Etad, traditionally considered a proximal demonstrative, does admit some evidence of proximal and speaker deixis
(for example, in conjunction with 1st person pronouns), but none that can be deemed definitive.
und die Selektion von Referenzdomanen, in I.
The narrative mode of presentation deployed here is the quoted monologue, with its first-person deixis
, associative shifts, and signals of expressivity.
Spaces of Fiction / Fictions of Space: Postcolonial Place and Literary DeiXis
Six of these chapters are remarkable in that they exhibit carefully crafted social deixis
aimed at Ballard by the community at large, a distancing technique not present in the third-person narration or, for that matter, the narration of "A Rose for Emily.
The idea of the proximal/distal distinction is taken from that of deixis
, a system of 'pointing' (Fillmore 1975 , etc.
In brief, narratology is the study of how narratives work, especially regarding point of view, deixis
(the linguistic placing of people or things within a space), and the role of the narrator within the text.
2011) remind all of us that deixis
is a foundational quality of the new literacies of the Internet and other ICTs, the process of supporting students' digital literacy development is an inimitable cat and mouse game; as new technologies continuously emerge, new literacies, skills and strategies, will be necessary for their effective use.
Structured around "structural tropes ("liminality, deixis
, a form of exile that is poetic)" (27)--rather than the chronological unfolding of Sereni's poetry--Southerden's investigation undertakes the study of subjectivity in its relationship with desire.
Experimental data and language-internal evidence from TID suggest that temporal and spatial language may not be derived from each other but they share some properties at the lexical level with respect to deixis
15) She suggests that deixis
functions as a device of immediacy as well as "a set of temporal frames for subjectivity" (p.
30) The performative deixis
"these thicke streames" serves here as a cue for the actor's gestures (31) and draws attention directly to the blood, which is the performative trace of the Duke's self-inflicted skin penetration.