“On William Faulkner’s The Sound and the Fury”

2016 ◽  
Author(s):  
Evelyn Scott
Keyword(s):  
The Third ◽  
Sound And The Fury ◽  
The Family ◽  
The World ◽  
Third Person ◽  
The Third Person ◽  
Objective Program

This chapter is an essay reviewing William Faulkner's novel, The Sound and the Fury, the tragic story of the fall of a house, the collapse of a provincial aristocracy in a final debacle of insanity, recklessness, psychological perversion. Book I is a statement of the tragedy as seen through the eyes of Benjy. Book II focuses on Quentin, who is contemplating suicide. In Book III we see the world in terms of the petty, sadistic lunacy of Jason, the last son of the family. The final Book is told in the third person by the author and primarily focuses on Dilsey, an old colored woman. The Sound and the Fury seems to answer the question of whether there exists for this age of disillusion with religion, dedication to the objective program of scientific inventiveness and general rejection of the teleology which placed man emotionally at the center of his universe, the spirit of which great tragedy is the expression.

Marginality in the Mainstream, Lesbian Love in the Third Person

2016 ◽  
Author(s):  
Emily Van Buskirk
Keyword(s):  
French Literature ◽  
Gender And Sexuality ◽  
The Other ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Philosophical Texts ◽  
And Gender ◽  
The One ◽  
The Third Person

This chapter undertakes a treatment of the rhetoric of personal pronouns in Ginzburg's writings on love and sexuality, drawing on Michael Lucey's study of the first person in twentieth-century French literature about love. It brings together questions of genre and narrative, on the one hand, and gender and sexuality, on the other. The chapter is divided into two sections, treating writings from two different periods on two kinds of love Ginzburg thought typical of intellectuals: in “First Love,” it discusses the unrequited and tragic love depicted in Ginzburg's teenage diaries (1920–23); in “Second Love,” it analyzes the love that is realized but in the end equally tragic, depicted in drafts related to Home and the World (1930s). The chapter examines the models the author sought in literary, psychological, and philosophical texts (Weininger, Kraft-Ebbing, Blok, Shklovsky, Oleinikov, Hemingway, and Proust).

Knowledge from the Outside

2021 ◽  
pp. 40-79
Author(s):  
Hilary Kornblith
Keyword(s):  
The Third ◽  
Person Perspective ◽  
The World ◽  
Third Person ◽  
First Person Perspective ◽  
Third Person Perspective ◽  
The Third Person ◽  
Perceptual Systems ◽  
Obvious Source

Knowledge may be examined from the third-person perspective, as psychologists and sociologists do, or it may be examined from the first-person perspective, as each of us does when we reflect on what we ought to believe. This chapter takes the third-person perspective. One obvious source of knowledge is perception, and some general features of how our perceptual systems are able to pick up information about the world around us are highlighted. The role of the study of visual illusions in this research is an important focus of the chapter. Our ability to draw out the consequences of things we know by way of inference is another important source of knowledge, and some general features of how inference achieves its successes are discussed. Structural similarities between the ways in which perception works and the ways in which inference works are highlighted.

scholarly journals THE ANALYSIS OF FORMAL LINK IN WESTLIFE’S SONG

2019 ◽  
Vol 1 (2) ◽  
pp. 58-65
Author(s):  
Sijono Sijono ◽  
Thomas Joni Verawanto Aristo
Keyword(s):  
Qualitative Research ◽  
Discourse Structure ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Deep Meaning ◽  
Field Notes ◽  
Song Lyric ◽  
The Subject ◽  
The Third Person

Formal is formal links referring to the fact inside the language, that consist of verb form, parallelism, ellipsis, referring expression, conjunction, substitution, and repetition. This study uses descriptive qualitative research in which the researcher just describe the result of the implementation from the instruments and the data is obtained from articles, literary works, field notes, and personal documents in the form of words or pictures rather than numbers. The object of this study is formal links and the subject is Westlife’s songs. The analysis is taken from twelve songs of Westlife in their “Back Home” album. From the whole data the researcher found that most of songs consist of more than one formal link. The formal links are; Verb Form, Referring Expression, Repetition, Parallelism, Conjunction, and Substitution. From those formal links the most used in Westlife’s songs is Referring Expression, it can be seen that referring expression dominate the others links in eight songs from twelve songs. The songs that are dominated by referring expression are Us Against the World, Something Right, I’m Already There, When I’m With You, Have You Ever, It’s You, Catch My Breath and the Easy Way. From the result of analysis it can be concluded that  Westlife’s songs has deep meaning which always referring with other words or elements and they avoid to repeat the identity of what they are sharing about again and again. To referring the meaning that they posted in their song’s lyric they used the third person pronouns like he, she, we, our, it, his, her, them. For the suggestion, the researcher recommends to the next researchers to analyze another part of discourse analysis such as discourse structure, discourse as dialogue, knowledge on discourse, etc.Keyword: Formal Link, Song Lyric, Weslife’s Song 

Biased Optimism and the Third-Person Effect

1993 ◽  
Vol 70 (1) ◽  
pp. 58-67 ◽  
Author(s):  
Albert C. Gunther ◽  
Paul Mundy
Keyword(s):  
Media Effects ◽  
Optimistic Bias ◽  
Third Person Effect ◽  
The Third ◽  
The World ◽  
Human Tendency ◽  
Third Person ◽  
The Third Person

While the third-person effect has proved to be a persistent and robust finding, most research on this phenomenon has employed media stimuli with potentially harmful consequences for its audience. We hypothesized that underlying the third-person phenomenon is a human tendency to see the world through optimistic or self-serving lenses. Such an optimistic bias predicts that people will estimate greater media effects on others than on themselves for messages with harmful outcomes, but no difference in effect for beneficial messages.

Two Paths for the Big Book: Olga Tokarczuk's Shifting Voice

Genre ◽  
2021 ◽  
Vol 54 (1) ◽  
pp. 67-87
Author(s):  
Katarzyna Bartoszyńska
Keyword(s):  
The Novel ◽  
Free Indirect Discourse ◽  
The Third ◽  
Indirect Discourse ◽  
Narrative Perspective ◽  
The World ◽  
Third Person ◽  
Single Voice ◽  
The Third Person ◽  
World Image

This essay argues for the power of free indirect discourse in the third-person narrative perspective to serve as a collective voice, encompassing a diversity of perspectives, through a reading of two novels by Olga Tokarczuk, Bieguni (Flights) and Księgi Jakubowe (Books of Jacob). Both novels investigate the challenges inherent in the project of providing an image of the world, and alongside various interventions on the level of content, each examines the kind of world-image that different approaches to narrative voice can produce. In Flights, the narrator's striving to arrive at a more expansive and synthetic knowledge of the world is accompanied by an effort to go beyond the first-person voice, to a broader perspective. The novel subtly demonstrates the impossibility of such efforts, but, the essay argues, Books of Jacob continues this project, albeit from the opposite direction, examining the affordances of the third-person voice. Its innovative use of free indirect discourse produces a perspective that, while appearing to be a single voice, contains multiple, contradictory points of view.

scholarly journals Grounding to Giving:

Lumen et Vita ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 18-31
Author(s):  
Michael Mookie C. Manalili
Keyword(s):  
Spiritual Exercises ◽  
Second Person ◽  
Face To Face ◽  
The Gaze ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Jesuit Order ◽  
In The Beginning ◽  
The Third Person

Through its embodied systematic mysticism, the Spiritual Exercises of St. Ignatius has formed the Jesuit order and countless Ignatian educators. Upon analysis of the Principle and Foundation (§23) in the beginning and the Suscipe (§234) at the end, the movement from the philosophical universal to the particularity of 'this-ness' can be seen. The Principle and Foundation, both etymologically hinting at the prior [Latin: ‘principum’] and the ground [Latin: ‘fundare’], begins with a beautiful cosmology of how the world is oriented towards the return-gift back towards God. However, God is spoken of here in the third-person. Yet, by the time of the Suscipe [English: ‘receive’], the theme is still on the gifted-ness of life and world. However, God is addressed in the second-person here as if face-to-face – the Divine “You”. This movement from the universal to the particular invites the exercitant to gaze into the eyes of Christ Crucified. In doing so, particularly in the Third Week, the exercitant gazes into the iris of God who reflects back the gaze of Love - pointed at those Whom God loves, those in the margins. The Spiritual Exercises thus extends the invitation to incarnate the two-fold nature of the greatest commandment. As it is in the Second Ending of the Book of John, the invitation of gift is extended from the divine Vine to the branches: “Amas me? Pasce oveas meas. Sequere me. // Do you love me? Feed my sheep. Follow me.”

On Gothic in the computer age

2014 ◽  
Vol 67 (2) ◽  
pp. 231-236
Author(s):  
Irmengard Rauch
Keyword(s):  
Family Resemblance ◽  
The Black Sea ◽  
Inflectional Morphology ◽  
The Third ◽  
Demonstrative Pronoun ◽  
The Family ◽  
Computer Linguistics ◽  
Third Person ◽  
Germanic Languages ◽  
The Third Person

The Gothic language spoken some 1500 years ago in the area west and north of the Black Sea remains the darling of the older Germanic languages, as well as the preferred Germanic representative in Comparative Grammar. In the computer age researchers have readily accessible digitized Gothic texts, grammars, glossaries, bibliographies, as well as tagged corpora studies. In demonstrating the family resemblance of the inflectional morphology of the Gothic demonstrative pronoun, the strong adjective, and the third person pronoun, this paper makes use of the concept of inheritance networks, developed in computer linguistics, and of underspecification theory.

Rigaut de Berbezilh, the Physiologus Theobaldi, and the opening of animal inspiration

Reinardus ◽  
2016 ◽  
Vol 28 ◽  
pp. 81-99
Author(s):  
Sarah Kay
Keyword(s):  
Latin Poetry ◽  
First Person ◽  
Human Language ◽  
Human History ◽  
Content Type ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Animal Images ◽  
The Third Person

In two of his songs (421.1 and 421.2) the troubadour Rigaut de Berbezilh aspires to sing in response to a voice that is bestial yet somehow metaphysical. Scholars have attributed these animal images to the influence of the Physiologus, but Rigaut’s likeliest source in that tradition has not yet been identified. This article proposes to fill that lacuna by contending that the bestiary redaction closest to Rigaut’s imagery is the Physiologus Theobaldi, a verse text that unlike other bestiaries was used to teach Latin poetry and even song. In both the Physiologus Theobaldi and (though in a different way) Rigaut’s songs, animals’ breath and voice are identified with life and spirit, an identification that places these works within the wider medieval context of natural philosophical interest in pneuma. Whereas Theobaldus allegorizes his beasts in the third person, Rigaut’s first-person lyrics assume their voice, breath, life or spirit as potentially his own. He thereby opens his songs to a being that is not human. No longer anthropocentric, they enact a hybridity that we find elsewhere associated with revelation and apocalypse. The horizon of human history that opens (in Heidegger’s sense) the world of human language is thereby in turn opened up to that which it closes off, and the demarcations by which humanity defines itself are suspended.

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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