Alles eine Frage der Perspektive – Zur sogenannten erlebten Rede im narrativen Text

2019 ◽  
Vol 47 (1) ◽  
pp. 28-69
Author(s):  
Anke Holler

Abstracts Erlebte Rede (free indirect style) is a narrative technique used to present reports of consciousness which to some extent blends direct and indirect speech. It is characterized by the interaction of specific linguistic markers which allow the presentation of a character’s point of view while simultaneously maintaining the narrative frame. A character’s thoughts are expressed in the third person, indicative and narrative tense giving the impression that the voice of both the narrator and the character somehow overlap. This contribution summarizes the research on erlebte Rede, focussing on German. Regarding narratological aspects, I discuss linguistic problems specific to identification and analysis of texts which employ erlebte Rede. This paper primarily addresses the use of erlebte Rede in fiction, although it is also found in non-fiction.

2012 ◽  
Vol 38 (4-5) ◽  
pp. 477-483 ◽  
Author(s):  
Akeel Bilgrami

This short essay analyzes the deception and self-deception in talk of ‘the clash of civilizations’ and proceeds to diagnose what is wrong in the standard understanding of Islam in the Western media today by looking to the abiding history of colonial relations with Islam down to this day and also looking to the relation between ideals of democracy and the formation of religious identities. The essay closes with some remarks about the nature of identity and the importance to one's own agency of the distinction between the first and the third person point of view in Muslim self-understanding.


Author(s):  
Carlos Pereda

In this article, several levels in which can be proposed/presented the old dilemma of liberty and determinism are discussed and which is the task of critical thought or, particularly, of this critical thought that is philosophy. On the one hand, this dilemma is confronted in its metaphysical side. On the other, its epistemological and ethical implications are considered. Along this multiple levels I particularly consider the crash between the point of view of the first person and the third person.


2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro

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.


2004 ◽  
Vol 24 (33) ◽  
pp. 183
Author(s):  
Claudia Campos Soares

<p>“Campo geral” - primeira novela de <em>Corpo de baile</em>, de Guimarães Rosa  - é narrada em terceira pessoa, mas seu leitor apreende a realidade  ficcional da forma como ela é percebida por um menino que tem entre  sete e oito anos de idade. O narrador está muito próximo de Miguilim, o  que lhe permite a expressão das nuances mais delicadas da subjetividade  do menino.  A realidade ficcional é apreendida, pois, da perspectiva de uma criança.  Além disto, esta criança é extremamente sensível e não se identifica com  os valores utilitaristas que vigoram em seu meio. Por isto é arredia e  introspectiva, quase isolada; e costuma temer os adultos quase como o  contágio de uma doença ruim. Por fim, Miguilim, a criança sob cuja  visão nos é dado acompanhar os acontecimentos ficcionais, é míope,  metáfora-síntese das limitações de sua perspectiva. Devido a tudo isto,  só temos informações vagas e imprecisas acerca de graves acontecimentos  que ocorrem na estória.  O ponto de vista de “Campo geral”, entretanto, conjuga esta “visão  imperfeita” (a de Miguilim) com a possibilidade de ver um pouco além  dela. Ainda que o campo de visão do leitor seja limitado às possibilidades  do menino míope, o autor cria outras condições de reconhecimento do  ambiente e dos conflitos familiares que cercam Miguilim para além de  sua capacidade de visão. De forma indireta, e aparentemente quase  acidental, ele nos dá a ver o que o menino não pode de várias formas.  São estas formas, e o jogo de elucidação e ocultamento que armam, que  este estudo se propõe a investigar.</p> <p>“Campo geral”, the first novel of <em>Corpo de Baile</em>, narrates the story of a 7  year-old boy, Miguilim, in the third person. The reader, however,  apprehends the ficcional reality as it was perceived by this boy. The  narrator is very close to Miguilim and this proximity provides him the  possibility to express the more slight details of the character´s  subjectiveness and makes the reader to capture the boy’s subtle perception  of his surrounded reality.  Miguilim is an extremely tender child who rejects the pragmatic values  of the adult world. As a consequence, he is a solitary and introspective,  almost lonely child, who evades from adult contact. In addition, Miguilim  is also myopic, metaphor-synthesis of his own limited perception of the  surrounded reality. Given this scenario, readers grasp only vague and  imprecise information of the serious events that take place in the story.  However, the point of view of “Campo geral” associates that “imperfect  vision” (from Miguilim) with the possibility of seeing a little bit far from  it. Even though the reader is limited to interpret the story from a myopic  kid’s perception, the author creates situations where familiar conflicts  and events surrounding Miguilim might be apprehend beyond his own  perception. Indirectly and almost accidentally, the author reveals to the  reader what the kid cannot see himself. This study intends to investigate  this game of elucidation and concealment created by Guimarães Rosa in  the point of view of “Campo geral”.</p>


Gesture ◽  
2018 ◽  
Vol 17 (1) ◽  
pp. 158-175 ◽  
Author(s):  
Fey Parrill ◽  
Kashmiri Stec

Abstract Events with a motor action component (e.g., handling an object) tend to evoke gestures from the point of view of a character (character viewpoint, or CVPT) while events with a path component (moving through space) tend to evoke gestures from the point of view of an observer (observer viewpoint, or OVPT). Events that combine both components (e.g., rowing a boat across a lake) seem to evoke both types of gesture, but it is unclear why narrators use one or the other. We carry out two manipulations to explore whether gestural viewpoint can be manipulated. Participants read a series of stories and retold them in two conditions. In the image condition, story sentences were presented with images from either the actor’s perspective (actor version) or the observer’s perspective (observer version). In the linguistic condition, the same sentences were presented in either the second person (you…) or the third person point of view (h/she…). The second person led participants to use the first person (I) in retelling. Gestures produced during retelling were coded as CVPT or OVPT. Participants produced significantly more CVPT gestures after seeing images from the point of view of an actor, but the linguistic manipulation did not affect viewpoint in gesture. Neither manipulation affected overall gesture rate, or co-occurring speech. We relate these findings to frameworks in which motor action and mental imagery are linked to viewpoint in gesture.


2014 ◽  
Vol 42 (4) ◽  
pp. 330-358 ◽  
Author(s):  
Julia Fernández Cuesta

This article comprises a sociolinguistic analysis of the distribution of northern features in two sixteenth-century collections of wills of urban and rural provenance ( York Clergy Wills and Swaledale Wills and Inventories, respectively). It is suggested that there is a correlation between dialect features such as the Northern Subject Rule, the uninflected genitive, and the third person plural pronouns and the urban or rural provenance of the wills as well as, to some extent, the social rank of the testators. This sheds light on how social factors might condition the resilience of dialect features in sixteenth-century northern English.


2018 ◽  
Vol 72 (5) ◽  
pp. 1055-1067 ◽  
Author(s):  
Sarah D Creer ◽  
Anne E Cook ◽  
Edward J O’Brien

Readers do not always adopt the perspective of the protagonist; however, they will under certain conditions. Experiments 1a and 1b showed that readers will take the perspective of the protagonist from the third-person point of view, but only when explicitly instructed to do so. Experiment 2 demonstrated that reading from the first-person point of view is a text-based manipulation that encourages readers to adopt the perspective of the protagonist. The results of Experiments 3a and 3b replicated the findings of Experiments 1a and 2. Experiment 4 established that simply increasing readers’ attention to the text does not lead to adoption of the protagonist’s perspective; moreover, this suggests that when it does occur, protagonist perspective adoption is not the result of increased attention, but strategic processing.


2020 ◽  
Vol 75 (1) ◽  
pp. 24-49
Author(s):  
Brianna Beehler

Brianna Beehler, “The Doll’s Gift: Ventriloquizing Bleak House” (pp. 24–49) This essay offers a new reading of the split narrative in Charles Dickens’s Bleak House (1852–53). Previous critics of the novel’s split narrative have primarily focused on the unequal knowledge and authority positions of the all-knowing third-person narrator and the unknowing first-person narrator, Esther Summerson. This division, however, does not fully account for the apparent slips and narrative exchanges between the two narrators, in which one narrator takes on the voice or knowledge position of the other. This essay takes up Robert Newsom’s suggestion that the only way to explain these “slips” is to conclude that Esther Summerson writes not only her own narration, but also that of the third-person narrator. However, the essay further argues that Esther uses the third-person narration to ventriloquize the voice of her mother, Lady Dedlock, in an effort to provide herself with the emotional support otherwise denied her. Readers may better understand Esther’s ventriloquism of the third-person narration by tracing how it mirrors her early daily ritual with her doll, in which she assumed both narrative positions at once. Object relations and gift theory further show how this dialogue creates a bond between the two narrations. Thus, characters and family structures that appear in the third-person narration and that may appear distant from Esther are actually her meditations on alternative maternal and familial relationships.


Author(s):  
Maria D. Bryzgalova

This article studies the characteristics of Tatyana Tolstaya’s prose of the 2010s, that was compiled with her essays and previous works into a tetralogy: “The Imperceptible Worlds” (2014), “The Girl in Blossom” (2015), “The Invisible Maiden” (2015), “The Century Made of Felt” (2015). This study aims to identify the creative strategies used by the writer, as well as to trace how Tolstaya describes her particular topics in different genres. Hopefully, this will fill in the lacuna in the contemporary Russian literature studies, as Tolstaya’s works have received little academic attention despite their popularity among contemporary readers. To achieve this goal, the author of this article has applied structural-semantic and textological methods. The main feature of Tolstaya’s “new prose” is the transition from the third person narrative to the first. These changes are closely related to Tatyana Tolstaya’s creative roles, such as a teacher, a journalist, a TV-presenter, and a blogger. The role of an author is the main role as it affects the rest. The topics and motifs, present in Tolstaya’s previous fiction and non-fiction works though quite indirectly and detached, come to the fore in 2010s. The main themes include time, memory, and folk mentality. New novels and short stories can also be characterized by the motive of many worlds: the real world is surrounded by other worlds — the “aetherial” ones. Tolstaya’s “new prose” is undoubtedly intertextual, which is necessary for her style. It combines documentary and artistry, autobiographical features and a certain measure of detachment, which allow seeing an autobiographical heroine in the text.


2015 ◽  
Vol 27 (1) ◽  
pp. 107
Author(s):  
Sri Nardiati

Every human being involves in story activity. Therefore, the elements of NP (narrative paragraph) in Javanese should be investigated. The aim of investigation is to describe every element based on the character and the chronological event, its direct utterance, and the writer’s point of view. The scope of narrative paragraph study covers lingual unit of paragraph, sentence, clause, phrase, and word. The approach used is structural descriptive. The data is obtained by using listening and noting technique. The analysis uses orthografic method and distributional method, by using direct element division technique and then omission, substitution, insertion, and reversion. Narrative paragraph (NP) elements are participant and event. Participant element is filled with a character or more. Event element comprises of act, process, or state verb that relates to each other as stimulus-responsse. NP usually has direct utterance that is unmarked and marked. The mark is located in the beginning, middle, and the ending. NP is written based on the point of view, both the first and third person. In the first point of view, the character is central character or an observer, which is marked by using I (aku, saya) pronoun; meanwhile, in the third person point of view is marked by he/ she (ia/dia/dheweke) pronoun.


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