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This article shows how mental activity is reflected in the intentional style and specific communication scripts. This analysis shows the cognitive mechanisms and possibilities of the language. Tools of different language levels of several semantic groups help to convey communicative action. These tools reflect perception, speech and thought, performing (dance) actions. Time means reflect the dynamics of what is happening.
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The starting point of our theoretical reflexions about the influence of important persons’ speeches on the Slovak public is connected with the term cultural particularity, following the language behaviour of speakers (presidential candidates), anchored in Slovak cultural milieu in spring 2014. Taking into consideration the idea of discourse psychology of R. Harré and G. R. Gillet saying that the human thinking is non-formal and, in the same time, sensitive to the context of real word, we admit the linguistic claim, which underlines the conditionality of language understanding by understanding of any discourse happening (including people acting in different situations, reproducing and developing themselves as socio-cultural creatures) – cf. Dolník, 2010, p. 60. The particularities of the topical rhetorical culture of presidential candidates in contemporary Slovakia emerge from lingual as well as from non-lingual factors. As for the lingual factors, the speech culture is embedded in the language situation, dominated by the codified “literary language”, which is reserved for representative public speeches taking advantage of linguistic nonchalance (however, it doesn’t mean the total exclusion of neglectful expressions, able to attract some positive effects). The “authorised” carelessness interrelates especially with youth social dialect, as well as with specific pronunciation typical for the region of Bratislava (which is permitted to young candidate R. Procházka, whereas older candidates try to avoid it). The topical public rhetorical culture of Slovakia has also specific axiological topoi, nourishing the confrontations in dialogues as a universal feature of interactions in its’ current politics. It concerns such moral values as traditional family life, Christian religion, distance from the communist identity and from corruption.
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The objective of this text is a linguistic (mostly lexical) characteristic of the individual names of Czech political parties that participated in the elections to the Parliament of the European Union in 2014. First, the electoral political propaganda is specified as original, and yet the typical kind of marketing communication. Each of the names (chrematonyms) is subsequently classified in terms of their form, but also the content, i.e. according to their key words. Through quantitative and qualitative analysis, the motivation of the naming process is specified in connection with its objective, i.e. to influence potential voters (similarly as a producer or trader are trying to persuade the consumer to buy a commercial product).
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In this article Mediastylistics as an independent scientific discipline which is a part of medialogia and stylistics is discussed. Integrative category of style is a basis for stylistics. Integrative category of mediastyle is a basis for mediastylistics. Mediastyle is more widely used than publicistic style which has been researched by functional stylistics. We are researching mediastyle by dividing the concepts of style and discourse. Mediastyle has an unique intentional and narrative structure. Intentionality of mediastyle shows its unique, narrative structure – its national content.
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The article focuses on the comparison of verbal and non-verbal visual artworks (paintings) conceived as texts in a broad semiotic understanding, thus addressing the issue of intermediality (convergence of arts). The first problem discussed is that of a degree of underdetermination/schematicity present in literary texts and visual artworks. The opinions of philosophers and theoreticians of art on this theme have been divergent, with the outstanding Polish henomenologist Roman Ingarden favouring literary texts as less “gappy” than paintings (due to the capacity of natural language to invoke several sensations) and thus easier to “concretize” (i.e. fill in during interpretation) and with E. H. Gombrich treating paintings as less “handicapped” in sensory perception (more detailed, open to holistic instant scrutiny). The second major query concerns the presence of tropes in non-verbal texts. The author supports the thesis that tropes exist not only in verbal texts but are also capable of structuring all kinds of visual and spatial texts, such as paintings, sculptures, installations, architectural works, urban and garden spaces, as well as products of artistic design. The discussion proceeds against a larger background showing the camp of supporters of visual tropes – representatives of several disciplines (Jakobson, Barthes, Todorov, Gombrich, Porêbski, Wysłouch, and the cognitive scholars) set against the group of non-believers in the visuality of tropes (Arnheim, Foucault, Ziomek, partly Mayenowa). Although the author remains sceptical about the possibility of finding a common “grammar” for all semiotic artistic systems in the sense of imposing on them morphology and syntax in the strictly linguistic understanding, she strongly believes that all aesthetically marked semiotic texts share a common stylistic core, in which figuration (and tropes in particular) qualify as semiotic stylistic universals. The list of such universal tropes may be claimed to include the four master tropes: metaphor, metonymy, synecdoche and irony, extended by: simile, antithesis, catachresis (semantic anomaly), euphemia, suppression and antithesis (cf. Chrzanowska-Kluczewska 2013). The discussion of visual tropes is carried out on the example of four capriccios – oil paintings featuring the seasons of the year/elements by the mannerist artist Giuseppe Arcimboldi.
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Although literary style is usually considered in the context of a single national language, one characteristic of literary texts is the possibility of utilizing linguistic means from several languages and to connect them in various ways. Usually, there is an opposition between the matrix language (the language of the community for whom the text is primarily intended) and passages formulated in other, embedded languages, which take on the role of foreign languages in relation to the matrix language. The description of the style of such texts must respect their multilingual character, i.e. it must observe the principles of selection and organization of the linguistic means both in relation to the matrix language and to the embedded language(s). The features of the style of multilingual texts are presented in this study through three examples from 20th-century Czech literature: Jaromír John’s short story collection Veèery na slamníku (Evenings on a Straw Mattress, 1920), Jan Novák’s short story collection Striptease Chicago (1983) and Jan Køesadlo’s novel La calle Neruda (1995).
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The author discusses the so-called „civil poetry”, which is now closer to journalism and becomes part of the political discourse, becoming part of media. The poetry participates in political communication, reflecting the oppositional sentiment of society. The author demonstrates that poetic discourse approaches to the journalistic one by the set of ideologemes, the social evaluation, the author’s intention to change the perception and the worldview of the recipient, the strategies of persuasion and linguistic manipulation. Special attention is given to irony and citations as interpretive methods of formation of the evaluation, and to expression of subjectivity. The article concludes the convergence of poetic and political discursive practices. The research is based on the material of Russian socio-political poetry of the circle of the “New literary review”, fellonneau poetry of D. Bykov and L. Kaganov and German political poetry, published by the newspaper “Die Zeit”. Content analysis, linguistic analysis of the text and communicative-cognitive analysis methods have been used.
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The article considers specific features of Russian services dedicated to saints. In the study of hymnography, following the statute of Jerusalem (Typikon), one of the most important categorising features is the status of the service (sextic, doxological, polyeleos and vigils). Each category reflects the degree of reverence for the service. Sometimes, with increasing status of the service, a geographical spread and increasing commitment can be observed. Two services to SS. Boris and Gleb and the service commemorating the transfer of the relics of St. Nicholas from Myra to Bari are taken as an example. Since the status of the service is often dependent on liturgical practice, sometimes the current version of a service can achieve an enhanced status by adding missing elements. Some services to saints offer the possibility of lowering its status depending on liturgical needs. Compilated services consisted often of a new combination of hymns. One of the copies of the service in memory of the martyred Saints Boris and Gleb shows the process of drawing up a version when there are two variants in the same locality: in case of conflict, the service contains two options of hymns. The article describes the practice of correcting services, using examples from manuscripts which preserved such corrections.
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