scholarly journals TV Live Reporting: a Pilot Study in Contrastive Genre Analysis

2019 ◽  
Vol 10 (4) ◽  
pp. 920-946
Author(s):  
Amr M El-Zawawy
Keyword(s):  
Pilot Study ◽  
Point Of View ◽  
Genre Analysis ◽  
First Person ◽  
Generic Structure ◽  
English Speaking

TV live reporting or otherwise on-the-spot reporting is a sub-genre of TV journalism, but it is characterized by liveness and immediacy. The present paper focuses on the sub-genre of live reporting from the point of view of genre analysis within a contrastive framework. It makes use of two corpora of live reporting videos in English and Arabic, and analyzes them, both electronically and manually, according to a modified version of Bhatia’s approach to genre analysis (1993; 2002; 2012). It was found that TV correspondents maximize the use of first person pronouns that reflect the fact that they are reporting from the scene. They likewise tend to use hyperboles (see Geis, 1987). They also create an atmosphere of excitement by starting their reports by rising intonation patterns, but later on either resort to level routine delivery or attempt to project a certain attitude through a falling tone. English or English-speaking correspondents follow a generic structure where a spatial, temporal or opinion-centered setting is provided first, then follows the detailed body of narrative then finally the recapitulation. Arab correspondents, in contrast, directly go to the specifics of their reports, leaving the listeners without any trace of an introduction, and likewise clinch their reports abruptly by addressing the presenters.

scholarly journals Multifunctionality of the mental verbs MANYTI ‘think’, SUPRASTI ‘understand’, ŽINOTI ‘know’: epistemicity and pragmaticalization

2015 ◽  
pp. 1-17
Author(s):  
Justina Liauksminienė
Keyword(s):  
Pilot Study ◽  
Point Of View ◽  
First Person ◽  
Lexical Meaning ◽  
Pragmatic Markers ◽  
Opposite Point ◽  
Truth Value ◽  
Present Tense ◽  
Source Of Information ◽  
Mental Verbs

The paper presents the results of the pilot study on the multifunctionality of the Lithuanian mental verbs manyti ‘think’, žinoti ‘know’ and suprasti ‘understand’. The study focuses on the first person singular present tense forms and imperative forms of the verbs and analyses their tendencies to function as markers of epistemicity or pragmatic markers in fiction. The data for the analysis have been taken from the Corpus of Contemporary Lithuanian Language (http://tekstynas.vdu.lt), namely the subcorpus of fiction. The analysis of the data reveals that out of the three Lithuanian mental verbs under consideration, the first person singular present tense form manau ‘I think’ is most frequently used as a marker of epistemicity. It expresses author’s judgement on the truth value of the proposition or source of information. It should be noted that individual imperative forms of the mental verbs have not fully lost their primary lexical meaning, yet they have been frequently found to function as pragmatic markers. The imperative forms of the verbs are used to establish and maintain a relationship with the interlocutor, introduce the opposite point of view, summarize the facts that were previously mentioned, boost or hedge the proposition. They exhibit such features as syntactic mobility, absence of the propositional meaning, and rise of pragmatic functions in discourse. Consequently, the forms under analysis may be comparable to sentence adverbs which modify the proposition rather than constitute a part of it. 

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

scholarly journals From representation to enactment: temporal perspectives on literary objects in East and Central European structuralism and Ingarden’s phenomenology

2018 ◽  
Vol 4 (s1) ◽  
pp. s146-s171
Author(s):  
Michał Mrugalski
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Philosophical Tradition ◽  
General Context ◽  
Direct Realism ◽  
First Person ◽  
Temporal Perspective ◽  
Central European ◽  
Temporal Properties ◽  
Person Perspective

AbstractConsidering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden’s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden’s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden’s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl’s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of “objectification,” which was suppressed by that of “concretization,” as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden’s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden’s.

scholarly journals Speech Genre: A Study of Gossip in Australian English Speaking Context

2018 ◽  
Vol 1 (3) ◽  
pp. 263-271
Author(s):  
Nurhadi Hamka
Keyword(s):  
Social Group ◽  
Group Membership ◽  
Social Situations ◽  
Generic Structure ◽  
The Social ◽  
Wide Range ◽  
English Speaking ◽  
Speech Genre ◽  
Australian English ◽  
Diverse Context

A gossip as a casual conversation usually occurs in diverse context or a wide range of social situations; has distinct and various topics; and involve an irregular set of participants. The scholars scrutinize that conversation has highly structured activity of which people tacitly realize that there are some basic conventions to follow – such as when to speak or to stay silent and to listen. In this study, I specifically discuss one of the speech genre – a gossip, in Australia English speaking context. The gossip data of the study is taken from the research conducted by Thornburry, Scott, and Slade, Diana (2006). In a discussion, I focus the analysis of the generic structure of the gossip and how it establishes the social function (within) the speech members. Several findings conveyed that: 1) there is a leeway of shifting from one genre to another – e.g. narrative to gossip, within the same participants; 2) conversation can be successful if all the participants aware of and follow the basic conventions – when to talk or to listen, support to judgement or reluctant to the focus of conversation; 3) the genre, e.g. narrative or gossip, could motivate people to leave or to join the conversation which then could establish and reinforce the group membership and maintain the values of the social group.

‘Be Me’: I-Vampire/I-Zombie

2016 ◽  
Author(s):  
Stacey Abbott
Keyword(s):  
Point Of View ◽  
The Self ◽  
First Person ◽  
Film And Television ◽  
Cultural Anxiety ◽  
New Meanings ◽  
Byronic Hero ◽  
Narrative Format ◽  
The Right ◽  
Subsequent Rise

This chapter examines the adoption and development of the first person narrative format within vampire, and more recently zombie, film and television. It considers how this trope has contributed to the rise of the sympathetic/romantic vampire figure from the Byronic hero within Polidori’s The Vampyre to Interview with the Vampire and Byzantium and the subsequent rise of the sympathetic zombie. This chapter questions if this first person point of view empties the vampire and zombie of symbolic agency, or manipulates the genre to explore new meanings. It considers how the genres of the vampire and the zombie are increasingly interconnected, moving away from themes of apocalypse and cultural anxiety to explore questions of identity and the self within a changing world, effectively queering the vampire and zombie for new audiences.Case studies include Let the Right One In, Byzantium, Only Lovers Left Alive, Warm Bodies, Colin, and In the Flesh.

A Preliminary Evaluation of the iPad as a Tool for Learning and Teaching

2013 ◽  
pp. 154-168
Author(s):  
Sue Gregory ◽  
Tony Brown ◽  
Mitchell Parkes
Keyword(s):  
Distance Education ◽  
Pilot Study ◽  
Social Networking ◽  
Large Distance ◽  
Point Of View ◽  
Preliminary Evaluation ◽  
Laptop Computers ◽  
Learning And Teaching ◽  
The Third ◽  
Education Study

In May 2010, the release of the iPad in Australia brought a whole new dimension to learning. This chapter presents the preliminary findings of a pilot study conducted at a large distance education university designed to explore the use of the iPad as a tool for learning from three perspectives. The first is the use of the iPad from a lecturer’s point of view, outlining how it can be used to enhance the task of teaching in distance education. The second is from a student’s point of view, exploring how the iPad can assist in distance education study. The third examines the iPad from an insider perspective, reviewing the variety of apps available including those for social networking. The overall impression is that the iPad has great potential as a tool for learning but it will not necessarily reduce the need for desktop or laptop computers.

scholarly journals Image editing-based data augmentation for illumination-insensitive background subtraction

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Dimitrios Sakkos ◽  
Edmond S. L. Ho ◽  
Hubert P. H. Shum ◽  
Garry Elvin
Keyword(s):  
Deep Learning ◽  
Pilot Study ◽  
Background Subtraction ◽  
Data Augmentation ◽  
Point Of View ◽  
Content Type ◽  
Illumination Changes ◽  
Image Appearance ◽  
Using Data ◽  
Limited Training Samples

PurposeA core challenge in background subtraction (BGS) is handling videos with sudden illumination changes in consecutive frames. In our pilot study published in, Sakkos:SKIMA 2019, we tackle the problem from a data point-of-view using data augmentation. Our method performs data augmentation that not only creates endless data on the fly but also features semantic transformations of illumination which enhance the generalisation of the model.Design/methodology/approachIn our pilot study published in SKIMA 2019, the proposed framework successfully simulates flashes and shadows by applying the Euclidean distance transform over a binary mask generated randomly. In this paper, we further enhance the data augmentation framework by proposing new variations in image appearance both locally and globally.FindingsExperimental results demonstrate the contribution of the synthetics in the ability of the models to perform BGS even when significant illumination changes take place.Originality/valueSuch data augmentation allows us to effectively train an illumination-invariant deep learning model for BGS. We further propose a post-processing method that removes noise from the output binary map of segmentation, resulting in a cleaner, more accurate segmentation map that can generalise to multiple scenes of different conditions. We show that it is possible to train deep learning models even with very limited training samples. The source code of the project is made publicly available at https://github.com/dksakkos/illumination_augmentation

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