scholarly journals Endnu en gang: om at fortælle

2006 ◽  
Vol 34 (101) ◽  
pp. 14-43
Author(s):  
Käte Hamburger
Keyword(s):  
English Translation ◽  
Literary Fiction ◽  
The Novel ◽  
Linguistic Features ◽  
Ordinary Life ◽  
The Third ◽  
Third Person ◽  
The Third Person ◽  
Käte Hamburger

Forsøg på et svar og en afklaring Once again: About NarrationIn 1957 the German literary scholar Käte Hamburger published an original and controversial book on the language of literary fiction (Die Logik der Dichtung, English translation The Logic of Literature (1973)). According to Hamburger the constitutive mark of epic fiction (the third-person form of narration) is that it represents human subjectivity in a manner that has no counterpart in ordinary life. Furthermore this »logic of literature« is not a matter of interpretation or stylistics, but is based on fundamental and distinguishable linguistic features, e.g. the loss of the sense of »pastness« in the praeterite tense. Hamburger’s book raised a lot of debate and objections, and in 1965 she summarized the discussion and gave her reply in the article »Noch einmal: Vom Erzählen« (Once again: About Narration), translated into Danish for this issue of K&K. The crucial elements of tense in the novel, the role of the narrator and the art of fiction are once again investigated by Hamburger in this final contribution.

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.

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 Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

‘A Kind of Shadow’: Mirror Images and Alter Egos in Zadie Smith’s Swing Time

2018 ◽  
Vol 66 (4) ◽  
pp. 461-477
Author(s):  
Franziska Quabeck
Keyword(s):  
The Novel ◽  
Politics Of Recognition ◽  
The Third ◽  
Narrative Perspective ◽  
Swing Time ◽  
Third Person ◽  
Zadie Smith ◽  
And Gender ◽  
First Time ◽  
The Third Person

AbstractInSwing Time, her newest novel to date, Zadie Smith makes use of a first-person narrator for the first time in her career as a writer, and this change in narrative perspective is crucial to our understanding of the novel. Her narrator is slightly odd and we come to question the veracity of her account. Thus, she is ‘unreliable’ in traditional terms, but this article argues that we can equally call her inauthentic because she obviously represses feelings that are vital to the story. She does not fully expose herself, for she tries to hide the fact that she does not know who she is. Trapped between the intersectionality of race, class, and gender, oppressed by an overbearing mother and a racist society, the narrator has confined herself to an existence as a shadow. By way of Charles Taylor’s politics of recognition and Frantz Fanon’s image in the third person, this article tries to show thatSwing Time’s narrator exists only as a shadow because she finds no external affirmation of herself as a black woman.

The Mediation of Coherent Discourse by Kinesthetic Reenactment: A Case Study of an Autistic Adolescent, Part II

2009 ◽  
Vol 29 (1) ◽  
pp. 41-70 ◽  
Author(s):  
Elena T. Levy
Keyword(s):  
Physical Space ◽  
Body Motion ◽  
Narrative Coherence ◽  
The Third ◽  
Third Person ◽  
Linguistic Behavior ◽  
Multimodal Process ◽  
The Third Person

An earlier analysis of an autistic adolescent's repeated retellings of a story (Levy & Fowler, 2004–2005) showed how a transition from disorganized linguistic behavior to organized narratives was scaffolded by adult speech. The present article is concerned with the role of kinesthetic enactment in this same transition. The goal of the analysis is to trace the emergence of narrative coherence relative to changes in speech-movement combinations. The analysis yields the following pattern of change: from utterances (1) elicited in the third-person and produced with diffuse body motion, then (2) reproduced while enacted, sometimes in the first-person, (3) elicited without enactment in the third-person, and (4) reproduced in the third-person without specific adult prompts and in the absence of full-body enactment. This pattern is interpreted as a process of increasing explicitation (Karmiloff-Smith, 1986a); relying at first on the grounding of speech-movement combinations in physical space, and later in linguistically created origos (Buhler, 1982). The findings support McNeill's (2005) view of language as a multimodal process that relies on two semiotic modes, the conventional lexicogrammatical categories of speech, and the imagistic and idiosyncratic properties of body motion.

Sign in / Sign up

Export Citation Format

Share Document