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Topic: Second-person narrative

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Grammatical person - Wikipedia, the free encyclopedia Text-based interactive fiction conventionally has description written in the second person (though exceptions exist), telling the character what she or he is seeing and doing. In literature, person is used to describe the viewpoint from which the narrative is presented. Grammatical person, in linguistics, is deictic reference to the participant role of a referent, such as the speaker, the addressee, and others. en.wikipedia.org /wiki/Grammatical_person   (808 words)

E:\HOTMETAL\gifs\rhetoric.htm John's Apocalypse is a second-person narrative, addressing the reader as a "you"--at least from the beginning of the letter-form at 1:4. A central aspect of John's narrative technique is a sort of deflecting of the audience's identification with the various narratees- -from the extradiegetic narratee of the whole vision, to the specific church-recipients of the messages, to the character John, who hears of the fate of the saints and martyrs. This paper attempts a preliminary and partial analysis of the narrative rhetoric of John's Apocalypse by examining especially the narrative levels of the story and the interactions of the narrators and narratees on these various levels with each other and with the implied audience of the whole story. www.wright.edu /~david.barr/rhet.htm   (3701 words)

Textual 'You' and double deixis in Edna O'Brien's 'A Pagan Place' In some narrative contexts, textual you thus yields a peculiarly double deixis, whose scope includes both the addressee and what Benveniste specified as the "non-personne"(8): that is, the "persons and entities which are neither speakers nor addressees of the utterance in question" (Levinson 62). One of the chief difficulties connected with the study of second- person fiction, until recently at least, is the lack of narratological tools precise enough to capture the sophistication of fictional practice. Consider this observation made by Bernard Dupriez: "It also happens [in apostrophe] that addresses are made to a second person in the hope that they will be overheard by a third party, as when a mother asks her two-year-old child to look for the scissors, knowing that her husband is not far away. www.sscnet.ucla.edu /comm/steen/cogweb/Abstracts/Herman_94.html   (8423 words)

Write On! :: Discuss the art and craft of writing second person narrative is a tool, i think, that every writer needs to have in his bag but one which, like a pneumatic nailgun, must be wielded with extreme care. Finally, the appearance of the second person in a narrative can sometimes be distracting, and the more it is used, the more likely it is to strike a wrong note. In fiction the second person sometimes appears when the author or narrator steps out of the story to address the reader; in other cases, it is used when the narrator is addressing another character directly (for example, in an epistolary novel that takes the form of letters from one character to another). www.write-on.org /story/2005/2/13/84945/2319   (3968 words)

A Point of View Also, first person in film has some of the problems of second person in literature, the rebellion of the viewer/reader who feels, "No, that's not me, I didn't do those things", or "I want to watch him, not be him". Second person is very rare because it violates the reader's sense of self. What I hear most is that third person is easiest because it gives the writer the most freedom, moving from one scene to another with impunity, letting the reader see first with the eyes of one character, then another, giving a detached, impartial view or subjective experience with equal impunity. www.theinspiracy.com /ArPOV.htm   (1805 words)

Lymond at Mac.com - Notes Toward the Poetics of an Interactive Fiction Second, the artist must realize that the viewer-reader-listener's role is at times active, at times passive: sometimes the self is swept away on the tide of narrative; sometimes the self is taking notes and pressing the "rewind" button. Dramatic narratives employ, perforce, the third-person narrative almost exclusively, whether it is a play (and its players) presented before, and hence, separate from, its audience; or whether it is a film, where the camera represents the invisible third-person narrator. Narrative fictions, whether in first- or third-person, whether visual, written, or oral, take the audience out of themselves, let them identify with a life or lives other than their own. homepage.mac.com /lymond/ntpif.html   (2464 words)

The use of the second person in electronic fiction Second person texts with no immediately recognizable narrator, however, have caused a certain amount of controversy among the critics. The use of the second person in any form is an invitation to projection, be it onto a character or a fictionalized reader in the text, drawing the reader into the text in ways other forms do not. While several critics have maintained that the "you" in second person fiction denotes the narrator as well as the protagonist and the narratee, Fludernik claims that there are numerous examples of second person fiction which show no distinct trace of an identifiable narrator. www.ruthnestvold.com /2ndper.htm   (3327 words)

scond-pers Generally, whenever the narrator of a piece of fiction refers to you, the reader, as “you,” it is considered to be second person narration. Pure second person narration seeks to implicate “you” into the position of the narrator or principal character. However, there are nuances of second person narration that have to be considered. www.url-der.org /scond-pers.htm   (617 words)

Alpha Critquing Manual She taught my second week at Clarion (which is another workshop that's very similar to Odyssey). The impulse to spare that person's feelings, even at the expense of honesty, can be powerful. If you're very concerned about hurting someone's feelings, you can preface your remarks by saying, "You know I really like you as a person" (though be aware that that has become a clichéd way of warning an author that a truly vicious critique is coming up!). alpha.spellcaster.org /html/alpha_critquing_manual.html   (3480 words)

Style: Beyond 'The Brain of Katherine Mansfield': the radical potentials and recuperations of second-person narrative - book by author Bill Manhire Before I argue that the second person has a potential to radicalize narrative discourse (and more), I should look at how that potential is contained, for, certainly, not all texts that employ a second-person narrative modality realize any such promise. Tellingly, what such an answer does achieve is the naturalization of an anthropomorphism that has remained more or less implicit within notions of narrative person and the tradition of analysis of point of view since its development by Percy Lubbock and others early this century. This work, first, is to facilitate the reader's conceit in thinking that she or he does choose the path of the adventure, the illusion - the role-play illusion - that he or she is the person upon whose wisdom and fortune rests the final outcome. www.findarticles.com /p/articles/mi_m2342/is_n1_v31/ai_20572326   (1427 words)

112.05_4_secondandmiscperson.doc Second person works mechanically like first person or third person subjective, although it is sometimes suggested that a second person narrative increases the psychic distance between the narrative voice (which is essentially an imperative) and the point-of-view character (which is you, the reader.) Not confused yet? This should be distinguished from the contemporary second person conceit in which the "you" is the principal point-of-view character in the fiction: the second person was especially popular-- some say, ahem, overused-- in the mid-to-late 80's. The second person point-of-view is a frame-breaking device. www.writing.upenn.edu /~krile/courses/112.05_4_secondandmiscperson.doc   (475 words)

Rhetorical Strategies You may use first, second or third person in any narrative, although you should be consistent in your use of person. A first- person narrative (using the pronouns "I," "me," "we" or "us") has a narrator who is directly involved in the narration or story itself. A third-person narrative (using the pronouns "he," "she," "it," "them" etc.) is more distant and "objective" than the others. www.bsu.edu /web/jprince/general/rhet.htm   (1656 words)

interviews.txt One example is his use of the second person narrative in the short story "Forever Overhead". Writers commonly use the third or first person narratives, and the fact that the main character was referred to as "you" made this piece stand out. The author's use of this direct narrative heightens the reader's involvement in the piece, making the reader feel that he is right in the place of the main character, experiencing things as they happen. www.pitt.edu /~heinercm/interviews.txt   (1041 words)

2nd person perspective narratives Ask MetaFilter The device is that the narrative moves into the second person whenever one of the numerous attacks or murders is being committed. The least disjunctive idea for a recognizable "normal" film that strictly adheres to the second person requirement would probably be a movie structured as a video-letter sent to an unnamed "you," positioning the audience (either as a group or, more likely, as a single individual) as the actual addressee. Personally, I think "second person" is the most apt description for POV shots. ask.metafilter.com /mefi/31034   (3402 words)

Jahn: PPP/Narratology One is the level of narrative mediation (or 'narrative discourse'), where a fictional first-person narrator named Harry tells the fishing-boat picture story to an unnamed addressee or 'narratee' (see N9 for an argument that Harry might be his own narratee). A first-degree narrative is a narrative that is not embedded in any other narrative; a second-degree narrative is a narrative that is embedded in a first-degree narrative; a third-degree narrative is one that is embedded in a second-degree narrative, etc. Recipe no. 1 gives you what narratologists call a homodiegetic narrative: You select one of the story's characters and let her/him tell it as a tale of personal experience. www.uni-koeln.de /~ame02/pppn.htm   (17980 words)

Penguin Reading Guides Should You Leave? Peter D. Kramer, M.D. I liked the second person for other reasons: It reflects the experience of receiving advice, which is often given in the second person. Second, the entire concept of relationships is rooted in an interplay between values of self and other. The narrative should make sense on its own terms even as it dawns on the reader that Lou must surely be fic- tional and that these mid-century short stories must be reevaluated as contemporary stories. us.penguingroup.com /static/rguides/us/should_you_leave.html   (3091 words)

Iolani School - English 10 Literary Terms - Short Story stream of consciousness: narrative that represents the random process of a character’s thoughts and sense impressions; it may consist largely of sentence fragments. narrative: a story; an account of a sequence of events, whether fictional or non-fictional. tale: a short narrative, usually lacking in detail, with unrealistic and sometimes fantastic characters and events. www.iolani.org /usacad_eng_eng10ssterms_cw9404.htm   (1495 words)

Style Journal Dominant dyadic structures of theories of point of view and narrative person have given little space for the exploration of narrative in the second person, but having become an issue for criticism and theory, the second person is bringing narrative theorists to re-examine their traditional distinctions and assumptions. The first is represented by the way in which poets such as Collins have created religious contexts for their personifications, the second by the way in which others (Gray and Keats, for example) have given ordinary figures in the landscape a representative function. One fruitful approach involves seeing the metaphors of narrative person not as providing an analytical perspective on fiction, but as constituting part of the fiction-making process itself. www.engl.niu.edu /style/archives/vol31n1.html   (1293 words)

Glossary of Virtual Worlds Presence is the subjective measure of a person's emotional sense that the person is a part of an environment - that he or she are in the environment's domain or space. The person sitting at the computer perceives the information but it only occupies a small part of the person's perceptual resources and thus a small amount of information can be communicated.  The person perceives the information as flat, even for 3-D displays. With a feeling of Presence, the person uses more of their cognitive resources.  He or she is more actively enguaged in communicating with the information and, as a result, communicates more effectively.  Comfort, satisfaction, performance, understanding, and creativity can all be enhanced with increased Presence. www.realityprime.com /gloss.php   (838 words)

jill/txt: third person Use of the second person in weblogging feels, to me, like an extension of community, an explicit naming of the active role of not just reader, but respondent, interlocutor. But in a weblog, I think, there is an alternative to such a sense of submission, an alternative to the sense of coercion in the use of the second person. My friend Lars has decided to banish the first pronoum from his blog, consistently writing in the third person as an opposition against what he sees as the forced subjectivity of blogs, or perhaps rather to prove that personal writing is not dependent on the "I". huminf.uib.no /~jill/archives/blog_theorising/third_person.html   (633 words)

Second Person Fiction This is a concise and informative essay on the place of "second-person" narrative in electronic fiction, in which it has a strong tradition, by Ruth Nestvold. For an insightful and convivially argued essay on the "second-person" in narrative, and in particular, it's functions and effects in electronic narratives, you really should read this. The third bibliography, which is also partially annotated, covers theoretical and critical texts that comment directly on both particular and general uses of the "second-person" pronoun in narrative. members.westnet.com.au /emmas/2p/thesis/bib_1.htm   (1502 words)

Style: Introduction: second-person narrative and related issues - Second-Person Narrative The Nuruddin Farah passage, on the other hand, is a true and proper instance of second-person narrative from a novel in which first-, second- and third-person narrative alternate chapter by chapter. However, no personalized narrator appears on the scene, nor can we be entirely certain that the distancing proceeds from an Askar of a later point in time looking back on his own experiences. Askar's experiences are specific, they are narrated as having occurred in the past, and there is even a slight distancing, a hint of interpretation, evaluation, and ignorance in relation to the Askar of the past. www.findarticles.com /p/articles/mi_m2342/is_n3_v28/ai_16988684   (1115 words)

Explication of Sonnet 96 Furthermore, the young manâs charm is such that it makes his failings seem even more charming.Ê The poet emphasizes the importance of the first quatrain with the repetition of diction and punctuation, using three semi-colons and a period to announce tight end stops and by using the second person narrative. The second quatrain juxtaposes inferiority with quality, suggesting that what you see is not always what you get. The young manâs quality overshadows his weaknesses as his social position, one of noblesse oblige, requires his loyalty pledged in a promise of agreement to bear faithful allegiance to the obligations of his high social order. www.unm.edu /~aobermei/Eng200/sonnet96a.html   (231 words)

Crimes Against Mimesis But the problem with second-person narrative, and perhaps a reason why literary fiction writers generally avoid it, is this: it is easy to define who is speaking in first person, or who is being spoken of in third person, but it's not so easy to see who is being spoken to in second. Such a protagonist would be experienced more as a "he" or "she" than as an "I", robbing the second-person narrative of its potency; and character identification would suffer at the expense of character definition. Of these, the second is the most interesting; it gives the player at least a nudge in the right direction, while allowing the author to retain control over the puzzle structure. www.geocities.com /aetus_kane/writing/cam.html   (8184 words)

Comments on 7061 Ask MetaFilter The McInerny book is the one I think of when I think of second-person narrative structures in books that actually worked and did not seem gimicky. Tom Robbins' Half Asleep in Frog Pajamas is written in the second person. I think there are good reasons for not using second person narration. ask.metafilter.com /mefi/7061   (1084 words)

dhr_valentine: Fic Request #75 Personally, second narrative's kinda funky for me. In the beginning it fit because it's Draco assessing himself and his life. I'm a sucker for second person POV, and this was an exquisite exercise with it. I usually avoid all fics with 2nd person narrative, mostly because I just don't care for the style, but I enjoyed this. www.livejournal.com /community/dhr_valentine/70639.html   (2193 words)

The POV Commitment Nay, in the narrative second person, you become a character and participate in the action while plugging into the controlling consciousness of the story. It also will assume the guise of one of the three basic persons in English: first person (I, we); second person (you); or third person (he, she, it, they). You don't have to be a rocket scientist to master the proper use of person. www.writersdigest.com /articles/orlofsky_pov_commitment.asp   (1503 words)

The Fantastic Narrator Unlike Lewis' use of "I" as a third person narrator not involved in the action, MacDonald tells his story from the point of view of the protagonist of the tale, Anodos, whom the plot revolves around. Lewis writes in the third person, telling the story from the stance of an outside narrator who does not interact with the characters. This first person account of Anodos' adventures immediately draws the reader into an intimate look at the situations Anodos finds himself in, the choices he makes, and his successes and failures. www.victorianweb.org /authors/gm/penney14.html   (3822 words)

Fiction Literature Reviews A simple person rich in capacity to enjoy the most basic of moments, to feel the grandness of human life in every breath. The only negative thing I can truly say about this book is that my personal copy had a broken spine when I took it out of the box, though it was new. Personally I didn't like the book at all. www.e-book-store.com /Fiction_Literature/Fiction_Literature_100.html   (8592 words)

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