

Phenomenon of the narrative from a limited third person in fiction

2021 ◽  
pp. 136-145
Author(s):  
I. V. Ushchapovska ◽  
Ye. V. Nehaienko
Keyword(s):  
Twentieth Century ◽  
Distinctive Feature ◽  
English Literature ◽  
Point Of View ◽  
First Person ◽  
Inner Experiences ◽  
Outer World ◽  
Third Person ◽  
Points Of View

During the last centuries, modern English literature’s methodology developed many techniques. Due to the work of numerous translators, we can evaluate the effectiveness of this toolkit. However, despite the prevalence and availability of research materials, some aspects remain unexplored. There is a completely underestimated branch, which is narratology. Despite several similar features, studies prove that narrators can be different. The main characteristic to distinguish them is the point of view. It is worth noting that every narrative contains a combination of three points of view: narrator’s, character’s, and author’s. Considering the role of the parameter in fiction, it possible to compare it with the conductor because it determines the rules according to which the work will be organized. The purpose of the proposed research is to consider the phenomenon of narrative from a limited third person in English literature, in particular, to analyze the sources of its origin, a description of its characteristics, delineation of conceptual boundaries, and the analysis of its application. A narrative from a third person is recognizable in the text. Its distinctive feature is represented with third-person pronouns. An advantage of this point of view is the ability to give more information to the reader about the outer world. It lies far beyond the perspective of the first person. In the twentieth century, the narrative from a limited third person gained popularity. Its application implies that the narrator tells the story from the perspective of one character, unlike a narrative from an omniscient third person. This approach causes the effect of closeness, while not limited to the inner experiences

The Disobedient Subject

2010 ◽  
Vol 4 (3) ◽  
pp. 259-301
Author(s):  
Victor E. Marsh
Keyword(s):  
Point Of View ◽  
First Person ◽  
Gay Liberation ◽  
Spiritual Autobiography ◽  
Autobiographical Writing ◽  
Religious Teaching ◽  
The Subject ◽  
Christopher Isherwood ◽  
A Site ◽  
The Impact

In conservative religious discourse, “homosexuality” is configured as mutually incompatible with a sincere engagement in religious belief and praxis, and the subject positionings common within the gay liberation project have tended to reinforce the opposition. Here I suggest how some marginalized subjectivities have liberated themselves from the toxic representations of hostile discourses by exploring new possibilities for being and becoming that are distinctly different from those provided by dominant, heteronormative models of identity, especially those held in place by conventional religious teaching. From recent literary theory I adopt the notion of self as a constructed narrative, and examine the extent to which the emerging genre of “queer spiritual autobiography” (Stewart 2002), in particular, contributes to a reverse discourse, becoming a site for contestation and resistance. First-person testimony in the form of memoir and autobiographical writing takes up the project of renarrativizing the self and disrupting authorized versions of male identity, spirituality and sexuality. I illustrate this through the work of the British expatriate writer Christopher Isherwood, a seminal proponent of the genre, to delineate how the positioning of self is renegotiated in queer spiritual autobiography. I draw attention to the integrative potential that Isherwood found in particular teachings and practices of Advaita Vedanta, in which he was trained by his spiritual teacher, that are often misunderstood in Isherwood scholarship. The impact of Vedanta on Isherwood’s textual personae, his experiments with first-person point of view, his interrogation of the problematics of writing religion, and a sustained engagement with a religious inquiry and praxis not predicated on a repudiation of his sexuality, all contribute to make him a writer of exemplary interest today.

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