scholarly journals “To the Man and the Horse – Perdition”: The Semiotics of Corporeali- ty in Vasily Belov’s Short Story “For Carriage”

2020 ◽  
Vol 38 (2) ◽  
pp. 380-387
Author(s):  
A. I. Kulyapin
Keyword(s):  
Gender Identity ◽  
Short Story ◽  
Sense Of Self ◽  
Main Character ◽  
Small Child ◽  
The Third ◽  
Male Characters ◽  
Stage Of Development ◽  
Third Person ◽  
The Third Person

The article analyzes the semiotics of bodily deformations of the heroes of the story by Vasily Belov “For Carriage”. All male characters of the story are endowed with physical inferiority. The main character of the story, Senka Gruzdev, lost his right hand fingers in the war, and once in his youth, he licked an ax brought from the cold and left a half-tongue on that ax. Senka’s irreconcilable enemy – the brigadier Ilyukha – is one-eyed. As a result, a triad conceptually significant for the author arises: armless – tongueless – eyeless. The defective corporeality of the heroes is correlated with their defective spirituality, semi-faith. Belov very persistently and consistently draws parallels between people and animals in the text. In the story there are two representatives of the animal world with an indefinite gender identity: a rooster that has lost its crest and a horse Sparrow – half stallion half gelding. The masculine dignity of the main character of the story Senka Gruzdev is also metaphorically halved. Senka Gruzdev fails when he tries to demonstrate one hundred percent manifestation of masculinity. Senka usually speaks about himself in the third person. Psychologists and linguists noted that self-name from a third person is peculiar primarily to the speech of young children, as well as to adults who enter into communication with them. Senka was clearly stuck at the infantile stage of development; he does not have a sense of self as a full-fledged personality. The figure of Senka Gruzdeva is typical of the artistic world of Vasily Belov. The most famous hero of the writer is Ivan Afrikanovich from the story “A Habitual Affair” “himself sometimes as a small child”.

scholarly journals „CNOTLIWA” ŻYDÓWKA ZUZANNA. O empatii w opowiadaniu Antoniego Czechowa Grzęzawisko

2017 ◽  
Vol 27 ◽  
pp. 59-70
Author(s):  
Witold Kowalczyk
Keyword(s):  
Short Story ◽  
Conceptual Metaphor ◽  
Jewish Woman ◽  
Cognitive Empathy ◽  
Conceptual Metaphor Theory ◽  
Negative Perception ◽  
The Third ◽  
Metaphor Theory ◽  
Third Person ◽  
The Third Person

This article examines Anton Chekhov’s short story (Quag)mire (Тина, 1886), which gave rise to a great deal of controversy among contemporaneous critics and authors. Some of their commentaries were pejorative, in spite of the fact that Chekhov himself regarded the story as successful. Since the critics frequently referred to the reader’s thoughts and feelings, the article proposes to analyse the story by virtue of cognitively-inspired literary methodology, with emphasis laid on (cognitive) empathy. Particularly useful is also the Deictic Shift Theory, which involves the reader’s engagement in the tracing of “relocated” deictic centres, as well as the Conceptual Metaphor Theory. Accordingly, Kowalczyk argues, debauchery is a mire can be considered the story’s central conceptual metaphor, while the story’s title, Тина (Tina), literally a (quag)mire, provides a key to its interpretation. In the story, told by the third-person narrator, the reader empathically identifies her/himself with Alexandr Sokolsky, a Russian officer, as if “entering” the deictic field created  "around" him. Together the protagonist, the reader —via a sequence of consecutive deictic shifts — is empathetically familiarized with Susanna, a Russified Jewish woman. Through several actions and utterances, Susanna attempts to question the negative stereotype of a Jew, commonplace in Russia, but fails. Arguably, the reader’s evoking the biblical story of the genuinely virtuous Susanna, implied in Chekhov’s text, entails her/his negative perception of Chekhov’s fictional female. This cultural undercurrent may be deemed responsible for the story’s unfavourable reception by Jewish readers, who interpreted Тина (Tina) in terms of a literary attack on their society. In light of the cognitive-literary approach delineated above, Chekhov’s story in question indeed proves to be anti-semitic.

scholarly journals “Chike’s School Days”: An Autrebiography Verbalizing Chinua Achebe’s Early Schooling

2020 ◽  
Vol 8 (6) ◽  
pp. 103
Author(s):  
Komenan Casimir
Keyword(s):  
Short Story ◽  
Literary Text ◽  
The Self ◽  
First Person ◽  
The Third ◽  
Early Schooling ◽  
Third Person ◽  
The Third Person

Todorov’s syntactic, verbal and semantic aspects of the literary text, onomastics and Mauron’s psychocriticism, underlie this paper whose goal is to show that Chinua Achebe’s “Chike’s School Days” is an autrebiography verbalizing Achebe’s early schooling. As two major thematic Ariadne’s threads, the religious, familial and onomastic connections between Chike and Achebe, as well as Achebe’s untimely love for Shakespeare’s language, have been used to compose an autrebiograhical short story, a shortened fiction about the self, which is narrated not in the first-person (“I”), but rather in the third-person (“He”). It is with such a detachment device that Achebe writes about Chike, a character who is nobody else but his double.

scholarly journals Analisis Cerita Pendek “Der Tänzer Malige” Karya Johannes Bobrowski

2021 ◽  
Vol 2 (2) ◽  
pp. 117
Author(s):  
Rosnaini Rosnaini ◽  
Ambo Dalle ◽  
Syamsu Rijal
Keyword(s):  
Data Collection ◽  
Short Story ◽  
Point Of View ◽  
The Third ◽  
Space And Time ◽  
Third Person ◽  
The Third Person ◽  
Descriptive Qualitative

The type of this research is descriptive qualitative. The purpose of this research is to describing theme, characters, plor, setting, message, and point of view in the short story “Der Tänzer Malige” by Johannes Bobrowski. The data in this study were obtained from reading the short story “Der Tänzer Malige” by Johannes Bobrowski. Data collection using library techniques, which are in the from of reading and notes technique on the object of research. The results of this study are as follws, a description of the theme elements: soldiers, character elements: main characters and extras, plot elements: mixed plot, background elements: place setting (village and army barracks) and time setting (August 1939 at the end of the season. Heat), the element of mandate: a high social  spirit, the element of perspective: the third person point of view (Er).the interrelationship between the intrinsic elements of the short story, where the theme, character, plot, space and time setting, mandate, and point of view, shows a structure that influences one another. These elements cannot be separated from one another.

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.

Causal determinism and a totally global fatalism from the third-person perspective

2020 ◽  
Author(s):  
Xiaoyang Yu
Keyword(s):  
Human Brain ◽  
Human Language ◽  
Causal Determinism ◽  
The Third ◽  
Person Perspective ◽  
Neural Substrate ◽  
Third Person ◽  
Third Person Perspective ◽  
Physical Laws ◽  
The Third Person

The human brain and the human language are precisely constructed together by evolution/genes, so that in the objective world, a human brain can tell a story to another brain in human language which describes an imagined multiplayer game; in this story, one player of the game represents the human brain itself. It’s possible that the human kind doesn’t really have a subjective world (doesn’t really have conscious experience). An individual has no control even over her choices. Her choices are controlled by the neural substrate. The neural substrate is controlled by the physical laws. So, her choices are controlled by the physical laws. So, she is powerless to do anything other than what she actually does. This is the view of fatalism. Specifically, this is the view of a totally global fatalism, where people have no control even over their choices, from the third-person perspective. And I just argued for fatalism by appeal to causal determinism. Psychologically, a third-person perspective and a new, dedicated personality state are required to bear the totally global fatalism, to avoid severe cognitive dissonance with our default first-person perspective and our original personality state.

scholarly journals Deictic Shifting in Greek Contractual Writing (I–IV AD)

Philologus ◽  
2020 ◽  
Vol 164 (1) ◽  
pp. 83-106
Author(s):  
Klaas Bentein
Keyword(s):  
Literary Texts ◽  
Ancient Greek ◽  
Narrative Technique ◽  
The Third ◽  
Third Person ◽  
The Third Person

AbstractMuch attention has been paid to ‘deictic shifts’ in Ancient Greek literary texts. In this article I show that similar phenomena can be found in documentary texts. Contracts in particular display unexpected shifts from the first to the third person or vice versa. Rather than constituting a narrative technique, I argue that such shifts should be related to the existence of two major types of stylization, called the ‘objective’ and the ‘subjective’ style. In objectively styled contracts, subjective intrusions may occur as a result of the scribe temporarily assuming himself to be the deictic center, whereas in subjectively styled contracts objective intrusions may occur as a result of the contracting parties dictating to the scribe, and the scribe not modifying the personal references. There are also a couple of texts which display more extensive deictic alter­nations, which suggests that generic confusion between the two major types of stylization may have played a role.

Yahweh, Women, and the Trinity

1975 ◽  
Vol 32 (3) ◽  
pp. 234-242
Author(s):  
Jay G. Williams
Keyword(s):  
Holy Spirit ◽  
New Age ◽  
The Third ◽  
The Holy Spirit ◽  
Third Person ◽  
The Third Person ◽  
The Church ◽  
The Trinity

“Might it not be possible, just at this moment when the fortunes of the church seem to be at low ebb, that we may be entering a new age, an age in which the Holy Spirit will become far more central to the faith, an age when the third person of the Trinity will reveal to us more fully who she is?”

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