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The basic part of the article is devoted to the nature and the modalities of use of eponyms, whereby terminological problems are also touched upon – preferably against the background of a contrastive analysis, which is also only implicit. In this context, a consistent differentiation is made between eponyms and deonyms in order to accommodate the disambiguation needs of the former in German. The use of deonyms will be exemplified primarily on the basis of scientific and culinary terminology, where deonyms (in part) perform different functions in each case.
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The article deals with the prosodic competence of learners of German, and more precisely with prosodic units. It is not always easy for learners to correctly determine these units and consequently to set correct sentence accents. Lack of correspondence between prosodic and syntactic units leads sometimes to prosodic errors. The article tries to analyze these discrepancies between prosodic units and syntactic phrases in order to determine certain regularities.
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Poetry is the breath of language. It animates language and grants it volatility. It is the reason why words resemble a gulp of air. At the same time, it allows them to breathe. In the light of such theses the author of this article analyses and interprets the “last poem” by Wisława Szymborska – a note written by the poet in hospital shortly before her death. Deciphering the note shows the way in which the “last will” of the author of Sto pociech transformed a poetic joke into an existentially enrooted act of the freedom of suitably used words, their living breath creating a powerful counterpoint for the last breath. It also demonstrates how Szymborska’s note opens a perspective for joint human experiences associated with the “battle for breath” and for profoundness opening up in each breath – also in the last one.
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The author takes a closer look at the texts by Serhiy Zhadan, which include the motif of war and the attitude towards the Other. In doing so, she refers to his poetry: Drohobych, Life of Maria, Templars, Antenna, List of Ships, and the most recent: Psalm to Aviation 58, as well as the story: The Orphanage. Despite the fact that the majority of Zhadan’s poems refer implicitly to war operations conducted since 2014 in East Ukraine, the text originated already in the course of a war that has engulfed the entire country. In her summary Wiera Meniok writes: “I am close to finishing this essay. Dawn approaches slowly. It is 19 March 2022, the twenty fourth day of a war unleashed in Ukraine by the Russian aggressor – a terrorist state, an imperial regime of evil. Kharkiv is situated far to the east of my Drohobych, and dawn in Kharkiv is already more translucent and brighter. I am thinking about Serhiy Zhadan and his town, standing amidst ruins and bleeding, but consequently becoming even stronger. Words from Który skrzywdziłeś (You Who Wronged), the well-known poem by Czesław Miłosz: “Do not feel safe. The poet remembers. / You can kill one, but another is born. / The words are written down, the deed, the date”, come to my mind. Serhiy Zhadan is still in Kharkiv and fights for his town. He writes a war chronicle on his official Facebook site. Tens, hundreds of thousands of people daily await his entry. He writes; therefore he lives. He writes; therefore Kharkiv stands.
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Essay on poetic images of experiencing an abyss and relations between poetry, perception, disorders… and chemistry.
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After reading the book by Paweł Próchniak we become aware of the nature of the nocturne (something that I always sensed while listening to Chopin). The subtitle: Z dziejów wyobraźni poetyckiej (From the History of Poetical Imagination) comprises the dark yarn of this imaginary weave. More, it becomes part of the sensu largo series in which the book was issued, i.e. Granice wyobraźni (Limits of Imagination). Indeed, while reading Nokturny we touch and sometimes trespass or even cross those boundaries in poetry. It sometimes happens that we do so in a totally unexpected manner: after all, who actually thinks on a daily basis about the Polish national anthem: Jeszcze Polska nie umarła (Poland Is Not Yet Lost) as a “song of exiles”. It suffices to reason in this manner in order to arrive at the boundaries not only of mere individual imagination but also a collective imaginarium. The publishing house, which issued Próchniak’s book, is named Pasaże – after the passages of Baudelaire and Benjamin. Already the very composition of this extremely intentionally devised volume of sketches reveals how passages of the imagination are not at odds with the boundaries of the imagination. This is why I regard the longest essay in the volume – an interpretation of De passage à Paris, an excellent and unacknowledged poem by Stanisław Baliński – to be a significant composition caesura of Nokturny. The poem in question, a distant reflection of Czarne kwiaty (Black Flowers) by Norwid (also because it deals with the constant instability of the fate of an émigré), attempts to capture signals of the dying of Frederic Chopin before death actually takes place. To capture the moment of passage, which becomes a borderline, also imaginary.
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This article proposes an aspect insight into the workshop and diction of critique, which attempts to capture the work conducted by creative imagination, characteristic for poetry, and, at the same time, a form of cognition. Upon the basis of Paweł Próchniak’s book: Nokturny. Z dziejów wyobraźni poetyckiej the author of the sketch reflects on the nature, strategies, obligations, and traps of such a critique of poetry expressed in Nokturny – a critique existentially oriented, firmly based on literary studies competences, erudite but, at the same time, open towards a meeting with the unknown and thus cognitively momentous, i.e. accommodating senses and recognition, which only via poetry seek their linguistic and imaginative form.
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English medium instruction (EMI), both in higher and secondary education, is now a well-established field of education research and, indeed, many applied linguistics journals are publishing regularly on a variety of EMI topics. Recently, a new journal, Journal of English-Medium Instruction, has been established that is dedicated entirely to this area of academic enquiry. Recent years have also seen several special issues emerge on topics within EMI in journals such as Applied Linguistics Review (published advanced online), System (in 2023), and TESOL Quarterly (in 2018).
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The growing need for community interpreting as a consequence of globalization is reconfiguring the spaces of the interpreting act in which people with different cultural, social, and political-historical backgrounds come together. These places are characterized by Foucaultian liminality and heterotopia. Using the concept of linguistic biography, the sociolinguistic concept of the linguistic repertoire (John J. Gumperz), and Maurice Merleau-Ponty’s concept of the phenomenology of the body, it traces the way these spaces affect bodily and linguistic experiences of community interpreting participants as multilingual asylum seekers in their encounters with monolingual institutions in the novel The Thankless Foreigner by the German-Swiss author Irena Brežná (b. 1950). It also looks at interpreters subjected to the pressures of different existential situations that arise from the nature of these facilities. The article explores linguistic ideologies determining the behaviour of participants in these proceedings and the way language in a literary text expresses or reflects ideas, values or beliefs associated with a particular language or linguistic variant.
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The article focuses on the dramatic work of the Slovak writer Jana Bodnárová (b. 1950) in the intersections of feminist tendencies and “women’s writing” as conceptualised by Hélène Cixous in her manifesto The Laugh of the Medusa (1976). The paper analyses the plays J. Bodnárová wrote after 1989. Thematically, these concentrate mainly on violence and cruelty against women in various forms. J. Bodnárová depicts women’s experience in relation to the theme of physicality. She interprets the female body as lived and experienced, capable of constantly reshaping its boundaries and unmasking inner movements. In Bodnárová’s texts, the body is a constructive tool through which the author can approach the misogynistic thinking that encloses women in their bodies. In the context of the phenomenon of “women’s writing,” the theme of empowering women’s “voice” on the basis of artistic creation comes to the fore. Affinities are present with Hélène Cixous’s drama Portrait de Dora (1976, second revised edition 1986) which focuses on the motif of the forms of sexual abuse and trauma women experience that are the results of society’s patriarchal character.
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