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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.
Who is this Vladimir Putin? Who is this man who suddenly--overnight and without warning--was handed the reigns of power to one of the most complex, formidable, and volatile countries in the world? How can we trust him if we don't know him? First Person is an intimate, candid portrait of the man who holds the future of Russia in his grip. An extraordinary compilation of over 24 hours of in-depth interviews and remarkable photographs, it delves deep into Putin's KGB past and explores his meteoric rise to power. No Russian leader has ever subjected himself to this kind of public examination of his life and views. Both as a spy and as a virtual political unknown until selected by Boris Yeltsin to be Prime Minister, Putin has been regarded as man of mystery. Now, the curtain lifts to reveal a remarkable life of struggles and successes. Putin's life story is of major importance to the world.
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.
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.
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.
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 narrator (the answer to the question "who speaks in the text?") is a commonly used notion in teaching literature and in literary criticism, even though it is the object of an ongoing debate in narrative theory. Do all fictional narratives have a narrator, or only some of them? Can narratives thus be "narratorless"? This question divides communicational theories (based on the communication between real or fictional narrator and narratee) and noncommunicational or poetic theories (which aim to rehabilitate the function of the author as the creator of the fictional narrative). Clarifying the notion of the narrator requires a historical and epistemological approach focused on the opposition between communicational theories of narrative in general and noncommunicational or poetic theories of the fictional narrative in particular. The Narrator offers an original and critical synthesis of the problem of the narrator in the work of narratologists and other theoreticians of narrative communication from the French, Czech, German, and American traditions and in representations of the noncommunicational theories of fictional narrative. Sylvie Patron provides linguistic and pragmatic tools for interrogating the concept of the narrator based on the idea that fictional narrative has the power to signal, by specific linguistic marks, that the reader must construct a narrator; when these marks are missing, the reader is able to perceive other forms and other narrative effects, specially sought after by certain authors.
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.
This book addresses different linguistic and philosophical aspects of referring to the self in a wide range of languages from different language families, including Amharic, English, French, Japanese, Korean, Mandarin, Newari (Sino-Tibetan), Polish, Tariana (Arawak), and Thai. In the domain of speaking about oneself, languages use a myriad of expressions that cut across grammatical and semantic categories, as well as a wide variety of constructions. Languages of Southeast and East Asia famously employ a great number of terms for first person reference to signal honorification. The number and mixed properties of these terms make them debatable candidates for pronounhood, with many grammar-driven classifications opting to classify them with nouns. Some languages make use of egophors or logophors, and many exhibit an interaction between expressing the self and expressing evidentiality qua the epistemic status of information held from the ego perspective. The volume's focus on expressing the self, however, is not directly motivated by an interest in the grammar or lexicon, but instead stems from philosophical discussions on the special status of thoughts about oneself, known as de se thoughts. It is this interdisciplinary understanding of expressing the self that underlies this volume, comprising philosophy of mind at one end of the spectrum and cross-cultural pragmatics of self-expression at the other. This unprecedented juxtaposition results in a novel method of approaching de se and de se expressions, in which research methods from linguistics and philosophy inform each other. The importance of this interdisciplinary perspective on expressing the self cannot be overemphasized. Crucially, the volume also demonstrates that linguistic research on first-person reference makes a valuable contribution to research on the self tout court, by exploring the ways in which the self is expressed, and thereby adding to the insights gained through philosophy, psychology, and cognitive science.
