scholarly journals Caracteres da experiência

Phainomenon ◽  
2001 ◽  
Vol 2 (1) ◽  
pp. 5-36
Author(s):  
Andre Barata
Keyword(s):  
Phenomenal Consciousness ◽  
The Other ◽  
Reference Object ◽  
First Person ◽  
The Third ◽  
Intentional Consciousness ◽  
Third Person ◽  
Points Of View ◽  
Intentional Experience ◽  
The Third Person

Abstract The discrimination between two points of view, or perspectives, in respect to consciousness, one on the first-person other on the third-person, deals with two concepts of consciousness- respectively, phenomenal consciousness and intentional consciousness (sections 1 and 2). I will accept, generally, this idea. However, I will argue that are not two, but three kinds of consciousness and typ of experience, making my point introducing the concept of different characters of experience (section 3). These characters are ‘experience’, ‘signification’ and ‘reference/object’, and when all of them occur I say that we have an intentional experience. If it lacks the last one, we have a meaningful experience, but without reference. Finally, if the only occurrence is ‘experience’, then the type of experience we live is a meaningless or mute experience. This ‘taxonomy’ allows classifying a perceptum as an intentional experience, a quale as a meaningful experience and a sense datum as a mute experience. On the other hand, it represents, as I claim, an approach much more clear, than those usually appears, to the question ‘what qualia really are? ‘ (sections 4 e 5). Moreover: it makes possible talk about objectivity of qualia, an objectivity without object (section 6).

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.

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.

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).

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.

The verbal system

2019 ◽  
pp. 176-231
Author(s):  
D. Gary Miller
Keyword(s):  
The Other ◽  
Past Participle ◽  
Verbal System ◽  
The Third ◽  
The Past ◽  
Change Of State ◽  
System P ◽  
Third Person ◽  
The Third Person ◽  
Weak Verbs

Verbs in Gothic are thematic, athematic, or preterite present. Several classes, including modals, are discussed. Strong verbs have seven classes, weak verbs four. Inflectional categories are first, second, and third person, singular, dual (except in the third person), and plural number. Tenses are nonpast and past/preterite. There are two inflected moods, indicative and optative, and two voices (active, passive). The passive is synthetic in the nonpast indicative and optative. The past system features two periphrastic passives, one stative-eventive with wisan (be), the other inchoative and change of state with wairþan (become). Middle functions are mostly represented by simple reflexive structures and -nan verbs. Nonfinite categories include one voice-underspecified infinitive, a nonpast and past participle, and a present active imperative. The third person imperative is normally expressed by an optative.

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.

Blind Men Speaking of Colors: Paul's Recollection and the Self-Image of Early Thirteenth-Century Theologians

2014 ◽  
Vol 107 (4) ◽  
pp. 425-446
Author(s):  
Ayelet Even-Ezra
Keyword(s):  
Thirteenth Century ◽  
The Body ◽  
The Self ◽  
First Person ◽  
Knowledge Of God ◽  
The Third ◽  
Self Image ◽  
Third Person ◽  
The Subject ◽  
The Third Person

In the Second Epistle to the Corinthians, Paul writes: It is doubtless not profitable for me to boast. I will come to visions and revelations of the Lord: I know a man in Christ who fourteen years ago—whether in the body I do not know, or whether out of the body I do not know, God knows—such a one was caught up to the third heaven. And I know such a man—whether in the body or out of the body I do not know, God knows—how he was caught up into Paradise and heard inexpressible words, which it is not lawful for a man to utter. Of such a one I will boast; yet of myself I will not boast, except in my infirmities. (2 Cor 12:1–5 nkiv) This brief and enigmatic account is caught between multiple dialectics of power and infirmity, pride and humility, unveiling and secrecy. At this point in his letter Paul is turning to a new source of power in order to establish his authority against the crowd of boasting false apostles who populate the previous paragraphs. He wishes to divulge his intimate, occult knowledge of God, but at the same time keep his position as antihero that is prevalent throughout the epistle. These dialectics are enhanced by a sophisticated play of first and third person. The third person denotes the subject who experienced rapture fourteen years ago, while the first person denotes the narrator in the present. Only after several verses does the reader realize that these two are in fact the same person. This alienation allows Paul the intricate play of boasting, for “of such a one I will boast, yet of myself I will not boast.”

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