scholarly journals Person deixis and impersonation in Iain Banks’sComplicity

2015 ◽  
Vol 24 (1) ◽  
pp. 40-53 ◽  
Author(s):  
Sandrine Sorlin
Keyword(s):  
Personal Narrative ◽  
Mental Representations ◽  
Stylistic Analysis ◽  
First Person ◽  
Complex Relationship ◽  
The Novel ◽  
Second Person ◽  
Person Pronoun ◽  
Real Self ◽  
Processing Framework

The article focuses on the specific use of the second-person pronoun in Iain Banks’s Complicity and the complex relationship it entertains with its first-person counterpart as the novel alternates between first- and second-person narratives. The personal pronouns construct two completely opposed mindstyles: the highly personal narrative of the first-person protagonist contrasts with the depersonalized style of the ‘you’ protagonist-narrator. Not only is the second-person pronoun a grammatical ‘imposter’ (Collins and Postal, 2012) – it actually hides an ‘I’ – but it is a psychological one as the narrator seems to hide his real self behind a convenient ‘you persona’. In addition, the article brings to light the pragmatic paradox that ‘self-address you’ embodies in the peculiar position it assigns to the readers. If it tends to ‘encroach upon’ their territory, forcing them into complicity, it is also guilty of manipulating their emotions. Lastly, the linguistic and stylistic analysis of Banks’s novel will here be coupled with cognitive and psycholinguistic approaches in order to understand how the reader switches from one ‘frame’ of mind to the other. Particularly helpful is the ‘Rhetorical Processing Framework’ discussed by Sanford and Emmott (2012) in order to grasp how readers construct mental representations to process the writer’s sometimes misleading style.

The use of second person pronouns in a literary work

2014 ◽  
Vol 43 (2) ◽  
Author(s):  
Helen de Hoop ◽  
Lotte Hogeweg
Keyword(s):  
Literary Work ◽  
First Person ◽  
The Novel ◽  
Main Character ◽  
Second Person ◽  
Person Pronoun

AbstractFor this study we investigated all occurrences of Dutch second person pronoun subjects in a literary novel, and determined their interpretation. We found two patterns that can both be argued to be functionally related to the de-velopment of the story. First, we found a decrease in the generic use of second person, a decrease which we believe goes hand in hand with an increased distancing of oneself as a reader from the narrator/main character. Second, we found an increase in the use of the descriptive second person. The increased descriptive use of second person pronouns towards the end of the novel is very useful for the reader, because the information provided by the first person narrator himself becomes less and less reliable. Thus, the reader depends more strongly on information provided by other characters and what these characters tell the narrator about himself.

‘Whatever form you spoke of you were right’: Multivalence and ambiguous address in Cormac McCarthy’s The Road

2011 ◽  
Vol 20 (4) ◽  
pp. 333-346 ◽  
Author(s):  
Anthony Warde
Keyword(s):  
The Novel ◽  
Second Person ◽  
The Road ◽  
Person Pronoun ◽  
Ontological Uncertainty

This article explores the workings of second-person pronoun forms in Cormac McCarthy’s 2006 post-apocalyptic novel The Road. More particularly, the analysis focuses on examples of ‘doubly deictic you’ (Herman, 2002), and demonstrates how the novel exploits the uncertain deictic, referential and address functions of this particular pronoun form to develop what I term a ‘post-apocalyptic poetics’, through which it attempts to explore – and enact – the spatial and temporal dislocations that ensue from the fictional apocalypse. The article also demonstrates how the novel’s indeterminate use of narrative you creates profound hermeneutical (and often ontological) uncertainty for readers, who must often suspend any attempt to fix the positions from and to which the story is addressed. McCarthy’s opaque use of the terms you and your throughout the novel creates profound polyphony and multivalence by preventing readers from clearly distinguishing the discourse and perspectives of protagonists from those of the narration, and by thus impelling readers to develop several interpretations of key passages, all of which must be sustained simultaneously. Finally, the analysis explores how the (potential) apostrophic effects associated with doubly deictic you serve to immerse readers in the horrors of the post-apocalyptic world, thus increasing the novel’s ecocritical import.

scholarly journals The Analysis of Deixis in the Novel The Fault In Our Stars by John Green

HUMANIS ◽  
2018 ◽  
pp. 697
Author(s):  
Artika Putri ◽  
Made Budiarsa ◽  
I Gede Putu Sudana
Keyword(s):  
First Person ◽  
The Novel ◽  
Second Person ◽  
Speech Event ◽  
Language Structure ◽  
Observation Methods ◽  
Spatial Deixis ◽  
Third Person ◽  
The Third Person ◽  
Descriptive Method

This research  entitled The Analysis of Deixis in The Novel The Fault in Our Stars by John Green. Deixis is a study to describe the relation between language and contexts in language structure itself. The objectives of this study are (1) to find out and identify types of deixis in the novel The Fault in Our Stars (2) to analyze the function of each deixis type found in the novel The Fault in Our Stars. The data were collected using documentation and observation methods using the reading and note taking techniwques. Qualitative method was used to analyze the data and the method were done by descriptive technique. The method of presenting the result of data analysis was the descriptive method and was done by argumentative technique. The result of the research shows that there are three types of deixis found in the novel The Fault in Our Stars by John Green, namely person deixis, spatial deixis and temporal deixis. Person deixis consists of first person, second person and third person. The first person deixis is used to identify the speaker. The second person deixis is used to show the addressee. The third person deixis is used to show the referent not identified as the speaker or the addressee. The spatial deixis is used to describe a location participant in speech event. Temporal deixis is used to point a certain period of time.

scholarly journals The Haunting Letter: Presence, Absence, and Writing in Sab

2019 ◽  
Vol 18 (1) ◽  
Author(s):  
Emmy Herland
Keyword(s):  
Jacques Derrida ◽  
Personal Narrative ◽  
Written Expression ◽  
First Person ◽  
The Novel ◽  
Gothic Novel ◽  
Cuban Spanish ◽  
Presence And Absence ◽  
Signature Event

Written expression allows for communication across absences both spatial and temporal. In fact, Jacques Derrida argues in his essay “Signature Event Context” (1988) that absence is an element of every communication and, because of this absence, meaning shifts with new contexts and displacements. When the titular character of Gertrudis Gómez de Avellaneda’s 1841 Cuban-Spanish Gothic novel Sab – a black slave in love with his white mistress – dies immediately after finishing a letter, he imbues the writing with his presence by way of his first-person expression and personal narrative, while simultaneously ensuring his irreversible absence from his text by death. That his letter outlives him allows for the reiteration of Sab’s final words and thoughts each time his letter is reread. This play between absence and presence inherent in Sab’s letter is the same essential paradox of the specter as described by Derrida in Specters of Marx (1993). Sab’s combined presence and absence in his letter turns him into a kind of ghost that haunts those who read his words.In this paper, I analyze Sab’s letter and its rippling effect throughout the story. The letter acts to identify Sab — and through him the institution of slavery that he both represents and protests against — as the haunting figure of the novel. This haunting, by its very existence, critiques the remembrance of history.

scholarly journals TRANSLATION AS IMPERIALISM: THE LAST OF THE MOHICANS

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Subur Wardoyo
Keyword(s):  
James Fenimore Cooper ◽  
Indian Removal ◽  
The Novel ◽  
Second Person ◽  
Indian Language ◽  
Person Pronoun ◽  
Third Person ◽  
Last Of The Mohicans ◽  
The Third Person ◽  
Ethnic Harassment

In this article translation is not only confined to the linguist, but also to all strategies that represent a language to another language. The way James Fenimore Cooper translated the Indian language to English in the novel The Last of The Mohicans shows a representation of ethnic harassment manipulation of language. Cooper's translation build up the suggestion that Indians can only communicate only like children. The Indians are portrayed to only communicate by playing with their voice, music, gesture, and using the third-person pronoun to exchange dor the first-person or second-person pronoun. This harassment is correlated with the policy of Indian removal at that era

scholarly journals Personal Pronouns and Gendered Speech in Popular Manga (Japanese Comics)

2010 ◽  
Vol 1 ◽  
pp. 35
Author(s):  
Giancarla Unser-Schutz
Keyword(s):  
Language Change ◽  
First Person ◽  
Female Characters ◽  
Personal Pronouns ◽  
Second Person ◽  
Actual Distribution ◽  
Actual Usage ◽  
Person Pronoun ◽  
Usage Patterns

Manga—Japanese comics—are often said to be influential in young women's using more masculine first person pronouns. However, research hitherto has not focused on the actual distribution of personal pronouns in manga, leaving that relationship unclear. To assess this question, I examined the different forms found in the lines from a corpus of six popular series. Against popular expectations, I found that no female characters used masculine first-person pronouns, with few examples of them using masculine second-person pronoun. With this gap between popular thought and actual usage patterns in mind, I then reexamine manga's possible role in influencing language change.

Human Behavior as Second Person

2019 ◽  
pp. 48-52
Keyword(s):  
Human Behavior ◽  
First Person ◽  
Theoretical Argument ◽  
The Novel ◽  
Second Person ◽  
Brain Functions ◽  
Third Person

This chapter introduces the second person known as the grammatical person (first person, second person, third person) basically and then goes over a theoretical argument of second person in a framework of brain activities (cerebrum, cerebellum) as they are known and understood now. And then, the arguments will go to a practical argument by using the novel knowledge as shown in chapter 5. In this way, it will be further studied and will be more deepened in order to get the general basic brain functions of second person. They will be described as a notion on second person. Some part of the previous chapter will be repeated for the arguments to go smoothly.

Human Behavior as First Person

2019 ◽  
pp. 43-47
Keyword(s):  
Human Behavior ◽  
First Person ◽  
Theoretical Argument ◽  
The Novel ◽  
Second Person ◽  
Brain Functions ◽  
Third Person ◽  
Frame Work

This chapter introduces first person known as the grammatical person (first person, second person, third person) basically and then goes over a theoretical argument of first person in a frame work of brain activities (cerebrum, cerebellum) as they are known and understood now. And then, the arguments will go to a practical argument by using the novel knowledge as shown in the chapter 5. In this way, it will be further studied and will be more deepened in order to get the general basic brain functions of first person. They will be described as a notion on first person.

scholarly journals Emine Işınsu's "Aktopraklar" Idioms Composed of Actuals in the Title

2018 ◽  
Vol 226 (1) ◽  
pp. 111-120
Author(s):  
Assist. Teacher Alaa Falah Hasan
Keyword(s):  
Older People ◽  
First Person ◽  
The Novel ◽  
Second Person ◽  
The Third ◽  
Turn On ◽  
Idiomatic Expressions ◽  
The One ◽  
Turkish Language

Expressions (idiomatic) is a reductive words are expressing certain state / Related topics cases traditionally the older people in Western societies and that the similarity of our fairly close proverbs in Arabic. And idiomatic expressions of the two words at a minimum and consist of up to seven words but often loses its meaning if it increased his words more than that and can not be an expression because the expression idiomatic as we have is a set of words that indicate aggregating does not make sense is signified by its vocabulary Severally. If the one-word then called metaphorical expressions. This is the focus of our research is marked ) Idioms consisting of Verbs in The “Ak Topraklar (White territory)” Novel  By Emine Işınsu) where we worked to extract expressions consisting of actions in the novel mentioned and we classified these terms by the time the formulas in the Turkish language, which is divided in turn on two formats news and request formats or Tammany also classified as scientists in the Turkish language. This is what distinguishes the idiomatic expressions of the sayings that the parables take suffixes discharge of an actor first person and the second and third and the second person and the third about the format of the matter, and the idiomatic expressions, it shows the actor in all cases or three people for an actor without the need for suffixes drainage and be in the form of sentence.

scholarly journals Emine Işınsu's "Aktopraklar" Idioms Composed of Actuals in the Title

2018 ◽  
pp. 111-120
Author(s):  
Assist. Teacher Alaa Falah Hasan
Keyword(s):  
Older People ◽  
First Person ◽  
The Novel ◽  
Second Person ◽  
The Third ◽  
Turn On ◽  
Idiomatic Expressions ◽  
The One ◽  
Turkish Language

Expressions (idiomatic) is a reductive words are expressing certain state / Related topics cases traditionally the older people in Western societies and that the similarity of our fairly close proverbs in Arabic. And idiomatic expressions of the two words at a minimum and consist of up to seven words but often loses its meaning if it increased his words more than that and can not be an expression because the expression idiomatic as we have is a set of words that indicate aggregating does not make sense is signified by its vocabulary Severally. If the one-word then called metaphorical expressions. This is the focus of our research is marked ) Idioms consisting of Verbs in The “Ak Topraklar (White territory)” Novel  By Emine Işınsu) where we worked to extract expressions consisting of actions in the novel mentioned and we classified these terms by the time the formulas in the Turkish language, which is divided in turn on two formats news and request formats or Tammany also classified as scientists in the Turkish language. This is what distinguishes the idiomatic expressions of the sayings that the parables take suffixes discharge of an actor first person and the second and third and the second person and the third about the format of the matter, and the idiomatic expressions, it shows the actor in all cases or three people for an actor without the need for suffixes drainage and be in the form of sentence.

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