scholarly journals Narrative Voice Matters! Improving Smoking Prevention with Testimonial Messages through Identification and Cognitive Processes

2020 ◽  
Vol 17 (19) ◽  
pp. 7281
Author(s):  
Juan-José Igartua ◽  
Laura Rodríguez-Contreras
Keyword(s):  
Smoking Prevention ◽  
First Person ◽  
Tobacco Prevention ◽  
Narrative Voice ◽  
Narrative Persuasion ◽  
Experimental Conditions ◽  
Cognitive Elaboration ◽  
Psychological Mechanisms ◽  
Third Person ◽  
The Relationship

Narrative messages are increasingly being used in the field of tobacco prevention. Our study is based on narrative persuasion and aims to analyze the psychological mechanisms that explain why the narrative voice is relevant to promote persuasive impact. An online experiment with a 2 (narrative voice) × 2 (message) factorial design was carried out. Participants (525 adult smokers) were randomly assigned to two experimental conditions (first-person versus third-person narrative message). To increase the external validity of the study, two different messages were used within each condition. After reading the narrative message the mediating and dependent variables were evaluated. Participants who read the narrative in the first person experienced greater identification. Moreover, mediational analysis showed that both counterarguing and cognitive elaboration played a significant role in the relationship between narrative voice, identification, and persuasive impact. This study confirm that narrative voice is not only an anecdotal formal choice but that it indirectly affects variables related to tobacco prevention, due to the fact that first-person messages activate a mechanism of affective connection with the message (increasing the identification with the protagonist) that decreases resistance to prevention (the counterarguing process) while simultaneously stimulating reflection or cognitive elaboration.

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.

Multichannel Gaming and the Aesthetics of Interactive Surround

2013 ◽  
Author(s):  
Mark Kerins
Keyword(s):  
Video Games ◽  
Mixing Rules ◽  
First Person ◽  
Game Play ◽  
Sound Track ◽  
Surround Sound ◽  
Game World ◽  
Third Person ◽  
Technical Factors ◽  
The Relationship

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.

Look Who Is Talking … and Who Is Listening: Finding an Integrative “We” Voice in Entrepreneurial Scholarship

2020 ◽  
pp. 104225872091450 ◽  
Author(s):  
Dimo Dimov ◽  
Reiner Schaefer ◽  
Joseph Pistrui
Keyword(s):  
Decision Making ◽  
First Person ◽  
Second Person ◽  
Third Person ◽  
Entrepreneurial Action ◽  
The Relationship

This paper explores the relationship between the study of entrepreneurs and the entrepreneurs we study. While scholars typically adopt a detached, third-person stance for the purpose of explaining and predicting entrepreneurial action, entrepreneurs instead operate in a first-person stance of deciding what to do. The two stances cannot be reduced to one another. We argue that an engaged dialog—a second-person stance—can bring scholars and entrepreneurs together into a unifying practical decision-making perspective. By working to develop this integrative voice in scholarship, we can collapse the dualism of rigor and relevance.

scholarly journals Do Employees Snooze or Strike Back to Injustice?

2020 ◽  
Vol 7 (2) ◽  
pp. 42-74
Author(s):  
Sadaf Choudhary
Keyword(s):  
Questionnaire Survey ◽  
Close Friend ◽  
First Person ◽  
Second Person ◽  
Procedural Injustice ◽  
Third Person ◽  
Negative Feelings ◽  
The Relationship

This study aims to investigate the relationship between the perceptions of injustice and revengeful intentions among first- person (revengeful intention by the victim), second-person (revengeful intention for the sake of a close friend), and third- person (revengeful intention for the sake of an acquaintance). A questionnaire survey was used to collect data from 154 respondents. The findings showed that interactional injustice is associated positively with first-person revenge, whereas distributive and procedural injustice lead to second-person and third-person revengeful intentions. This study offers important insights about the broader impact of injustice which goes beyond the victim and explains how it ignites negative feelings among the non-victim as well.

First-Person Experiments in Thinking

2018 ◽  
Vol 23 (3) ◽  
pp. 189-205 ◽  
Author(s):  
Renatus Ziegler ◽  
Ulrich Weger
Keyword(s):  
Physiological Parameters ◽  
The Self ◽  
First Person ◽  
Psychological Phenomena ◽  
Third Person ◽  
Current Article ◽  
Thinking Process ◽  
Mental Contents

Abstract. In psychology, thinking is typically studied in terms of a range of behavioral or physiological parameters, focusing, for instance, on the mental contents or the neuronal correlates of the thinking process proper. In the current article, by contrast, we seek to complement this approach with an exploration into the experiential or inner dimensions of thinking. These are subtle and elusive and hence easily escape a mode of inquiry that focuses on externally measurable outcomes. We illustrate how a sufficiently trained introspective approach can become a radar for facets of thinking that have found hardly any recognition in the literature so far. We consider this an important complement to third-person research because these introspective observations not only allow for new insights into the nature of thinking proper but also cast other psychological phenomena in a new light, for instance, attention and the self. We outline and discuss our findings and also present a roadmap for the reader interested in studying these phenomena in detail.

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.

Praxeology, Imperatives, and Shifts of View

2018 ◽  
Author(s):  
Benj Hellie
Keyword(s):  
Practical Reason ◽  
First Person ◽  
Third Person ◽  
And Shifts ◽  
Practical Metaphysics ◽  
The Way

Recent neo-Anscombean work in praxeology (aka ‘philosophy of practical reason’), salutarily, shifts focus from an alienated ‘third-person’ viewpoint on practical reason to an embedded ‘first-person’ view: for example, the ‘naive rationalizations’ of Michael Thompson, of form ‘I am A-ing because I am B-ing’, take up the agent’s view, in the thick of action. Less salutary, in its premature abandonment of the first-person view, is an interpretation of these naive rationalizations as asserting explanatory links between facts about organically structured agentive processes in progress, followed closely by an inflationary project in ‘practical metaphysics’. If, instead, praxeologists chase first-personalism all the way down, both fact and explanation vanish (and with them, the possibility of metaphysics): what is characteristically practical is endorsement of nonpropositional imperatival content, chained together not explanatorily, but through limits on intelligibility. A connection to agentive behavior must somehow be reestablished—but this can (and can only) be done ‘transcendentally’.

Seeming to Seem

2018 ◽  
Author(s):  
David Rosenthal
Keyword(s):  
Mental States ◽  
Order Theory ◽  
Higher Order ◽  
Psychological State ◽  
Intentional Stance ◽  
First Person ◽  
Psychological States ◽  
Third Person ◽  
Higher Order Theory ◽  
The Third Person

Dennett’s account of consciousness starts from third-person considerations. I argue this is wise, since beginning with first-person access precludes accommodating the third-person access we have to others’ mental states. But Dennett’s first-person operationalism, which seeks to save the first person in third-person, operationalist terms, denies the occurrence of folk-psychological states that one doesn’t believe oneself to be in, and so the occurrence of folk-psychological states that aren’t conscious. This conflicts with Dennett’s intentional-stance approach to the mental, on which we discern others’ mental states independently of those states’ being conscious. We can avoid this conflict with a higher-order theory of consciousness, which saves the spirit of Dennett’s approach, but enables us to distinguish conscious folk-psychological states from nonconscious ones. The intentional stance by itself can’t do this, since it can’t discern a higher-order awareness of a psychological state. But we can supplement the intentional stance with the higher-order theoretical apparatus.

scholarly journals When the World Breaks Down: A 3-Stage Existential Model of Nihilism in Schizophrenia

2021 ◽  
pp. 1-24
Author(s):  
Philipp Klar ◽  
Georg Northoff
Keyword(s):  
The Self ◽  
First Person ◽  
Second Stage ◽  
Existential Crisis ◽  
Third Stage ◽  
The World ◽  
Third Person ◽  
Pathological Development ◽  
Sense Of Reality ◽  
Intentional Structure

The existential crisis of nihilism in schizophrenia has been reported since the early days of psychiatry. Taking first-person accounts concerning nihilistic experiences of both the self and the world as vantage point, we aim to develop a dynamic existential model of the pathological development of existential nihilism. Since the phenomenology of such a crisis is intrinsically subjective, we especially take the immediate and pre-reflective first-person perspective’s (FPP) experience (instead of objectified symptoms and diagnoses) of schizophrenia into consideration. The hereby developed existential model consists of 3 conceptualized stages that are nested into each other, which defines what we mean by existential. At the same time, the model intrinsically converges with the phenomenological concept of the self-world structure notable inside our existential framework. Regarding the 3 individual stages, we suggest that the onset or first stage of nihilistic pathogenesis is reflected by phenomenological solipsism, that is, a general disruption of the FPP experience. Paradigmatically, this initial disruption contains the well-known crisis of common sense in schizophrenia. The following second stage of epistemological solipsism negatively affects all possible perspectives of experience, that is, the first-, second-, and third-person perspectives of subjectivity. Therefore, within the second stage, solipsism expands from a disruption of immediate and pre-reflective experience (first stage) to a disruption of reflective experience and principal knowledge (second stage), as mirrored in abnormal epistemological limitations of principal knowledge. Finally, the experience of the annihilation of healthy self-consciousness into the ultimate collapse of the individual’s existence defines the third stage. The schizophrenic individual consequently loses her/his vital experience since the intentional structure of consciousness including any sense of reality breaks down. Such a descriptive-interpretative existential model of nihilism in schizophrenia may ultimately serve as input for future psychopathological investigations of nihilism in general, including, for instance, its manifestation in depression.

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