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.

Islam and the West

2012 ◽  
Vol 38 (4-5) ◽  
pp. 477-483 ◽  
Author(s):  
Akeel Bilgrami
Keyword(s):  
Point Of View ◽  
Clash Of Civilizations ◽  
The West ◽  
Religious Identities ◽  
The Third ◽  
Third Person ◽  
History Of ◽  
Short Essay ◽  
The Third Person ◽  
Western Media

This short essay analyzes the deception and self-deception in talk of ‘the clash of civilizations’ and proceeds to diagnose what is wrong in the standard understanding of Islam in the Western media today by looking to the abiding history of colonial relations with Islam down to this day and also looking to the relation between ideals of democracy and the formation of religious identities. The essay closes with some remarks about the nature of identity and the importance to one's own agency of the distinction between the first and the third person point of view in Muslim self-understanding.

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.

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.

Taking the perspective of the narrator

2018 ◽  
Vol 72 (5) ◽  
pp. 1055-1067 ◽  
Author(s):  
Sarah D Creer ◽  
Anne E Cook ◽  
Edward J O’Brien
Keyword(s):  
Point Of View ◽  
First Person ◽  
Strategic Processing ◽  
The Third ◽  
Third Person ◽  
The Third Person ◽  
Do So

Readers do not always adopt the perspective of the protagonist; however, they will under certain conditions. Experiments 1a and 1b showed that readers will take the perspective of the protagonist from the third-person point of view, but only when explicitly instructed to do so. Experiment 2 demonstrated that reading from the first-person point of view is a text-based manipulation that encourages readers to adopt the perspective of the protagonist. The results of Experiments 3a and 3b replicated the findings of Experiments 1a and 2. Experiment 4 established that simply increasing readers’ attention to the text does not lead to adoption of the protagonist’s perspective; moreover, this suggests that when it does occur, protagonist perspective adoption is not the result of increased attention, but strategic processing.

scholarly journals FORM AND REFORM: THE “MISCELLANY NOVEL”

2013 ◽  
Vol 41 (1) ◽  
pp. 21-40
Author(s):  
Helen Hauser
Keyword(s):  
First Person ◽  
The Novel ◽  
The Third ◽  
Third Person ◽  
The Third Person

Around 1847, an author describinghimself as “A Discharged officer with twenty years’ experience” published a book entitledThe Mysteries of the Madhouse. It commences as a novel: the third-person narrative tells a thrilling tale complete with a harmless heir, conniving step-mother, and gormless step-brother. But after the heir of Howarth House is committed to a madhouse by his step-mother, the genre of the text changes abruptly. With no transition, the language of the novel is suddenly interrupted by extended, first-person, ostensibly factual accounts of what conditions are like inside madhouses.

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.

A NARRATIVE; OR AN HISTORICAL ACCOUNT OF THE MOST MATERIALL PASSAGES IN THE LIFE OF JOHN RASTRICK

2010 ◽  
Vol 36 ◽  
pp. 26-202
Keyword(s):  
First Person ◽  
Historical Account ◽  
The Third ◽  
Third Person ◽  
The Third Person

Although I desire that each of my children should have one Narrative of the passages of my Life, yet I desire and charge you that it be not wrote as you find it here in my Name or first person singular; but that, you compose a Narrative out of it your Self in the third person, As ex. gr. He (John Rastrick) was born – &c. when he left such a place He removed to such a place – &c. which is easily done by this Account And do not put in the Prayers and Devotions suited to my age or Troubles or Letter to my Aunt; or whatsoever may be thought indecent, and of no use.

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.

Paul and the Parousia: 1 Corinthians 15.50–57 and 2 Corinthians 5.1–5

1989 ◽  
Vol 35 (4) ◽  
pp. 512-521 ◽  
Author(s):  
A. C. Perriman
Keyword(s):  
First Person ◽  
1 Corinthians ◽  
2 Corinthians ◽  
The Third ◽  
Number Of Factors ◽  
Third Person ◽  
The Dead ◽  
The Third Person

1 Cor 15.50–57 is frequently cited as evidence that Paul expected to be alive at the parousia, chiefly on the basis of the distinction in v. 52 between ‘the dead’ who ‘will be raised imperishable’ and ‘we’ who ‘will be changed’. Paul ‘expects that at the parusia he himself will not be among the dead (of whom he speaks in the third person), but among the living (of whom he speaks in the first person)’. There are, however, a number of factors that persuade us to question this conclusion.

scholarly journals Motor Program Transformation of Throwing Dart from the Third-Person Perspective

2020 ◽  
Vol 10 (1) ◽  
pp. 55
Author(s):  
Alexey Tumialis ◽  
Alexey Smirnov ◽  
Kirill Fadeev ◽  
Tatiana Alikovskaia ◽  
Pavel Khoroshikh ◽  
...  
Keyword(s):  
Peak Velocity ◽  
Motor Program ◽  
First Person ◽  
Head Mounted Display ◽  
The Third ◽  
Person Perspective ◽  
Third Person ◽  
First Person Perspective ◽  
Third Person Perspective ◽  
The Third Person

The perspective of perceiving one’s action affects its speed and accuracy. In the present study, we investigated the change in accuracy and kinematics when subjects throw darts from the first-person perspective and the third-person perspective with varying angles of view. To model the third-person perspective, subjects were looking at themselves as well as the scene through the virtual reality head-mounted display (VR HMD). The scene was supplied by a video feed from the camera located to the up and 0, 20 and 40 degrees to the right behind the subjects. The 28 subjects wore a motion capture suit to register their right hand displacement, velocity and acceleration, as well as torso rotation during the dart throws. The results indicated that mean accuracy shifted in opposite direction with the changes of camera location in vertical axis and in congruent direction in horizontal axis. Kinematic data revealed a smaller angle of torso rotation to the left in all third-person perspective conditions before and during the throw. The amplitude, speed and acceleration in third-person condition were lower compared to the first-person view condition, before the peak velocity of the hand in the direction toward the target and after the peak velocity in lowering the hand. Moreover, the hand movement angle was smaller in the third-person perspective conditions with 20 and 40 angle of view, compared with the first-person perspective condition just preceding the time of peak velocity, and the difference between conditions predicted the changes in mean accuracy of the throws. Thus, the results of this study revealed that subject’s localization contributed to the transformation of the motor program.

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