scholarly journals A Study on Environment Pollution Disease and Enganement of Ishimure Michiko’s Kukaijodo : Writing in the language of a first-person female point of view

2019 ◽  
Vol 51 (null) ◽  
pp. 135-158
Author(s):  
오미정
Keyword(s):  
Point Of View ◽  
First Person ◽  
Environment Pollution

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

scholarly journals From representation to enactment: temporal perspectives on literary objects in East and Central European structuralism and Ingarden’s phenomenology

2018 ◽  
Vol 4 (s1) ◽  
pp. s146-s171
Author(s):  
Michał Mrugalski
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Philosophical Tradition ◽  
General Context ◽  
Direct Realism ◽  
First Person ◽  
Temporal Perspective ◽  
Central European ◽  
Temporal Properties ◽  
Person Perspective

AbstractConsidering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden’s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden’s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden’s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl’s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of “objectification,” which was suppressed by that of “concretization,” as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden’s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden’s.

‘Be Me’: I-Vampire/I-Zombie

2016 ◽  
Author(s):  
Stacey Abbott
Keyword(s):  
Point Of View ◽  
The Self ◽  
First Person ◽  
Film And Television ◽  
Cultural Anxiety ◽  
New Meanings ◽  
Byronic Hero ◽  
Narrative Format ◽  
The Right ◽  
Subsequent Rise

This chapter examines the adoption and development of the first person narrative format within vampire, and more recently zombie, film and television. It considers how this trope has contributed to the rise of the sympathetic/romantic vampire figure from the Byronic hero within Polidori’s The Vampyre to Interview with the Vampire and Byzantium and the subsequent rise of the sympathetic zombie. This chapter questions if this first person point of view empties the vampire and zombie of symbolic agency, or manipulates the genre to explore new meanings. It considers how the genres of the vampire and the zombie are increasingly interconnected, moving away from themes of apocalypse and cultural anxiety to explore questions of identity and the self within a changing world, effectively queering the vampire and zombie for new audiences.Case studies include Let the Right One In, Byzantium, Only Lovers Left Alive, Warm Bodies, Colin, and In the Flesh.

Can readers fully adopt the perspective of the protagonist?

2019 ◽  
Vol 73 (5) ◽  
pp. 664-675
Author(s):  
Sarah D Creer ◽  
Anne E Cook ◽  
Edward J O’Brien
Keyword(s):  
Relevant Information ◽  
Irrelevant Information ◽  
Point Of View ◽  
Narrative Comprehension ◽  
First Person ◽  
Task Instructions ◽  
Do So

Despite the centrality of the protagonist during narrative comprehension, evidence indicates that readers do not typically approach the text from the protagonist’s point of view. Experiments 1a–1c demonstrated that both explicit task instructions and the first-person point of view resulted in comprehension being influenced by perspective-relevant information; this indicated that readers were adopting the perspective of the protagonist. However, Experiments 2a–3b showed that even when readers adopt the protagonist’s perspective, they cannot do so to the exclusion of related perspective-irrelevant information. Results are discussed in the context of the RI-Val model of comprehension in which perspective-relevant information and perspective-irrelevant information are both available and compete for influence during comprehension.

Why Can I See My Avatar? Embodied Visual Engagement in the Third-Person Video Game

2016 ◽  
Vol 12 (2) ◽  
pp. 179-199 ◽  
Author(s):  
Daniel Black
Keyword(s):  
Video Game ◽  
Point Of View ◽  
First Person ◽  
Separate Entity ◽  
Entertainment Media ◽  
Film And Television ◽  
Representational Space ◽  
Third Person ◽  
The Third Person ◽  
Visual Engagement

This essay seeks to answer two questions raised by the success of video games where the player looks at the character she is playing rather than seeming to inhabit the same coordinates as the character within the game space. First, why is the experience of playing these games not innately inferior to that of playing games with a first-person point of view, given that the sense of being a character sensing and acting inside the game space could be expected to be much stronger when the character’s body seems to be one’s own rather than a separate entity in the game space? And second, if the first-person point of view is so “immersive” and provides such a sense of being “inside” the representational space as is sometimes claimed, why has it never been so prominent in other audiovisual entertainment media such as film and television?

The use of everyday personality language for scientific purposes

1990 ◽  
Vol 4 (2) ◽  
pp. 77-88 ◽  
Author(s):  
Willem K. B. Hofstee
Keyword(s):  
Natural Language ◽  
Point Of View ◽  
First Person ◽  
Major Question ◽  
Scientific System ◽  
Point Of Departure

The major question of the article is whether the natural language of personality provides an adequate point of departure for the construction of a scientific system of personological categories. Five obstacles to this endeavour are: (1) the domain is dificult to delineate, both with respect to its categories and in the choosing of items within categories; (2) the extent to which terms can be translated from one language to another appears to be limited; (3) the overwhelming role of evaluative aspects is embarrassing from a scientific point of view; (4) instead of obeying simple and clear taxonomic principles, the domain appears to be unruly in this respect; and (5) many terms and expressions are paradoxical when used in the first person. Tentative and partial solutions to these problems are proposed.

scholarly journals Positioning the Portrayal of White Protagonists in O.A Bushnell’s the Return of Lono and Ka’a’awa

2021 ◽  
Vol 21 (1) ◽  
pp. 58-67
Author(s):  
Kristiawan Indriyanto ◽  
Ida Rochani Adi ◽  
Muh. Arif Rokhman
Keyword(s):  
Point Of View ◽  
First Person ◽  
Kanaka Maoli ◽  
Central Figure ◽  
Western Discourse ◽  
Hybrid Culture ◽  
History Of ◽  
Universal Truth ◽  
White Settlers

This paper explores the role of literature in the post-truth age through reading on O.A Bushnell’s the Return of Lono and Ka’a’awa. A Hawai’ian novelist, Bushnell contextualizes the earliest interactions between the native Hawai’ian (Kanaka Maoli) and the white settlers which began with the arrival of Captain Cook’s expedition in 1778. Through his fictions, Bushnell underlines positive portrayal of the white characters to provide a counter-discourse to the generally accepted history of Hawai’ian colonialism. Through first person point of view, white characters become the central figure in both of Bushnell’s fictions. Through reading on O.A Bushnell’s narration, this paper aims to elaborate how the Hawai’ian natives also become a willing partner in western colonialism which highlights their colonial complicity. The concept of colonial complicity is employed to highlight the participation of the natives in promoting Western way of thinking. The analysis argues that although Bushnell contextualizes the complicity of the Hawai’ians in promoting Western discourse, resistance also occurs through creation of a hybrid culture.  This paper concludes that in the post truth era, literature should always strive to uncover the truth based on subjective interpretation instead of abiding of a universal truth.

scholarly journals EMANSIPASI GENDER DALAM MIDDLESEX KARYA JEFFREY EUGENIDES (Gender Emancipation in Middlesex by Jeffrey Eugenides)

ALAYASASTRA ◽  
2018 ◽  
Vol 14 (2) ◽  
Author(s):  
Chrisna Natalia
Keyword(s):  
Queer Theory ◽  
Judith Butler ◽  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Mixed Order ◽  
Three Stages ◽  
Gender Spectrum

ABSTRAK Tulisan ini membahas emansipasi gender dalam novel Middlesex karya Jeffrey Eugenides.Adapun tujuannya ialah untuk: (1) mengetahui struktur cerita novel, (2) mengetahui bagaimana spektrum gender berkembang dalam novel ini, (3) mengetahui bagaimana dan mengapa emansipasi gender direpresentasikan dalam novel ini. Penelitian ini dilakukan dengan merujuk kepada teori queer, yang muncul dari feminisme, yang digagas oleh Judith Butler. Hasil penelitian menunjukkan bahwa novel ini ditulis menggunakan sudut pandang orang pertama, plot episodikal beralur maju mundur, latar simbolik terintegrasi, dan tone depresi yang berubah menjadi riang. Penelitian ini juga menunjukkan bahwa spektrum gender berkembang melalui tiga tahapan, yaitu belum berkembang, berkembang, dan matang. Selain itu, novel ini juga menunjukkan bahwa untuk mengurangi diskriminasi, gender harus dipisahkan dari jenis kelamin. Hal itu karena gender tidak muncul secara alamiah seperti jenis kelamin. Gender adalah generalisasi dari performa individu. Kata kunci: gender biner; diskriminasi; genderqueer; kebebasan. ABSTRACT This study is about gender emancipation in a novel entitled Middlesex by Jeffrey Eugenides. The objectives of the study are, (1) to find out how the element of the novel is developed, (2) to find out how the spectrum of gender in this novel is developed, (3) to find out how gender emancipation presented in this novel. The analysis is done based on queer theory, which is derived from feminism from Judith Butler. The result shows that Middlesex is written by using the first person point of view named Call Stephanides, episodical plot with mixed order, simbolic integrated settings, and varieties of tones such as depressions and joy. The result shows that gender spectrum development is divided into three stages, which are being undeveloped, developed, and advanced. This novel also suggests that in order to decrease discrimination, gender must be separated from sex. Gender does not come naturally as sex but it is developed from perfomance. Keywords: binarism, discrimination, genderqueer, freedom

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