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The relationship between story and game, and related questions of electronic writing and play, examined through a series of discussions among new media creators and theorists.
Kif Kehlmann, a young, penniless writer, thinks he’s finally caught a break when he’s offered $10,000 to ghostwrite the memoir of Siegfried “Ziggy” Heidl, the notorious con man and corporate criminal. Ziggy is about to go to trial for defrauding banks for $700 million; they have six weeks to write the book. But Ziggy swiftly proves almost impossible to work with: evasive, contradictory, and easily distracted by his still-running “business concerns”—which Kif worries may involve hiring hitmen from their shared office. Worse, Kif finds himself being pulled into an odd, hypnotic, and ever-closer orbit of all things Ziggy. As the deadline draws near, Kif becomes increasingly unsure if he is ghostwriting a memoir, or if Ziggy is rewriting him—his life, his future, and the very nature of the truth. By turns comic, compelling, and finally chilling, First Person is a haunting look at an age where fact is indistinguishable from fiction, and freedom is traded for a false idea of progress.
A first-of-its-kind guide for new media times, this book provides practical, step-by-step instructions for writing first-person features, essays, and digital content. Combining journalism techniques with self-exploration and personal storytelling, First-Person Journalism is designed to help writers to develop their personal voice and establish a narrative stance. The book introduces nine elements of first-person journalism—passion, self-reporting, stance, observation, attribution, counterpoints, time travel, the mix, and impact. Two introductory chapters define first-person journalism and its value in building trust with a public now skeptical of traditional news media. The nine practice chapters that follow each focus on one first-person element, presenting a sequence of "voice lessons" with a culminating writing assignment, such as a personal trend story or an open letter. Examples are drawn from diverse nonfiction writers and journalists, including Ta-Nehisi Coates, Joan Didion, Helen Garner, Alex Tizon, and James Baldwin. Together, the book provides a fresh look at the craft of nonfiction, offering much-needed advice on writing with style, authority, and a unique point of view. Written with a knowledge of the rapidly changing digital media environment, First-Person Journalism is a key text for journalism and media students interested in personal nonfiction, as well as for early-career nonfiction writers looking to develop this narrative form.
Originally published in 1966. This book considers the perceived asymmetries between the self and others, or between self and things. An in-depth analysis of scepticism, dualism, belief, knowledge and semantics. A topic which is central to both epistemology but also the whole of contemporary philosophy.
Science and its philosophical companion, Naturalism, represent reality in wholly nonpersonal terms. How, if at all, can a nonpersonal scheme accommodate the first-person perspective that we all enjoy? In this volume, Lynne Rudder Baker explores that question by considering both reductive and eliminative approaches to the first-person perspective. After finding both approaches wanting, she mounts an original constructive argument to show that a non-Cartesian first-person perspective belongs in the basic inventory of what exists. That is, the world that contains us persons is irreducibly personal. After arguing for the irreducibilty and ineliminability of the first-person perspective, Baker develops a theory of this perspective. The first-person perspective has two stages, rudimentary and robust. Human infants and nonhuman animals with consciousness and intentionality have rudimentary first-person perspectives. In learning a language, a person acquires a robust first-person perspective: the capacity to conceive of oneself as oneself, in the first person. By developing an account of personal identity, Baker argues that her theory is coherent, and she shows various ways in which first-person perspectives contribute to reality.
I is perhaps the most important and the least understood of our everyday expressions. This is a constant source of philosophical confusion. Max de Gaynesford offers a remedy: he explains what this expression means, its logical form and its inferential role. He thereby shows the way to an understanding of how we express first-personal thinking. He dissolves various myths about how I refers, to the effect that it is a pure indexical. His central claim is that the key to understanding I is that it is the same kind of expression as the other singular personal pronouns, you and he/she: a deictic term, whose reference depends on making an individual salient. He addresses epistemological questions as well as semantic questions, and shows how they interrelate. The book thus not only resolves a key issue in philosophy of language, but promises to be of great use to people working on problems in other areas of philosophy.
This sequel to First Person Singular (1980) presents autobiographical sketches of 15 eminent scholars in the language sciences. These personal reminiscences on their careers in linguistics reflect developments in the field over the past decades and shed light on the role each of them played and the influences they underwent. This book is a valuable source for scholars of the history of ideas in general and for historiographers of linguistics in particular, while it makes interesting reading for every linguist interested in the history of the discipline. The volume includes photographs of all contributors and is completed by an index of names and an index of subjects and languages.
The “Natural Problem of Consciousness” is the problem of understanding why there are presently conscious beings at all. Given a non-reductive naturalist framework taking consciousness as an ontologically subjective biological phenomenon, how can we rationally explain the fact that the actual world has turned out to be one where there are presently living beings that can feel, rather than having developed as a zombie-world in which there would be no conscious experiences of any kind? This book introduces the Natural Problem by relating it to central problems in the philosophy of mind (metaphysical mind-body problem, Hard Problem of consciousness) and emphasizing the distinctive interest of its diachronic dimension. Ranging from philosophy to biology and neuroscience, it offers a thorough analysis aimed at better understanding what could explain why phenomenal consciousness has been preserved throughout evolution by natural selection. This is an original, engaging, and thought provoking philosophical study of a neglected but fundamental question regarding the nature and origin of consciousness.
Theatre is an interpretive art based upon a director's emotional reaction to reading a play and imagining a production of that play. Before the audience experiences the production, the director must go through a process, part art and part craft, to create it. This book is intended to introduce undergraduate students with a solid theatre background to that process. Stevens includes chapters covering theatre and art, the interpretation of the script, composition and movement, working with actors, and matters of style. Each chapter contains exercises in order for students to consolidate what they have learned. The complete text of John Millington Synge's "Riders to the Sea" is included as an example and study text, and Stevens relates many examples from his own rich directing background. Twenty production photos, two sample floor plans, and numerous diagrams round out the text. The study of directing is a life-long project, and in this book Stevens provides a basis for that study.
Imposters are third person DPs that are used to refer to the speaker/writer or addressee, such as : (i) Your humble servant finds the time before our next encounter very long. (ii) This reporter thinks that the current developments are extraordinary. (iii) Daddy will be back before too long. (iv) The present author finds the logic of the reply faulty. This volume explores verbal and pronominal agreement with imposters from a cross-linguistic perspective. The central questions for any given language are: (a) How do singular and plural imposters agree with the verb? (b) When a pronoun has an imposter antecedent, what are the phi-features of the pronoun? The volume reveals a remarkable degree of variation in the answers to these questions, but also reveals some underlying generalizations. The contributions describe imposters in Bangla, Spanish, Albanian, Indonesian, Italian, French, Romanian, Mandarin and Icelandic.
