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Inna Lisnyanskaya is one of the most popular contemporary Russian poetesses. She was born in Baku in 1928. In 1960 she moved to Russia and got married to a translator and poet Siemion Lipkin. She has penned many series of poems i.a. Do not just love, Rain and mirrors, At the edgeo f sleep. She was awarded the Poet Prize in 2009.Present article is devoted to the metaphorical representation of mirrors in Lisnyanskaya’s poems. The analysis is performed in the light of the cognitive poetics. The author is focusing on the cognitive theory about conceptual metaphors and prototype theory.
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The study examines the class status of the verb TO DIE in English. The verb under scrutiny (treated as a member of a semantically coherent class of disappearance verbs, together with disappear, expire, lapse, perish, vanish ) is tested against the six syntactic unaccusativity diagnostics valid for English. It is shown that three diagnostics do not work for the verb TO DIE, i.e., (1) auxiliary selection (inapplicable to all verbs in Modern English), (2) causative alternation, e.g., Philip died./ *The soldier died Philip, since the verb TO DIE belongs to a non-caused disappearance verb class, as argued by Levin (1993) and Levin and Rappaport Hovav (1995, 281–283), and (3) resultative constructions (although some collocations would be theoretically permissible, e.g., *He died stiff, no such sentences appear in the language corpus). On the other hand, the remaining three diagnostics yield positive results, i.e., (4) the occurrence of the adjectival participle, but with a reservation that it must be placed in a post-nominal position (*a DIED uncle / an uncle DIED in an accident), (5) there-insertion (the only existing example from the COCA Corpus: There DIED a myriad), and (6) the locative inversion diagnostics (the only instance found in the literature by Levin and Rappaport Hovav (1995, 303): (…) this year also DIED the possibility of turning the cup races (…)). Since only three unaccusativity tests out of the six mentioned above seem to work for the verb TO DIE, it might be problematic to treat it as a member of the unaccusative class. Additionally, the instances provided to illustrate the three diagnostics valid for the verb TO DIE rarely occur in the literature and the available corpora, and therefore they should rather be viewed as exceptions, which would cast serious doubt on the unaccusative status of the verb TO DIE. This would lead us to the conclusion that the verb TO DIE should be regarded as a real example of an Unaccusative Mismatch (Levin 1986), i.e., a clash between the results of two or more unaccusative diagnostics (discussed in Grimshaw 1987; Zaenen 1993; Levin and Rappaport Hovav 1995).
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Natalia Gorbanievskaya is a perfect example of a person who for years have been conductingthe Polish-Russian Dialogue, as a poet, journalist, translator, social activist, defender of humanrights and above all as a Giedroyc, Milosz, Kuron, Pomianowski and Walentynowicz friend.Polish poetry, prose, journalism and people have awaken love for Polish culture in the poet.Among these people Jerzy Giedroyc plays the most important role. The editor of the Parisian“Kultura” and Gorbanievskaya were linked primarily with community of values, respect for humanindividuality, dissent, the ability to conduct discussions on the arguments. Publicist shared withEditor political views concerning the eastern Polish politics, the position of Ukraine after the collapseof the Soviet Union, state of the Baltic States and Belarus on the map of Europe after 1991.Poet’s cooperation with “Kultura” has resulted in editorial activity, translational and publishingin the pages of “Nowaja Polsza”. The main topic of Natalia Gorbanievskaya journalism isalso Jerzy Pomianowski’s monthly aimed at the Russian intelligentsia in order to work out mutualrespect and understanding between Poles and Russians.
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The analysis has focused on a few anthroponyms used in their secondary senses in the Polish press in the heat of pre-electional debates of 2015 and the relation between their meanings and forms, and particularly their inflectional patterns and the noun phrase structure. One unifying property of a miscellaneous set analysed, including both novel and ephemeral creations and expressions of a more established status, is a negative axiological valuation of the referent of the anthroponym. The analysis refers to a social function of such language use and mechanisms of persuasion and manipulation. The motivation for the morpho-syntactic features of the analysed proper names is sought, among others, in the processes of metaphor and metonymy. The analysis also includes examples of paragons, mimetic, or pseudo-mimetic compounding and polisemy of plurality.
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The aim of the paper was to present religious vocabulary selected from the 17th century works of Joannikij Galatovski and show the relations between Church Slavonic loan words (particularly words of Greek origin) and their Polish equivalents. The vocabulary has been divided into several subject groups concerning church organization, religious rites and feasts, liturgy, church books and prayers, God and other definition relating to the Orthodox Church. Some of these words or word combinations can be qualified as borrowings others may be treated as quotations used in the Polish texts. Analyzing Christian terminology the author pays attention to the usage of East Slavonic borrowings and Polish terms. The examples provided in the article indicate that the writer sometimes substitutes Church Slavonic loan words for Polish terms or uses them simultaneously.
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The collection of short stories The Book of Sand by Jorge Luis Borges is a narrative which deals with the quest for identity and destiny. Borges’ man, which can be understood as a synthesis of the tradition and modernity, emerges from this tradition and on its basis it is largely constituted. Hence, the paper attempts to to examine the ways in which Borges’ opus can be related to the Latin American radition, as well as the ways in which Borges, seen through the prism of that tradition, reflects on the issues of fate, life, death, and eternal renewal, and then connects these issues with the concept of writing, and, ultimately, the literature. The paper also attempts to determine the extent to which the identity of the man and his work is rooted in the tradition and the ways in which the tradition is always renewed through man and his work.
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In this article we have made multi-faceted description of a dictionary - its macro- and microstructure,purpose, scope and form of the dictionary’s lexicon. Our next task was to define basictypological features of the dictionary. We selected two the most appropriated typologies - one, ofUkrainian linguist, V. Dubichinsky’s and the second one, of a Polish dialectologist, H. Karas. As aresult of the analysis, we found that the classification of the dictionary is not possible due tovariety of Russian Old Believers’ insular dialect surrounded by foreign languages (Polish andGerman as well). Our study confirms an enormous value of the dictionary because of its richillustrative material, as well as the speech of three generations from the three Polish Old Believers’centers: Suwalki-Sejny, Augustow and Mazury which was fixed in it.
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The article reviews the system of binary distinctive features of phonemes which may servethe most common acoustic criteria making the base for typological research in phonology ofgenetically unrelated languages with an example of Russian and Polish, representing the Slavonicgroup of languages, as well as English, included into the group of Germanic languages.
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This paper dwells upon the roots of museology and museography in the world and especially the roots of Turkish museology.The examples given within this context are from the Far East as well as Europe along with examples from Turkish culture. The examples are mentioned with the aim of indicating the similarities between museography and cultures of dowry and dowry chest around the world especially in Turkey. In as much as museums have been called as institutions of rootless or discontinious by Anthony Giddens but it will be emphisized that both museum and dowry custom satisfiedsa me requirements and they have related similar traditions. At the core of the paper is the relation between museography and the hope chest and dowry culture which hasbeen adopted into the Turkish culture from a wide geographic area spanning Central Asia, Balkans and Europe. In this regard firstly the concept of museography is clarified and then critiqued using museology. After expression of dowry, some examples related dowry practices from different culture all around the World have been included. Thent he paper demonstrates similarities between museographic practices and practices formed around the dowry culture using examples from Turkish culture. As a conclusion, it is observed that the dowry culture all around the World has not been evaluated as a part of studies of premuseography and museology.
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This paper presents the new formal grammar of Polish, POLFIE, couched in Lexical Functional Grammar.The paper introduces the basics of LFG, discusses the way of representing syntactic structures in LFG anddemonstrates the power of the LFG formalism on the basis of the analysis of selected phenomena of Polishin POLFIE. The paper shows that the LFG theory makes it possible to provide a formalised, adequate and linguisticallydeep description of syntactic phenomena such as: syntactic control, predicative arguments, thehaplology of ‘się’, unbounded dependencies and coordination; it also takes into account interactions betweenthese. POLFIE is accompanied by a computer implementation in XLE.
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Morfeusz is a well known application, used in Polish computational linguistics for over a decade. In the paper we present a new version of the program, focusing on new features which have been introduced since the previous version.
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In the paper Slavdom in early poetry of Rastko Petrović we are analyzing the role and the significance of the elements of slavdom, Slavic mythology and paganism, as well as Petrovićs vision of Slavic pantheon in early poetry from 1919 to 1924. The main object of our criticism is revealing connection between the idea of slavdom and the idea of vitality which regards the vibe of life, the possibility of restitution and transformation, as key subjects of the R. Petrovićs’ poetics, as well as the way of how the idea of slavdom is being diversified in his poetry. The methods of mythologization are being scrutinized on the levels of semantics, structure and stylistics. It is deduced that Petrović as a poet, through mythical symbols of death and rebirth, is returning to traditional art, considered as original expressive power, to achieve and create bonds with the myth and to revitalize magical capability of language.
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The aim of the paper is to compare two approaches to justice in utopian society, in two different genres of the fantastic. One genre is fantasy (F), and, in it, our example is the famous short story “The Ones Who Walk Away from Omelas” by Ursula K. Le Guin. The other genre is science fiction (SF), and in it, our example is the episode “Justice”, 8th in the first season of the TV series Star Trek – The New Generation. Obviously one is in the literary medium, and the other is a film. But our comparative approach reveals that the media difference (the field of literature; the field of movie art) is not crucial here. The genre difference is crucial. Both these works of art present a society which is, initially, seemingly perfect, which, due to a morally disruptive factor, eventually reveals itself to be a dystopia. Our analysis shows that the moral response of the protagonists to the emerging evil is dictated, decisively, by the difference in genre. If the crew of the starship “Enterprise” were to discover, and see from orbit, the city of Omelas, on some planet, they would want to know, with their scientific manner of thinking (which is why we call it science fiction), who arranged the matters so that the horrendous suffering of one child is supposedly the condition for the prosperity of the entire city; they would consider it meaningless, somebody’s arbitrary pique of malice; so, they would probably try to find the central control room, and do something about this, despite their Prime Directive of non-interference in other cultures. That which is, in one genre, a moral allegory or a parable, in the other genre is a concrete and practical, real and literal moral task, a problem to be explored and solved rationally.
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Ce travail se propose d’examiner la question du langage poétique d’Eugène Guillevic dans cinq poèmes choisis du recueil Euclidiennes publié en 1967 („Point”, „Centre”, „Droite”, „Triangle isocèle”, „Triangle équilatéral”), en se concentrant particulièrement sur le dépassement formel et sémantique de son cadre poétique initial, aussi bien que sur la stylisation de l’expression poétique se basant sur l’inscription et l’incorporation des notions et des termes du langage scientifique, à savoir le langage mathématique. Notre but est de motrer, en choisissant une perspective sémiotique, le processus de transcodage des données appartenant au langage mathématique au langage poétique, de même que la fonction et le rôle des entités mathématiques agissant en tant que les signes-symboles dans une situation poétique. Dans la poésie de Guillevic on s’avise de deux tendances importantes- l’une consiste à rapprocher et à associcier deux systèmes de signes éloignés et à rendre complexe le processus même de la signification, et l’autre consiste à libérer la poésie d’une obligation de signifier et de toutes les fonctions traditionnellement attribuées à toute œuvre artistique pour en venir à un dévoilement de ses procédés littéraires et à une constitution libre et autoréférentielle.
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The article is a brief historical overview of the different Italian translations of Whitman’s line “I sound my barbaric yawp over the roofs of the world.” Each translation is followed by short comments. An alternative solution is proposed by the author.
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