scholarly journals Clause-typing by [2] – the loss of the 2nd person pronoun du 'you' in Dutch, Frisian and Limburgian dialects

Author(s):  
Gertjan Postma
Keyword(s):  
Virittäjä ◽  
2020 ◽  
Vol 124 (3) ◽  
Author(s):  
Anu Rouhikoski

Artikkelissa tarkastellaan nollapersoonaisen modaaliverbirakenteen käyttöä direktiivinä (esim. tämä hakemus pitäs vielä täyttää). Aineistona on 11,5 tuntia Kansaneläkelaitoksen eli Kelan toimistoissa videolle tallennettuja aitoja asiakaspalvelutilanteita, 131 yksittäistä tilannetta. Aineistossa esiintyvät neljä virkailijaa ovat noin 30-vuotiaita; asiakkaiden ikä vaihtelee noin 18 ja 80 vuoden välillä. Analyysi osoittaa, että nollapersoonan referenssi on ainakin muodollisesti avoin ja Kelan tilanteissa se usein kattaa sekä paikalla olevan asiakkaan että muut samassa tilanteessa olevat ihmiset. Siten nollapersoonalla ilmaistaan eksplisiittisesti, että kaikkia kohdellaan samoin säännöin eikä asiakkaalta vaadita mitään poikkeuksellista. Se ikään kuin perustelee itse itsensä. Modaaliverbi (esim. kannattaa, pitää, täytyä, voida) puolestaan tuo lausumaan jonkin keskustelun ulkoisen velvoitteen. Aineistossa nollapersoonaisia modaaliverbidirektiivejä käytetään usein silloin, kun virkailija ei käsittele itsestään selvänä, että asiakas tulee noudattamaan saamaansa direktiiviä, vaan direktiiviin liittyy epävarmuustekijöitä. Näitä ovat arkaluonteisuus, erilinjaisuus, toiminnon aiheuttama vaiva tai toiminnon uutuus vuorovaikutustilanteessa. Nollapersoonainen modaaliverbidirektiivi ottaa hienovaraisesti huomioon toimintoon liittyvät epävarmuustekijät mutta osoittaa silti toiminnon olevan tilanteessa tarpeellinen. Nollapersoonalausumia verrataan artikkelissa toiseen direktiivityyppiin, 2. persoonan modaaliverbilausumiin (esim. tää sun pitäs kuitenki täyttää vielä). Niissäkin modaaliverbi välittää tilanteen ulkopuolelta tulevan käskyn, mutta lausuma rajataan koskemaan ainoastaan yhtä asiakasta ja hänen velvollisuutensa tehdään näkyviksi. 2. persoonan modaaliverbidirektiiveillä annetaan yleensä lisäohjeita jo meneillään olevassa prosessissa tai toistetaan jokin jo annettu direktiivi. Lisäksi niitä käytetään yleensä vain silloin, kun asiakas on virkailijaa nuorempi, kun taas nollapersoonadirektiivejä esitetään kaikenikäisille asiakkaille.   Zero-person subjects and modal verbs in directives: a study of employees at the Social Insurance Institution of Finland  The article analyses the directive use of a Finnish zero person + modal verb construction, e.g. tämä hakemus pitäs vielä täyttää (‘one should fill in this application form’). The data comprises 11.5 hours of service encounters videotaped at the offices of the Social Insurance Institution of Finland (in Finnish: Kansaneläkelaitos = Kela), 131 encounters in total. The four employees in these encounters are all in their thirties, while their clients are between 18–80 years of age. The referent of a zero-person construction is formally open, and in the service encounters analysed here its referent is often not only the client but anyone else who finds themselves in a similar situation. Therefore, the zero person explicitly expresses the notion that all clients are treated in an equal manner. The modal verb (e.g. pitää, täytyä ‘must, have to, should’; voida ‘be able to’; kannattaa ‘be worthwhile’) denotes an obligation that comes from outside the situation at hand. The analysis of the data indicates that a zero person + modal verb construction is often used when the directive involves contingencies, such as delicacy, disalignment, imposition, or a previously undiscussed action. The zero person + modal verb construction displays the speaker’s orientation towards contingencies but also indicates the necessity of the action in question. The zero-person construction stands in contrast to another directive construction, that of the 2nd-person subject + modal verb (e.g. tää sun pitäs kuitenki täyttää vielä ‘you should still fill in this one’). The modal verb conveys an external obligation, but the 2nd-person pronoun refers to one sole person and makes explicit his/her responsibilities. This construction is mainly used when reformulating a previous directive or giving additional advice. Moreover, it is usually only used when addressing younger clients, whereas the zero-person construction is suitable to clients of all ages.


2011 ◽  
Vol 20 (4) ◽  
pp. 333-346 ◽  
Author(s):  
Anthony Warde

This article explores the workings of second-person pronoun forms in Cormac McCarthy’s 2006 post-apocalyptic novel The Road. More particularly, the analysis focuses on examples of ‘doubly deictic you’ (Herman, 2002), and demonstrates how the novel exploits the uncertain deictic, referential and address functions of this particular pronoun form to develop what I term a ‘post-apocalyptic poetics’, through which it attempts to explore – and enact – the spatial and temporal dislocations that ensue from the fictional apocalypse. The article also demonstrates how the novel’s indeterminate use of narrative you creates profound hermeneutical (and often ontological) uncertainty for readers, who must often suspend any attempt to fix the positions from and to which the story is addressed. McCarthy’s opaque use of the terms you and your throughout the novel creates profound polyphony and multivalence by preventing readers from clearly distinguishing the discourse and perspectives of protagonists from those of the narration, and by thus impelling readers to develop several interpretations of key passages, all of which must be sustained simultaneously. Finally, the analysis explores how the (potential) apostrophic effects associated with doubly deictic you serve to immerse readers in the horrors of the post-apocalyptic world, thus increasing the novel’s ecocritical import.


2014 ◽  
Vol 43 (2) ◽  
Author(s):  
Helen de Hoop ◽  
Lotte Hogeweg

AbstractFor this study we investigated all occurrences of Dutch second person pronoun subjects in a literary novel, and determined their interpretation. We found two patterns that can both be argued to be functionally related to the de-velopment of the story. First, we found a decrease in the generic use of second person, a decrease which we believe goes hand in hand with an increased distancing of oneself as a reader from the narrator/main character. Second, we found an increase in the use of the descriptive second person. The increased descriptive use of second person pronouns towards the end of the novel is very useful for the reader, because the information provided by the first person narrator himself becomes less and less reliable. Thus, the reader depends more strongly on information provided by other characters and what these characters tell the narrator about himself.


Author(s):  
Эльмира Рафаилевна Ибрагимова

В данной статье анализируются высказывания из национальных лингвистических корпусов татарского и английского языков с точки зрения возможности их номинализации посредством наименований лица, включенных в состав данных высказываний. Рассмотрены как традиционно выделяемые типы номинализации - события, факта, пропозиции, так и номинализация посредством наименования лица как периферийный тип. Установлено, что как английское, так и татарское номинативное предложение не выполняет по отношению к называемому одушевленному лицу функции субституции и конкретное наименование лица, выражая признак, обладает лишь предикативной референцией. Выявлены сходства и различия в функционировании наименований лица как средства номинализации в английских и татарских высказываниях. Сделаны выводы о том, что в английском языке автономное функционирование наименования лица как отдельного предложения возможно только в разговорной речи. В стилистически нейтральных высказываниях английского языка всегда имеет место глагол. В татарском языке оценка может выражаться как наименованием лица, так и прилагательным. В обоих языках достаточно частотными являются наименования лица, образованные от имен прилагательных путем инверсии. И в английском, и в татарском языках исследуемые примеры довольно часто содержат сопровождающее местоимение второго лица. This article analyzes the statements from the national linguistic corpus of the Tatar and English languages from the point of view of their nominalization potential by means of the person names in these above-mentioned statements. The author considered both the traditionally distinguished types of nominalization (events, facts, propositions) and nominalization by the person name as a peripheral type. It has been established that both the English and Tatar nominative sentences do not fulfill the function of substitution in relation to the named animate person, and the specific person name expressing the feature has only a predicative reference. The similarities and differences in the functioning of the person names as the means of nominalization in English and Tatar expressions have been revealed. The author concluded that in English the autonomous functioning of the person name as a separate sentence is possible only in colloquial speech. In stylistically neutral expressions of the English language, a verb always occurs. In the Tatar language, the assessment can be expressed both by the person name and by the adjective. In both languages, the person names formed from adjectives by means of inversion are quite frequent. In both the English and Tatar languages, the studied examples quite often contain an accompanying second person pronoun


2006 ◽  
Vol 20 (1) ◽  
pp. 173-199
Author(s):  
Edgar Tello Garcia

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.


2021 ◽  
Author(s):  
Sandrine Sorlin

This book takes 'you', the reader, on board an interdisciplinary journey across genre, time and medium with the second-person pronoun. It offers a model of the various pragmatic functions and effects of 'you' according to different variables and linguistic parameters, cutting across a wide range of genres (ads, political slogans, tweets, news presentation, literary genres etc.), and bringing together print and digital texts under the same theoretical banner. Drawing on recent research into intersubjectivity in neuropsychology and socio-cognition, it delves into the relational and ethical processing at work in the reading of a second-person pronoun narrative. When 'you' takes on its more traditional deictic function of address, the author-reader channel can be opened in different ways, which is explored in examples taken from Fielding, Brontë, Orwell, Kincaid, Grimsley, Royle, Adichie, Bartlett, Auster, and even Spacey's 'creepy' 2018 YouTube video, ultimately foregrounding continuities and contrasts in the positioning of the audience.


Author(s):  
José Luis Bermúdez

We are embodied, and we are aware of our bodies ‘from the inside’ through different forms of bodily awareness. But what is the relation between these two facts? Are these forms of bodily awareness types of self-consciousness, on a par, say, with introspection? In this paper I argue that bodily awareness is a basic form of self-consciousness, through which perceiving agents are directly conscious of the bodily self. The first two sections clarify the nature of bodily awareness. Sections III to V I explore how bodily awareness functions as a form of self-consciousness and how this is connected to the property of being immune to error through misidentification relative to the first person pronoun. In section IV I consider, and remain unconvinced by, an argument to the effect that bodily awareness cannot have first person content (and hence cannot count as a form of self-consciousness). Finally, section V sketches out an account of the spatial content of bodily awareness and explores the particular type of awareness of the bodily self that it provides.


2004 ◽  
pp. 174-202
Author(s):  
Eros Corazza
Keyword(s):  

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