scholarly journals Spontaneous dialect texts about residential and commercial buildings

Linguistics ◽  
2021 ◽  
pp. 4-15
Author(s):  
Kateryna Hlukhovtseva ◽  
Keyword(s):  
Building Materials ◽  
Formal Structure ◽  
Structural Elements ◽  
Materials Management ◽  
Way Of Life ◽  
External Interference ◽  
Lexical Semantic ◽  
Third Person ◽  
The Third Person ◽  
Farm Buildings

The article analyzes the features of uncluttered spontaneous dialect texts about the construction of housing, outbuildings, interiors, recorded at different times in the Ukrainian East Slobozhan dialects. The author focuses on identifying features of their cognitive and lexical-semantic structure. It is proved that dialect text (DT) is a semantic phenomenon. That is why, depending on the content of the report, you can select several parts. Consequently, it is analyzed in terms of semantics and structure. This allows you to combine dialect texts depending on the topic in them. It is noteworthy that in the texts of one topic can be identified micro-themes that unfold more broadly or more narrowly. Memorable texts are generally characterized by ease of communication, generalization of information associated with the use of imperfective verbs of the past tense plural or singular, which convey long repetitive actions, processes or states, dissected or undissected, occurring in a certain period of time before speech. Usuality, generalization are also conveyed by present tense verbs of the third person plural with indefinite-personal meaning. Spontaneously modeled texts update the nominative chain of vocabulary associated with common names of housing, farm buildings, their parts, etc. The meaning of tokens is usually specified in relation to the features of the denotation, time slice, syntagmatics, formal structure. These units make up the lexical-semantic matrix of the text, which is closely connected with the culture and way of life of the inhabitants of the region. DT accumulates and transmits information about the patterns of spontaneous (without external interference) text and demonstrates the trends of its development. In general, the structure of the text, trends in its creation and selection of structural elements often show patterns of systemic organization of speech, consisting in a verbal presentation of collective and individual experience of housing, farm buildings, established forms of mutual assistance, production of building materials, management principles.

scholarly journals Tragedy and Moral Values in William Shakespeare’s Macbeth: A Structural Analysis

2013 ◽  
Vol 6 (1) ◽  
pp. 125
Author(s):  
Sigit Cahyo Purnomo
Keyword(s):  
William Shakespeare ◽  
Structural Analysis ◽  
Eleventh Century ◽  
Moral Values ◽  
Point Of View ◽  
Structural Elements ◽  
Minor Characters ◽  
Third Person ◽  
Lady Macbeth ◽  
The Third Person

This research is aimed to find out the structural elements and the moral values of the play. The subject of the research is the play Macbeth by William Shakespeare and the object of research is its intrinsic elements of the play and the moral values of it. To analyze the structural elements of the play Macbeth, the writer uses the objective approach that anatomizes the work of art itself without relating to external factors such as the universe, the artist and audience. The findings of the research show that (1) The theme of the play is a blind ambition. Macbeth is goaded by his more ambitious wife, Lady Macbeth, to be king by evil way. He uses ‗the goal which justifies the means‘ to obtain it. But it causes the downfall. (2) There are two main characters namely Macbeth and Lady Macbeth and seven minor characters namely King Duncan, Banquo, Three Witches, Macduff, Malcolm, Fleance, and Lady Macduff. (3)The setting of time happens in eleventh century ; Meanwhile, the setting of place happens in Scotlandand in England, Though, Shakespeare uses  the setting of place in beginning of every act. (4) The plot of the play starts from exposition, then it moves to rising action and reaches the climax or turning point. Later, it goes to falling action and the resolution. 5).Shakespeare as author always uses the third person point of view such as He, She, and the name of the character. (6)The language that is used is dialog language in the stage and it is old classic English.(7)The symbolisms of play which are standing out are blood and darkness. (8) The moral values are divided into positive moral values such as bravery, loyalty, affection, modesty as well as honesty, and negative moral values such as ambition, atrocity, temptation, vengeance. Keywords: Tragedy; moral values; structural analysis 

scholarly journals Tragedy and Moral Values in William Shakespeare’s Macbeth: A Structural Analysis

2013 ◽  
Vol 6 (1) ◽  
pp. 125-143
Author(s):  
Sigit Cahyo Purnomo
Keyword(s):  
William Shakespeare ◽  
Structural Analysis ◽  
Eleventh Century ◽  
Moral Values ◽  
Point Of View ◽  
Structural Elements ◽  
Minor Characters ◽  
Third Person ◽  
Lady Macbeth ◽  
The Third Person

This research is aimed to find out the structural elements and the moral values of the play. The subject of the research is the play Macbeth by William Shakespeare and the object of research is its intrinsic elements of the play and the moral values of it. To analyze the structural elements of the play Macbeth, the writer uses the objective approach that anatomizes the work of art itself without relating to external factors such as the universe, the artist and audience. The findings of the research show that (1) The theme of the play is a blind ambition. Macbeth is goaded by his more ambitious wife, Lady Macbeth, to be king by evil way. He uses ‗the goal which justifies the means‘ to obtain it. But it causes the downfall. (2) There are two main characters namely Macbeth and Lady Macbeth and seven minor characters namely King Duncan, Banquo, Three Witches, Macduff, Malcolm, Fleance, and Lady Macduff. (3)The setting of time happens in eleventh century ; Meanwhile, the setting of place happens in Scotlandand in England, Though, Shakespeare uses  the setting of place in beginning of every act. (4) The plot of the play starts from exposition, then it moves to rising action and reaches the climax or turning point. Later, it goes to falling action and the resolution. 5).Shakespeare as author always uses the third person point of view such as He, She, and the name of the character. (6)The language that is used is dialog language in the stage and it is old classic English.(7)The symbolisms of play which are standing out are blood and darkness. (8) The moral values are divided into positive moral values such as bravery, loyalty, affection, modesty as well as honesty, and negative moral values such as ambition, atrocity, temptation, vengeance. Keywords: Tragedy; moral values; structural analysis 

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.

Causal determinism and a totally global fatalism from the third-person perspective

2020 ◽  
Author(s):  
Xiaoyang Yu
Keyword(s):  
Human Brain ◽  
Human Language ◽  
Causal Determinism ◽  
The Third ◽  
Person Perspective ◽  
Neural Substrate ◽  
Third Person ◽  
Third Person Perspective ◽  
Physical Laws ◽  
The Third Person

The human brain and the human language are precisely constructed together by evolution/genes, so that in the objective world, a human brain can tell a story to another brain in human language which describes an imagined multiplayer game; in this story, one player of the game represents the human brain itself. It’s possible that the human kind doesn’t really have a subjective world (doesn’t really have conscious experience). An individual has no control even over her choices. Her choices are controlled by the neural substrate. The neural substrate is controlled by the physical laws. So, her choices are controlled by the physical laws. So, she is powerless to do anything other than what she actually does. This is the view of fatalism. Specifically, this is the view of a totally global fatalism, where people have no control even over their choices, from the third-person perspective. And I just argued for fatalism by appeal to causal determinism. Psychologically, a third-person perspective and a new, dedicated personality state are required to bear the totally global fatalism, to avoid severe cognitive dissonance with our default first-person perspective and our original personality state.

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 Deictic Shifting in Greek Contractual Writing (I–IV AD)

Philologus ◽  
2020 ◽  
Vol 164 (1) ◽  
pp. 83-106
Author(s):  
Klaas Bentein
Keyword(s):  
Literary Texts ◽  
Ancient Greek ◽  
Narrative Technique ◽  
The Third ◽  
Third Person ◽  
The Third Person

AbstractMuch attention has been paid to ‘deictic shifts’ in Ancient Greek literary texts. In this article I show that similar phenomena can be found in documentary texts. Contracts in particular display unexpected shifts from the first to the third person or vice versa. Rather than constituting a narrative technique, I argue that such shifts should be related to the existence of two major types of stylization, called the ‘objective’ and the ‘subjective’ style. In objectively styled contracts, subjective intrusions may occur as a result of the scribe temporarily assuming himself to be the deictic center, whereas in subjectively styled contracts objective intrusions may occur as a result of the contracting parties dictating to the scribe, and the scribe not modifying the personal references. There are also a couple of texts which display more extensive deictic alter­nations, which suggests that generic confusion between the two major types of stylization may have played a role.

Syncretism of plural forms in Spanish Dialects

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
María Mare
Keyword(s):  
Syntactic Structure ◽  
Person Plural ◽  
Person Features ◽  
Third Person ◽  
Lexical Items ◽  
First Person Plural ◽  
The Moment ◽  
The Third Person ◽  
Shed Light ◽  
Spanish Dialects

Abstract One of the main discussions about the interaction between morphology and syntax revolves around the richness or poverty of features and wherever this richness/poverty is found either in the syntactic structure or the lexical items. A phenomenon subject to this debate has been syncretism, especially in theories that assume late insertion such as Distributed Morphology. This paper delves into the syncretism observed between the first person plural and the third person in the clitic domain in some Spanish dialects. Our analysis will lead to a revision of the distribution of person features and their relationship with plural number, while at the same time it will shed light on other morphological alternations displayed in Spanish dialects; that is, subject-verb unagreement and mesoclisis in imperatives. In order to explain the behavior of the data under discussion, I propose that lexical items are specified for all the relevant features at the moment of insertion, although the values of these features can be neutralized. I argue that the distribution proposed allows for some fundamental generalizations about the vocabulary inventories in Spanish varieties, and shows that the variation pattern exhibits an *ABA effect, i.e., only contiguous cells in a paradigm are syncretic.

Yahweh, Women, and the Trinity

1975 ◽  
Vol 32 (3) ◽  
pp. 234-242
Author(s):  
Jay G. Williams
Keyword(s):  
Holy Spirit ◽  
New Age ◽  
The Third ◽  
The Holy Spirit ◽  
Third Person ◽  
The Third Person ◽  
The Church ◽  
The Trinity

“Might it not be possible, just at this moment when the fortunes of the church seem to be at low ebb, that we may be entering a new age, an age in which the Holy Spirit will become far more central to the faith, an age when the third person of the Trinity will reveal to us more fully who she is?”

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