scholarly journals THE ANALYSIS OF FORMAL LINK IN WESTLIFE’S SONG

2019 ◽  
Vol 1 (2) ◽  
pp. 58-65
Author(s):  
Sijono Sijono ◽  
Thomas Joni Verawanto Aristo
Keyword(s):  
Qualitative Research ◽  
Discourse Structure ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Deep Meaning ◽  
Field Notes ◽  
Song Lyric ◽  
The Subject ◽  
The Third Person

Formal is formal links referring to the fact inside the language, that consist of verb form, parallelism, ellipsis, referring expression, conjunction, substitution, and repetition. This study uses descriptive qualitative research in which the researcher just describe the result of the implementation from the instruments and the data is obtained from articles, literary works, field notes, and personal documents in the form of words or pictures rather than numbers. The object of this study is formal links and the subject is Westlife’s songs. The analysis is taken from twelve songs of Westlife in their “Back Home” album. From the whole data the researcher found that most of songs consist of more than one formal link. The formal links are; Verb Form, Referring Expression, Repetition, Parallelism, Conjunction, and Substitution. From those formal links the most used in Westlife’s songs is Referring Expression, it can be seen that referring expression dominate the others links in eight songs from twelve songs. The songs that are dominated by referring expression are Us Against the World, Something Right, I’m Already There, When I’m With You, Have You Ever, It’s You, Catch My Breath and the Easy Way. From the result of analysis it can be concluded that  Westlife’s songs has deep meaning which always referring with other words or elements and they avoid to repeat the identity of what they are sharing about again and again. To referring the meaning that they posted in their song’s lyric they used the third person pronouns like he, she, we, our, it, his, her, them. For the suggestion, the researcher recommends to the next researchers to analyze another part of discourse analysis such as discourse structure, discourse as dialogue, knowledge on discourse, etc.Keyword: Formal Link, Song Lyric, Weslife’s Song 

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.

Knowledge from the Outside

2021 ◽  
pp. 40-79
Author(s):  
Hilary Kornblith
Keyword(s):  
The Third ◽  
Person Perspective ◽  
The World ◽  
Third Person ◽  
First Person Perspective ◽  
Third Person Perspective ◽  
The Third Person ◽  
Perceptual Systems ◽  
Obvious Source

Knowledge may be examined from the third-person perspective, as psychologists and sociologists do, or it may be examined from the first-person perspective, as each of us does when we reflect on what we ought to believe. This chapter takes the third-person perspective. One obvious source of knowledge is perception, and some general features of how our perceptual systems are able to pick up information about the world around us are highlighted. The role of the study of visual illusions in this research is an important focus of the chapter. Our ability to draw out the consequences of things we know by way of inference is another important source of knowledge, and some general features of how inference achieves its successes are discussed. Structural similarities between the ways in which perception works and the ways in which inference works are highlighted.

Subject-verb agreement in Newfoundland French

1994 ◽  
Vol 6 (3) ◽  
pp. 239-253 ◽  
Author(s):  
Ruth King
Keyword(s):  
Relative Pronoun ◽  
Gender Agreement ◽  
Verb Agreement ◽  
Number Marking ◽  
The Third ◽  
Grammatical Variation ◽  
Third Person ◽  
The Subject ◽  
Plural Subject ◽  
The Third Person

ABSTRACTIn Newfoundland French the verb does not agree in number with a plural subject in one particular construction–subject relative clauses–but rather displays default singular marking. Agreement is made with the subject relative pronoun, which does not have a morphological feature for number associated with it. This absence of a number feature results in a form consistently spelled out as homophonous with the third-person singular. Gender agreement transmitted in subject relatives containing a predicate adjective is evidence that number marking is at issue, not agreement in general. An exception to this pattern is the (variable) marking of plural agreement in the il y en a construction, explained in terms that are independent from the analysis of the default singular. Newfoundland French agreement is then compared with data from other French varieties, and the approach taken in this study is compared with those of other studies of grammatical variation.

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.”

A Special Use of the Third Person Singular Pronoun

1999 ◽  
Vol 28 (1) ◽  
pp. 3-22
Author(s):  
Xu Liejiong
Keyword(s):  
Relative Clause ◽  
The Third ◽  
Third Person ◽  
New Type ◽  
The Subject ◽  
The Third Person

The special use of the 3rd person singular pronoun ta in Chinese distinguishes itself in that (i) its antecedent NP can be [±animate] and (ü) in that the antecedent can be plural as weIl as singular. Syntactically, the antecedent occurs typically as a sentence topic, a subtopic (i.e. topic within VP), as the object of ba, the subject of bei or the head of a relative clause. Semantically, a verb that takes such a pronoun as its object must be a predicate involving the features of disposal, telicity, irrealis and agentivity. This pronoun cannot be identified with any of the pronominal categories known from the literature, but it represents a new type: the D-pronoun.

“On William Faulkner’s The Sound and the Fury”

2016 ◽  
Author(s):  
Evelyn Scott
Keyword(s):  
The Third ◽  
Sound And The Fury ◽  
The Family ◽  
The World ◽  
Third Person ◽  
The Third Person ◽  
Objective Program

This chapter is an essay reviewing William Faulkner's novel, The Sound and the Fury, the tragic story of the fall of a house, the collapse of a provincial aristocracy in a final debacle of insanity, recklessness, psychological perversion. Book I is a statement of the tragedy as seen through the eyes of Benjy. Book II focuses on Quentin, who is contemplating suicide. In Book III we see the world in terms of the petty, sadistic lunacy of Jason, the last son of the family. The final Book is told in the third person by the author and primarily focuses on Dilsey, an old colored woman. The Sound and the Fury seems to answer the question of whether there exists for this age of disillusion with religion, dedication to the objective program of scientific inventiveness and general rejection of the teleology which placed man emotionally at the center of his universe, the spirit of which great tragedy is the expression.

Morphosyntactic Transfer from a Spoken Heritage Dialect to the Standard Variety

2020 ◽  
Vol 17 (2) ◽  
pp. 202-233
Author(s):  
Reem Faraj
Keyword(s):  
Heritage Language ◽  
Native Speakers ◽  
Control Groups ◽  
Heritage Speakers ◽  
Standard Arabic ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
The Third Person ◽  
Modern Standard

This study examines cases of morphosyntactic transfer from Syrian Arabic to Modern Standard Arabic (MSA) in the production of heritage speakers who are not only bilingual (L1 Syrian Arabic, L2 English), but also diglossic; Syrian Arabic is their heritage language (HL), and MSA is the form they learned in school. Two control groups, native speakers of Syrian Arabic and learners of MSA, were also included. The proposal presented here is that adolescent heritage speakers of Syrian Arabic have a more developed Syrian Arabic grammar, which results in- transfer to MSA, and that degree and duration of input-output and exposure to both varieties impact the type and number of non-target forms in the production of the studied heritage group. The goal is to find the extent of such transfer, how it is manifested, and whether it is also related to sentence and subject type or other factors. The focus of this study is verbs in SV and VS sentences in MSA, where the subject is a nominal DP and the verb is in the third person. The agreement patterns in VS and SV sentences are asymmetrical in MSA but they are not in Syrian Arabic. The SV order in MSA reflects different agreement patterns with both genders and all three numbers, whereas in Syrian Arabic there is one default non-singular verb form. In this paper I provide a formal account of the differences among the agreement patterns in MSA and Syrian Arabic within the Minimalist framework. Using this approach, a morphosyntactic transfer of agreement features from Syrian Arabic to MSA is argued to be a transfer of T0 features. The results demonstrate that errors in the MSA verb produced by the heritage speakers differ from those of MSA learners and that more than half of the heritage speakers’ errors are compatible with morphosyntactic agreement forms in Syrian Arabic. These findings provide evidence for transfer from Syrian Arabic to MSA. It is possible that when three linguistic systems are competing (L1, L2, and L3) and where L1 is the most dominant, L2 is less developed than L1 but more developed than L3, and L2 and L3 are typologically close, transfer takes place from L2 to L3. More research to address this question is needed. The study contributes to the understanding of agreement in heritage speakers’ production and the phenomenon of transfer in bilingual and diglossic situations.

The eternal manifestation of the Spirit through the Son: a hypostatic or energetic reality? Inquiry in the works of Gregory of Cyprus and Gregory Palamas

2020 ◽  
Vol 113 (3) ◽  
pp. 1041-1068
Author(s):  
Anne-Sophie Vivier-Mureşan
Keyword(s):  
20Th Century ◽  
Second Step ◽  
13Th Century ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
Orthodox Theology ◽  
The Third Person ◽  
The Trinity

AbstractThe theological formulation of the “eternal manifestation of the Spirit through the Son”, developed by the patriarch of Constantinople Gregory of Cyprus in the 13th century, has been the subject of numerous studies in the 20th century and played an important role in the renewal of Trinitarian Orthodox theology. The interpretations are however diverging. Most theologians see in this formulation the manifestation of the uncreated energy, which would have been formalized later by Gregory Palamas. Others understand it as a hypostatic reality concerning the third Person of the Trinity. This paper contributes to the discussion by re-analyzing the main texts of Gregory of Cyprus and of Gregory Palamas on this matter. In a first step, we defend the thesis that in the thought of the Byzantine patriarch, this expression truly concerns the hypostasis of the Spirit. In a second step, we question the existence of the theme of an “eternal manifestation” of the uncreated energy in the work of Gregory Palamas.

scholarly journals ANALYZING THE DEIXIS OF SONG LYRICS IN ADELE ENTITLED ALL I ASK

2021 ◽  
Vol 4 (1) ◽  
pp. 134
Author(s):  
Rian Abdus Salamudin ◽  
Efransyah Efransyah
Keyword(s):  
Qualitative Method ◽  
First Person ◽  
Second Person ◽  
The Third ◽  
Spatial Deixis ◽  
Third Person ◽  
Song Lyric ◽  
Song Lyrics ◽  
The Third Person ◽  
Descriptive Qualitative

The title of this research is analyzing the Deixis of Song Lyrics in Adele entitled “All I Ask”. The researchers used a descriptive qualitative method in this research. This research are aimed to find out the types of deixis (Personal, Spatial, and Temporal) and the most dominant deixis which found in the lyrics of Adele's song. Based on the results and discussion, the researchers concluded that all deixis which proposed by Yule are found in Adele’s song lyrics. Personal deixis is mostly found in 38 occurrences dominate in this song. The words are “I, me, we, our, ours, us, and my” as the first person deixis, “you, and your” as the second person deixis, and “they and it” as the third person deixis. In the second position is spatial deixis, this, and in your eyes which found in 5 occurrences. The third position is temporal deixis, coming next, tomorrow, and last night which found in 3 occurrences. Keywords:  Deixis, Song, Lyric 

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