Embodying “you”: Levinas and a question of the second person

2005 ◽  
Vol 34 (2) ◽  
Author(s):  
Carrol Clarkson
Keyword(s):  
Literary Text ◽  
The Other ◽  
Second Person ◽  
Dynamic Potential ◽  
Third Person

AbstractIn this paper I examine the effects of considering Levinas’s philosophy of the relation to the Other as a relation to a second person “you,” rather than to a third person “he.” To think of the Other as “you” sheds further light on the ethical encounter that Levinas terms the “Saying:” it provokes us to think of the event of reading a literary text as an event of the Saying. In the dynamic potential of the literary text to instantiate an “I” and a “you” (which is to say, an addresser and an addressee) each time it is read, and in ways that cannot be exhaustively predicted or epistemologically saturated in advance, the artwork effects an open yet responsive encounter with the Other.

The diachronic relationship between demonstratives and first/second person pronouns

2012 ◽  
Vol 13 (1) ◽  
pp. 50-71 ◽  
Author(s):  
Osamu Ishiyama
Keyword(s):  
Historical Data ◽  
Functional Similarity ◽  
The Other ◽  
Common Source ◽  
Historical Sources ◽  
Second Person ◽  
Person Pronoun ◽  
Other Hand ◽  
Close Relationship ◽  
Third Person

It is well known that demonstratives are the cross-linguistically common source of third person pronouns due to the functional similarity between them. For this reason, they are morphologically related to or formally indistinguishable from one another in many languages. First and second person pronouns, on the other hand, typically have historical sources other than demonstratives. However, unlike the close relationship between demonstratives and third person pronouns, the fact that demonstratives and first/second person pronouns have a very tenuous diachronic relationship has not attracted much attention in previous studies. Based primarily on historical data from Japanese, the present study shows that there are at least three functional reasons why demonstratives do not usually give rise to first/second person pronouns. This study also discusses a limited context in which a demonstrative does develop into a second person pronoun.

scholarly journals ANALISIS PENGGUNAAN KOHESI REFERENSI PADA NASKAH DRAMA SISWA SMAN 2 KANDANGAN

2016 ◽  
Vol 12 (2) ◽  
pp. 39
Author(s):  
NFN Indrawati
Keyword(s):  
Qualitative Study ◽  
Random Sampling ◽  
Qualitative Method ◽  
Descriptive Study ◽  
The Other ◽  
Second Grade ◽  
Second Person ◽  
Reading And Writing ◽  
Third Person ◽  
Descriptive Qualitative

Abstrak: Penelitian Analisis Penggunaan Kohesi Referensi pada Naskah Drama Siswa SMAN 2 Kandangan merupakan penelitian deskriptif. Tujuan penelitian ini adalah mendeskripsikan penggunaan kohesi referensi pada naskah drama siswa SMAN 2 Kandangan. Jenis penelitian ini merupakan penelitian deskriptif kualitatif. Populasi data dalam penelitian ini adalah siswa SMAN 2 Kandangan. Objek siswa SMAN 2 Kandangan yang dipilih adalah siswa jurusan IPA dan IPS kelas XI. Teknik penentuan subjek didasarkan pada pengambilan sampel yang dilakukan secara random sampling. Adapun objek penelitian ini adalah penggunaan peranti kohesi referensi dalam naskah drama siswa SMAN 2 Kandangan. Data diperoleh dengan metode membaca dan teknik mencatat. Metode analisisnya menggunakan metode analisi deskriptif kualitatif. Hasil penelitian ini dapat dideskripsikan penggunaan peranti kohesi referensi pada naskah drama siswa SMAN 2 Kandangan, yaitu (1) kohesi referensi pronomina persona adalah pronomina yang dipakai untuk mengacu pada orang. Pronomina persona terdiri atas persona orang pertama tunggal dan jamak, pronomina orang kedu tunggal dan jamak, dan pronomina orang ketiga tunggal dan jamak; (2) kohesi pronomina demonstratif adalah pronomina penunjuk umum, pronomina penunjuk tempat, dan pronomina penunjuk hal ikhwal; (3) kohesi referensi komparatif adalah kohesi referensi yang menyatakan perbandingan unsur yang satu dibandingkan dengan unsur yang lain. Kohesi referensi komparatif terdiri atas kohesi referensi komparatif yang menyatakan kurang, kohesi referensi komparatif yang menyatakan sama, dan kohesi referensi komparatif yang menyatakan lebih.Kata kunci: Kohesi, referensi, naskah drama Abstract: This study Analisis Penggunaan Kohesi Referensi pada Naskah Drama Siswa SMAN 2 Kandangan is descriptive study. The aim of this study is to describe the using of reference cohesion in drama script by SMAN 2 Kandangan student. This is descriptive qualitative study. The data population is the student of SMAN 2 Kandangan. The object of this study is SMAN 2 Kandangan from Science and Social class of second grade. Subject determination technique is based on random sampling.The data are gained through reading and writing. This study used descriptive qualitative method. The object of this study is the using of reference cohesion instrument in drama script of SMAN 2 Kandangan’ students. The result shows that the using of reference cohesion instrument in drama script by the student of SMAN 2 Kandangan are (1) pronomen reference cohesion is pronomen refers to a person. Person pronomen consist of singular and plural of first person. Pronomen singular and plural of second person, and pronomen singular and plural of third person; (2) demonstrative pronomen cohesion is general instruction pronomen, place instruction pronomen, cause instruction pronomen, occurances instruction pronomen; (3) comparative reference cohesion is reference cohesion that stating comparation of one component to the other one. Comparative reference cohesion consists of comparative reference cohesion that stating inefficient, comparative reference cohesion that stating equality, and comparative reference cohesion that stating more.Key words: cohesion, reference, drama script

Indices of a ‘subjectivity-prominent’ language

2005 ◽  
Vol 3 ◽  
pp. 132-164 ◽  
Author(s):  
Yoshihiko Ikegami
Keyword(s):  
Speech Act ◽  
Native Language ◽  
Cognitive Activity ◽  
The Other ◽  
First Person ◽  
Second Person ◽  
Third Person

The speaker of language is primarily conceived of as locutionary subject (or ‘sujet parlant’), i.e. as a person who exchanges linguistic messages with his/her counterpart — typically in dialogic situations where the two alternate in their roles as speaker and hearer. In this setting, the speaker and the hearer are equal as speech-act participants and thus the contrast is ‘first/second person’ vs. ‘third person’ (or ‘speech-act participant’ vs. ‘non-speech-act participant’). There is, however, another aspect of the speaker — the speaker as cognizing subject, i.e. as a person who, prior to his/her locutionary act, construes the situation to be encoded, being engaged in the monologic cognitive activity of choosing what to encode and how to encode what is to be encoded. In this capacity, the speaker is contrasted with everything he/she may want to encode and thus the contrast here is ‘first person’ vs. ‘second/third person’ — or better, ‘ego’ vs. ‘alter’. Language may manifest features that count as indices of either of these two types of linguistic subjectivity. But individual languages may differ in the extent to which they manifest more features indicating one type of subjectivity than the other. I propose to discuss these two contrasting typological orientations by referring to my native language, Japanese, which seems to be an eminently ego-centered, or subjectivity-prominent, language.

The Loss of the person-marker t- In Jibbali and Socotri

1992 ◽  
Vol 55 (3) ◽  
pp. 445-450 ◽  
Author(s):  
David Testen
Keyword(s):  
The Other ◽  
Second Person ◽  
Passive Voice ◽  
Semitic Languages ◽  
Active Voice ◽  
The Feminine ◽  
Third Person ◽  
Person Marking

Johnstone (1968, 1975, 1980, 1981) has pointed out that two of the Modern South Arabian group of Semitic languages, Jibbali (Śḥeri) and Socotri, systematically lose the person-marking prefix t- (whether it mark the second person or the feminine third person) in certain types of verbs. An example of this phenomenon from Jibbali may be seen in the passive paradigm of the basic stem, which is given below alongside the active-voice paradigm of a ‘stative’- type basic verb, the conjugation of which (aside from the person-markers under discussion) closely matches that of the passive form. In the active voice, the tappears in the positions in which we expect it on the basis of the cognate prefixes in the other Semitic languages, while in the passive voice the t- is absent.

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.

scholarly journals Human impersonal pronouns in West Germanic

2018 ◽  
Vol 42 (4) ◽  
pp. 798-846
Author(s):  
Daniël Van Olmen ◽  
Adri Breed
Keyword(s):  
Two Dimensions ◽  
The Other ◽  
Second Person ◽  
West Germanic ◽  
Semantic Maps ◽  
Third Person ◽  
The One ◽  
Germanic Languages ◽  
The Third Person ◽  
Impersonal Pronouns

Abstract In this article, we examine and compare the main human impersonal pronouns in Afrikaans, Dutch and English. The second person singular, the third person plural and the ‘man’- and ‘one’-pronouns are studied by means of an acceptability judgment questionnaire and a completion questionnaire. The combination of the two methods reveals interesting descriptive facts about the three West Germanic languages. They include, among other things, the ‘man’-prominence of Afrikaans versus the ‘you’-prominence of Dutch and English for expressing the universal meaning ‘anyone’ and the more prominent position of ‘they’ in Dutch than in the other languages for conveying the existential meaning ‘someone, some people’. Our findings have a number of more theoretical implications too. The two existing semantic maps for human impersonal pronouns make different distinctions in the existential domain, based on type/level of (un)knownness on the one hand and number on the other. Our study tests both sets of distinctions and shows that the two dimensions interact with each other in Afrikaans, Dutch and English. The results thus support a recent proposal in the literature for a combined semantic map. The data from the completion questionnaire, finally, also indicates that existential uses prefer alternative forms of impersonalization to human impersonal pronouns in all three languages.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

AN ANALYSIS DEIXIS IN “NOM NOM’S ENTOURAGE” MANUSCRIPT ON WE ARE BARE BEARS MOVIE SEASON

2021 ◽  
Vol 4 (1) ◽  
pp. 80
Author(s):  
Arni Rahmah Wasdili ◽  
Iman Santoso
Keyword(s):  
Qualitative Method ◽  
Second Person ◽  
Social Differences ◽  
The Social ◽  
Third Person ◽  
Social Deixis ◽  
Descriptive Qualitative

The tittle of this research is An AnalysisDeixis in “Nom nom’s Entourage” Manuscript on We are Bare BearsMovie Seaso. Deixis is one of branch from pragmatics that shown relation between language and context in that language it self. The aim from this research is to know and identify the type of deixis in Nom nom’s Entourage movie season. That have some steps to collecting the data firs is watching the We Are Bare Bears movie season with Nom nom’s Entourage title. Second is reading the script of that movie. Third, selecting and collect the data. Fourth is classifying the type of deixis and the last is produce the conclution. This research using descriptive qualitative method to analyze the data. The result from this research is that have five type of deixis there are person deixis, time deixis, place deixis, social deixis and discourse deixis. Person deixis divided to three part there are firs person as speaker, second person as hearer and third person as other, with 195 word in that movie. Time deixis shows a certain period of time, consist of 10 word in that movie. Place deixis describe the location in a conversation, consist of  26 word in that movie. Social deixis is show how the social differences when talking with other, consist of 18 word in that movie. Discourse deixis is show deitic expressions which point to prior succeeding parts of the discourse with 4 word in that movie. Keywords:  Pragmatics, Deixis, Movie

scholarly journals Rosencrantz and Guildenstern Meet Edward II

2003 ◽  
Vol 9 ◽  
Author(s):  
Boldizsár Fejérvári
Keyword(s):  
Literary Criticism ◽  
Literary Text ◽  
Human Behaviour ◽  
The Other ◽  
Literary Texts ◽  
Symbiotic Relationship ◽  
The Real ◽  
Edward Ii

It is a common fashion in literary criticism, or 'Lit Crit,' to treat reality, human behaviour, communication, and everything else as though they were 'texts to be read.' This paper proposes to go the other way: it interprets literature (or, more precisely, one literary text, Tom Stoppard's Rosencrantz and Guildenstern Are Dead) as a part of reality in which several other layers of the real combine, such as linguistics, science, or other literary texts, most notably Hamlet. While Edward II is not generally considered a direct source for Stoppard's play, this paper shows how, in the wider perspective of 'interreality,' Marlowe's tragedy might interact with Rosencrantz and Guildenstern. At the same time it is proved that Rosencrantz and Guildenstern Are Dead, contrary to the critical conception of many, is not a parasitic work 'feeding off' Elizabethan playwrights, but a play that enters a symbiotic relationship with its host (as defined by Hillis Miller).

scholarly journals Micro-Fenomenología de la Subjetividad del Psicoterapeuta Sistémico

2021 ◽  
Vol 27 (2) ◽  
pp. 115-130
Author(s):  
Ángela Hernández CORDOBA ◽  
Miguel Ángel Villamil PINEDA
Keyword(s):  
Systemic Therapy ◽  
Therapeutic Process ◽  
The Other ◽  
Phenomenological Method ◽  
Relational Context ◽  
Emotion Experience ◽  
Traditional Research ◽  
First Impression ◽  
Third Person ◽  
The One

Systemic psychological therapy takes place in a relational context, where the subjectivities of the consultants and the therapists interact. Traditional research has focused more on the characteristics of the consultants than on the subjectivity of the therapist. Hence, "third person" perspectives have been privileged. The few studies that investigate the subjectivity of the therapist resort to introspective, interpretive and prescriptive methodologies. How to access the subjectivity of the therapist from different perspectives than those offered by "third person" observation and "first person" introspection? The purpose of the article is to explore, through the micro-phenomenological method, how the subjectivity of the therapist is shown in the first impression of a consultant. To do this, interviews were conducted with six therapists. The results show that en-active emotionality appears as an invariant of the therapist's subjectivity; and that this invariant operates as an "intelligent motivation", which enters "into action" in the course of the intersubjective relationship itself and permanently monitors and guides the therapeutic process. The results allow us to consider, on the one hand, that traditional research has undervalued the importance of en-active emotions in the therapeutic process; and, on the other, that the qualitative improvement of therapy implies not only recognizing this invariant, but also cultivating it. Palavras-chave : Subjectivity; Systemic therapy; Micro-phenomenology; En-active emotion; Experience.

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