scholarly journals LA SEGONA PERSONA COMPARADA: “EL POBRE RANDALL JARRELL” I GABRIEL FERRATER, CARA A CARA

2006 ◽  
Vol 20 (1) ◽  
pp. 173-199
Author(s):  
Edgar Tello Garcia
Keyword(s):  
Well Water ◽  
Second Person ◽  
The Real ◽  
The Third ◽  
Main Thesis ◽  
Person Pronoun ◽  
The Face ◽  
The Senses ◽  
Randall Jarrell ◽  
Original Relation

The aim of this paper is to study the second person pronoun in the poetry of Randall Jarrell and Gabriel Ferrater. The main thesis goes against the commonplace that holds that the second person pronoun is a mere trace dependent on the poetic I. As we shall demonstrate, the You is absent or evanescent, and its relation to I cannot be reciprocal but shifting. Since both poets were conspicuous literary critics this article first draws up an outline of the possible theoretical implications for selecting that voice. The commentary on their poems is divided into four sections taking up Genette’s concept of palimpsest. Based on a comparison of Ferrater’s “La cara” and Jarrell’s “The Face,” second person clues lead us to comment on the different reading conventions they could have considered before writing a poem. The third section analyzes the second person anchorage, conceived less as an imprisoning structure than as an impossibility of naming (reading) the You properly. Studies of “Well water” and “Si puc” show how naming things that are open to the senses is the only way we can indirectly glimpse, reconstruct or interpret the original relation between first and second person pronouns —a relation we cannot help thinking of as the real— rather than phantasmal —overlapping realism.

scholarly journals ANALISIS BENTUK DAN FUNGSI REFERENSI PERSONAL DALAM NOVEL REMBULAN TENGGELAM DIWAJAHMU KARYA TERE LIYE

2017 ◽  
Vol 2 (1) ◽  
pp. 32
Author(s):  
Muh Ali Imran ◽  
Nur Resky Evawanti
Keyword(s):  
The Novel ◽  
Second Person ◽  
Form And Function ◽  
The Third ◽  
The Face ◽  
Research Procedure ◽  
Third Person ◽  
And Function ◽  
The Third Person ◽  
Planning Action

AbstractThe main problem in this research  how to find out about the form and function of personal references in the novel Rembulan Tenggelam di Wajahmu in order to determine the differences contained in the novel especially those on personal references contained therein. This research was a literature review of research that contains one topic that contains some ideas or propositions related and must be supported by the data obtained from literature sources. This research procedure included planning, action and analysis. Subjects in this study was the novel of  Rembulan Tenggelam di Wajahmu. The results showed that the observation of novel moon sinking in the face are analyzed on personal references indicate that there are a lot of words including personal references such as personal pronoun first (referring to himself), pronouns second person (referring to the speaker) , and the third person pronoun (which refers to the person in question). Based on these results above, it can be concluded that the words include references persona there are differences both in writing and in speech.Keywords: Novel, personal referencesAbstrakMasalah utama dalam penelitian ini yaitu bagaimana mengetahui tentang bentuk dan fungsi referensi personal di dalam novel Rembulan Tenggelam di Wajahmu dengan tujuan untuk mengetahui perbedaan yang terdapat di dalam novel tersebut terkhusus pada referensi personal yang terdapat di dalamnya. Jenis penelitian ini adalah penelitian kajian pustaka yang berisi satu topik yang memuat beberapa gagasan atau proposisi yang berkaitan dan harus didukung oleh data yang diperoleh dari sumber pustaka. Prosedur penelitian ini meleputi perencanaan, pelaksanaan tindakan, dan analisis. Subjek dalam penelitian ini adalah novel rembulan tenggelam di wajahmu. Hasil penelitian menunjukkan bahwa pada pengamatan terhadap novel rembulan tenggelam di wajahmu yang menganalisis tentang referensi personal menunjukkan bahwa terdapat banyak kata-kata yang termasuk referensi personal seperti pronomina persona pertama( yang mengacu pada diri sendiri), pronomina persona kedua (yang mengacu pada lawan bicara), dan pronomina persona ketiga (yang mengacu pada orang yang dibicarakan). Berdasarkan hasil penelitian tersebut diatas, dapat disimpulkan bahwa kata-kata yang mencakup referensi persona terdapat perbedaan baik didalam penulisan maupun didalam tuturan.  Kata kunci: Novel,referensi personal

scholarly journals Death and Violence in Contemporary Theatre, Drama, and Novel (Oliver Frljić, Anja Hilling, Simona Semenič, and G. W. Sebald)

2019 ◽  
Vol 15 (1) ◽  
pp. 117-129
Author(s):  
Tomaž Toporišič
Keyword(s):  
Contemporary Art ◽  
Collective Responsibility ◽  
Subject Positions ◽  
The Real ◽  
Contemporary Theatre ◽  
Black And White ◽  
The Third ◽  
Winfried Georg Sebald ◽  
The Face ◽  
Art And Society

Summary For the purpose of my examination of how literature and art take part in the circulation of significations and representations in the construction of social reality, I concentrate on a specific feature that links and unites the work of four contemporary European authors—the inflation of death and violence, or the “overflow of corpses” in their novels, plays, and performances. My first example will be Bosnian-Croatian theatre director Oliver Frljić, his disturbing, shocking performances in which he uses his own personal, wartime, and political traumas to ask universal questions about the boundaries of artistic and social freedom, individual and collective responsibility, tolerance and stereotypes. As the second and third example I will take plays by two (no longer) dramatic writers, Anja Hilling and Simona Semenič—two outstanding representatives of German and Slovene (no longer) dramatic theatre and drama, exploring in their texts a tension between repetition and representation in which the first mechanism undermines and challenges the second and produces a specific poetic or aesthetic device—an effect of ostranenie or defamiliarisation (Shklovsky). The third example will consist of the novels by Winfried Georg Sebald, in which the German author uses the device of his wanderings between signs, punctuated by black and white photographs, producing a specific emblematic of a mutation of space and time, in which history and geography cross-fertilise, tracing out paths and weaving networks. Besides examining the contestation of subject positions, I concentrate on the dialectics of art and society, where fluid, uncontainable subjects are constantly pushing the contours. Revising the critical consensus that contemporary art primarily engages with the real, the essay describes how theatre and fiction today navigate the complexities of the discourse as well as social realities; how the discussed artists all share the belief that creative expression must also be destruction. Art has to go beyond what we are and what we can identify through understanding. Thus, art negotiates, inflects discursive circulation of stories, idioms, controversies, testimonies, and pieces of (mis)information in the face of global uncertainties.

scholarly journals KLITIK –NYA DALAM BAHASA INDONESIA

2012 ◽  
Vol 11 (1) ◽  
pp. 120
Author(s):  
I Wayan Pastika
Keyword(s):  
Point Of View ◽  
Second Person ◽  
The Third ◽  
Person Pronoun ◽  
Third Person ◽  
The Third Person ◽  
Bahasa Indonesia

The –nya clitic is discussable in terms of not only microlinguisctic domains (phonology, morphology and syntax) but also macrolinguistic perspectives like pragmatics and sociolinguistics. In terms of microlinguistics, there are three important findings of the –nya clitic structure : it can appear (a) as a genitive form, (b) as a definite marker, and (c) as a third person pronoun attached to different word categories (verbs, adjectives, and adverbs). Pragmatically speaking, the –nya clitic can distinguish ‘the old information’ from ‘the new one’ overtly and covertly. From the sociolinguistic point of view the –nya clitic is functioned to avoid the use of the second person that directly threatens the interlocutor’s face. The –nya clitic is also used to measure the degree of closeness between the addresser and the addressee (speech participants): the use of -nya indicates closer relationship (as in bukunya mana?), whereas the use of second person forms indicates formality (as in Dimana Buku Anda?). In informal situations, the speaker tends to choose the third person–nya as a marked form instead of the second person forms such as Anda, kamu, Saudara,  Bapak, Ibu, and Dik, which are unmarked. Therefore,  the –nya clitic is grammatically, pragmatically, and sociolinguistically very dynamic in different speech registers.

scholarly journals Regions of Russia

Politeja ◽  
2019 ◽  
Vol 16 (5(62)) ◽  
pp. 69-102
Author(s):  
Yuri Solozobov
Keyword(s):  
Energy Consumption ◽  
Satellite Images ◽  
Metropolitan Areas ◽  
The State ◽  
Russian Regions ◽  
Real Situation ◽  
The Real ◽  
The Third ◽  
Main Thesis ◽  
Regions Of Russia

The article focuses on a possible classification and description of the real situation in the regions of Russia whose developmental trends have not been included so far in the studies about the processes the state really undergoes. The main thesis of the work boils down to stating the extraordinary diversity of the level and type of development of individual subjects of the Federation. A helpful method for describing the state of Russian regions is first and foremost the observation of changes in energy consumption for lighting purposes based on satellite images. The author divides Russia’s socio-regional body into the First Russia (cities populated by more than 500 thousand inhabitants), the Second Russia of smaller cities and towns and the Third Russia – the country’s peripheries. The conclusions of the study are not optimistic as they emphasize the extinction and underdevelopment of most of the state’s territory (representing the Third Russia) accompanied by the unnatural growth of the metropolitan areas, with Moscow and St. Petersburg at the forefront.

Who Was the ‘Heroine’ of Freud's First Case History? Problems and Issues in the Identification of Freud's patients

2017 ◽  
Vol 19 (1) ◽  
pp. 7-54 ◽  
Author(s):  
Richard Skues
Keyword(s):  
Case History ◽  
The Real ◽  
Hypnotic Suggestion ◽  
Social Circle ◽  
First Case ◽  
The Face ◽  
Historical Investigation

In 1892–3 Freud published his first substantial case history, which concerned a patient treated by means of hypnotic suggestion. For some years this has been one of the few remaining of Freud's dedicated cases histories where the patient has not been identified. More recently, however, two publications independently arrived at the conclusion that the patient was none other than Freud's wife, Martha. This paper sets out the reasons why this identification should always have been treated with suspicion, even if the real identity was not known. Nevertheless, the paper goes on to offer a more plausible identification from among Freud's known social circle. The second part of the paper questions the circumstances under which the original misidentification could plausibly have been sustained in the face of such glaring evidence to the contrary. It concludes that, among other reasons, recent tendencies in controversies about Freud's trustworthiness have the hazard of leading to unreliable assumptions about Freud's honesty being taken as a basis for sound historical investigation.

“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome

2014 ◽  
Vol 55 (1-2) ◽  
pp. 17-26
Author(s):  
Paul W. Merrick
Keyword(s):  
Literary Works ◽  
The Real ◽  
English Poet ◽  
Byronic Hero ◽  
Public Enemy ◽  
The Face ◽  
Narrative Poem ◽  
Positive Force

The influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s.

In our society, the proportion of youth is higher than any other society. They are important in this regard. But the real question is whether his views, trends and likes and dislikes are different from other generations of society in political terms. What

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 680-686
Author(s):  
Azad Pratap Singh
Keyword(s):  
The Elderly ◽  
Fundamental Difference ◽  
The West ◽  
Green Party ◽  
The Real ◽  
The Third ◽  
English Speaking ◽  
Education And Employment ◽  
Political Understanding ◽  
Separate Class

In our society, the proportion of youth is higher than any other society. They are important in this regard. But the real question is whether his views, trends and likes and dislikes are different from other generations of society in political terms. What is the reason for the tendency to see youth as a separate class. That we borrow the principles of politics from the West, where the distinction of generations is more important factor in politics than the distinction of community or class. At one time, parties like the Labor Party and the Green Party have been standing mainly on the vote of the youth for some time. The second reason is that the image of the youth is based on the English-speaking youths living somewhere in the metros. We often consider him to be a symbol of youth. While in reality they are a very small part of our youth. And the third reason is that the part of change, revolution and the politics of change that had set the hopes of the youth are still there in our political understanding. The fact is that the youth class is not very different from the elderly or any other generation in terms of participation in politics, if different then it means that its participation is less than the other class because it is more concerned about education and employment. There is no fundamental difference between the vote of the youth and other generations in terms of voting or political choice. If there is a difference, then only in the sense that the parties who have come in the last 25-30 years have heard more about the youth, hence their choice is more. Older parties usually get little support from the youth. However, it is not related to its youth, because the information about that party is limited to certain people.

The Meditations

2017 ◽  
Author(s):  
Walter Ott
Keyword(s):  
Perceptual Experience ◽  
Developmental Reading ◽  
Basic Structure ◽  
Brain Image ◽  
The Real ◽  
The Third ◽  
Real Work ◽  
Sensible Qualities ◽  
The Brain

Despite its difference in aspiration, the Meditations preserves the basic structure of perceptual experience outlined in Descartes’s earliest works. The chapter explores Descartes’s notion of an idea and uses a developmental reading to clear up the mystery surrounding material falsity. In the third Meditation, our protagonist does not yet know enough about extension in order to be able to tell whether her idea of cold is an idea of a real feature of bodies or merely the idea of a sensation. By the time she reaches the end of her reflections, she has learned that sensible qualities are at most sensations. As in his earliest stages, Descartes believes that the real work of perceiving the geometrical qualities of bodies is done by the brain image, which he persists in calling an ‘idea,’ at least when it is the object of mental awareness.

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