Look Who Is Talking … and Who Is Listening: Finding an Integrative “We” Voice in Entrepreneurial Scholarship

2020 ◽  
pp. 104225872091450 ◽  
Author(s):  
Dimo Dimov ◽  
Reiner Schaefer ◽  
Joseph Pistrui
Keyword(s):  
Decision Making ◽  
First Person ◽  
Second Person ◽  
Third Person ◽  
Entrepreneurial Action ◽  
The Relationship

This paper explores the relationship between the study of entrepreneurs and the entrepreneurs we study. While scholars typically adopt a detached, third-person stance for the purpose of explaining and predicting entrepreneurial action, entrepreneurs instead operate in a first-person stance of deciding what to do. The two stances cannot be reduced to one another. We argue that an engaged dialog—a second-person stance—can bring scholars and entrepreneurs together into a unifying practical decision-making perspective. By working to develop this integrative voice in scholarship, we can collapse the dualism of rigor and relevance.

scholarly journals Do Employees Snooze or Strike Back to Injustice?

2020 ◽  
Vol 7 (2) ◽  
pp. 42-74
Author(s):  
Sadaf Choudhary
Keyword(s):  
Questionnaire Survey ◽  
Close Friend ◽  
First Person ◽  
Second Person ◽  
Procedural Injustice ◽  
Third Person ◽  
Negative Feelings ◽  
The Relationship

This study aims to investigate the relationship between the perceptions of injustice and revengeful intentions among first- person (revengeful intention by the victim), second-person (revengeful intention for the sake of a close friend), and third- person (revengeful intention for the sake of an acquaintance). A questionnaire survey was used to collect data from 154 respondents. The findings showed that interactional injustice is associated positively with first-person revenge, whereas distributive and procedural injustice lead to second-person and third-person revengeful intentions. This study offers important insights about the broader impact of injustice which goes beyond the victim and explains how it ignites negative feelings among the non-victim as well.

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

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.

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.

Compassion and Responsibility

2020 ◽  
pp. 205-256
Author(s):  
Joshua Hordern
Keyword(s):  
Decision Making ◽  
Christian Theology ◽  
Shared Decision ◽  
Preventive Healthcare ◽  
Second Person ◽  
Clinical Communication ◽  
Book Of Job ◽  
Conceptual Clarity ◽  
The Relationship ◽  
Over Time

This chapter explores how responsibility, fault, and desert matter for the content of compassion with particular reference to the idea of rationing by fault, shared decision-making, and recent UK law regarding the relationship between responsibility, risk, and consent. Conceptual clarity is sought through exploring how tragedy differs from Christian theology by deploying the contrasting categories of the ‘undeserving sick’, the ‘obstinate sick’ and the ‘sad sick’, as applied to clinical communication, pastoral discretion, and mercy. The chapter considers what may be learnt for the interrelation of responsibility with compassion from the Book of Job. This analysis deepens the earlier account of second-person relatedness and compassion, by considering the category of ‘remonstration’. This is then applied to practice through a discussion of the constraints on certain forms of public and preventive healthcare. The chapter concludes by drawing on ecclesiological motifs to describe how compassionate relationships can persevere over time.

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.

Multichannel Gaming and the Aesthetics of Interactive Surround

2013 ◽  
Author(s):  
Mark Kerins
Keyword(s):  
Video Games ◽  
Mixing Rules ◽  
First Person ◽  
Game Play ◽  
Sound Track ◽  
Surround Sound ◽  
Game World ◽  
Third Person ◽  
Technical Factors ◽  
The Relationship

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.

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 QUEM ESTÁ NO COMANDO? NEUROCIÊNCIA, RESSONÂNCIA E DESAFIOS PARA A TEOLOGIA

2017 ◽  
Vol 49 (3) ◽  
pp. 611
Author(s):  
Rudolf Von Sinner
Keyword(s):  
Human Condition ◽  
The Body ◽  
Christian Theology ◽  
Human Being ◽  
Second Person ◽  
Third Person ◽  
Ancient Problem ◽  
The One ◽  
The Relationship ◽  
The Brain

RESUMO: A relação entre corpo e alma ou entre corpo, alma e espírito é um pro­blema antigo da antropologia, inclusive na teologia cristã. A questão continua em pauta hoje diante de novas descobertas e teorias nas neurociências. Praticamente migrou para a discussão da relação entre cérebro e mente. Hoje é consenso bastante amplo que quem comanda o corpo é o cérebro. Se aceitarmos isto, quem está no comando do cérebro? Sou eu, em primeira pessoa, minha alma, minha mente? Ou seria “ele”, em terceira pessoa, nosso próprio cérebro me determinando? E como ficaria na segunda pessoa – o ser humano como estando em relação a Deus a quem o chama de “tu”? Querendo superar preconceitos contra uma neurociên­cia determinista e uma teologia despreocupada com a ciência – e estas próprias posições, onde são defendidas –, o presente artigo procura tratar da condição humana em sua liberdade sempre precária e tolhida. Recorrendo à abordagem neurobiológica e psiquiátrica de Joachim Bauer, argumenta pela importância das relações do ser humano com o outro, com Deus e com o mundo, numa forma de ressonância (Hartmut Rosa). ABSTRACT: The relationship between body and soul or between body, soul and spirit is an ancient problem of anthropology, and also of Christian theology. In view of present day discoveries and new neuroscientific theories, the issue poses itself afresh. It practically migrated to the discussion of the relationship between brain and mind. Today, there is ample consensus that it is the brain that is in charge of the body. If we accept that, then who is in charge of the brain? Is it me, in the first person, my soul, my mind? Or is it “him”, in the third person, our own brain that determines me? And how about the second person – the human being in its relationship with God whom it calls “you”? Striving to overcome prejudices against a deterministic neuroscience, on the one hand, and a theology indifferent to science – and, indeed, such positions, wherever they are held – the present article seeks to deal with the human condition in its freedom, always precarious and restrained. Referring to neurobiological and psychiatric insights from Joachim Bauer, it argues for the importance of the relationship of the human being with the other, with God and with the world, in a form of resonance (Hartmut Rosa).

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