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The paper offers an analysis of rhetoric-lexical-syntactic structures typical of a scientific text, that is a text that follows quite a stable and rigid structure. A corpus-based analysis, achieved through the use of the Scientext corpora, runs across two dimensions. The first dimension is constituted by the subject matter of the text, while the other dimension concerns the relation between the author of the text and the recipient. The analysis presented is a two-stage process. At the first stage, rhetoric-lexical-syntactic structures are singled out. The second stage is to assign those structures to the particular parts of the text, such as Introduction, Main body, Conclusion. The final objective is to arrive at a lexical-syntactic template of a scientific text.
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In line with the colonization of central Asian provinces of the Russian Empire, which started inthe 16th century, also the Poles were sent as prisoners to these areas. The article relates to methodsof survival in exile of representatives of the fi rst large group of Polish exiles – members of the BarConfederation (1768–1772). Some chose to more or less spectacular escape, which often ended intragedy. Others settled in and converted to Orthodoxy, denying the possibility of returning home.A large group of exiles were eventually forcibly incorporated into the tsarist army. As ordinary soldiers, deprived of state laws, the Poles have contributed not only to the further colonization of theAsian part of the Russian Empire, but also played an important role in regulating the internal affairsof Russia, including Emilian Pugachev rebellion damping (1773–1774).The source of the research is a diary of exiled member of the Bar Confederation – Karol LubiczChojecki, Pamięć dzieł polskich. Podróż i niepomyślny sukces Polaków, fi rst published in Warsaw in1789, reprinted one year leater (1790) in Supraśl, titled: Polak konfederat przez Moskwę na Syberię zaprowadzony. Razem wiadomość o buncie Puchaczewa.
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This paper discusses the linguistic characteristics of political propaganda texts written in Polish,extracted from “Trybuna Radziecka,” a central Polish weekly published in Moscow in 1927–1938 andedited by Polish left-wing intelligentsia, living in this period in the USRR as political émigrés.The propaganda creates the world which is different from the real one and this world is alwaystendentious, up to point of being fictitious.The author attempts to demonstrate that many linguistic characteristics are common to all periodsof Polish propaganda. The Polish press published in Moscow in the interwar period initiated thecreation of the political socialist Polish post-war propaganda.There are seven fundamental properties which constitute the persuasive dimension ofpropaganda texts: importance, universality, proximity, necessity, legitimacy, coherence, progress,and permanence.The persuasive function of propaganda texts is achieved by such words as słuszny [legitimate],podstawowy [fundamental], zasadniczy [principal], kluczowy [key], masy [the masses], każdy[everyone], wszyscy [all], powszechny [universal] etc.
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Seen in its historical evolution, lexical innovation throughout the literary text illustrates through numerous acts of language efforts to enrich our modern culture with new lexical expressive elements. The ideas, imagination games has promotes terms and new words associations, proving, in this way, multiple possibilities to combine metaphoric words available in language. Understanding criterion without effort and the novelty must be accepted as a fundamental rule in the literary text, and due to the fact that science and literary art are to meet in unusual associations,constitute a basis and an incentive, at the same time, in the development and modernization of Romanian literary language
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Multiple hybrid constellations in large parts of contemporary prose fiction give reason to question the validity of terms as, e.g., “national authorship”. This comparative study analyzes prose fiction of two Slavic-born authors; The Czech writer and translator Jaroslav Rudiš writing his novels in Czech and the Russian-born Olga Martynova writing prose fiction in German, poetry, however, in Russian. By leaving aside Czech-German history and also by settling two out of five novels in Germany, Rudiš seems to envisage for himself an authorship which might be called “middle European with a Czech background”. Martynova, on the other hand, has been establishing her authorship as a novel-writer – of two texts so far – in reference to the Russian but also to the German and further cultural repertories. In a way, she has internationalized the literature-centered Russian cultural heritage. Attempts at trying to handle the overall hybridity in contemporary prose fiction, among others, have to ascertain in which way national and cultural repertories are affirmed, mixed, re-written etc. and what types of affiliation (cultural, geographical, historical, social) are being exposed in single texts.
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The reality presented in the literature adopts the audio-visual features and is constructed from fragments that are in constant motion, characterized by a flashlight and temporal feature. The reality concept that the recent literature is related to is created by media texts. As a consequence the process of text assimilation changes and becomes consistent with the audiovisual absorption mechanisms; an intermedia literature is being formed. The concept of audiovisual narration relies on penetration of audiovisual strategies in literary narrative (composition, poetics, narration, a hero construction).
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After the excesses of his previous terror movies, the Spanish director Jaume Balagueró returns to a more sober narrative to explore the mechanisms of anguish in an oppressive thriller behind closed doors, “Sleep Tight” (“Mientras duermes”, 2011). Influenced by Hitchcock and Polański, he proposes a new variation on the spatial motif of a building which becomes the nest of daily evil embodied by César, an ominous concierge who intrudes into the residents’ intimacy and endeavors to ruin their existence. The present article aims at analyzing the principal filmic and narrative strategies of anguish deployed in this movie. The director elaborates a Manichean costumbrista tale where he probes the atavistic fear of a nocturnal monstrous presence that may perturb the reassuring normality of domestic space. Through the construction of a rigorous rhetoric of repetition, Balagueró places the viewer in a disconcerting narrative in‑between and invites him to participate actively in the pernicious game orchestrated by his protagonist, depicted as a methodical agent of everyday terror.
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In the article the author describes diverse, textual strategies of Polish homosexual diaries from the 20th century. The author discusses the issue of their complex genetical relation to the founding texts of gay autobiography by André Gide and Oscar Wilde and he is pointing at resemblances and differences in the ways they construct the homosexual subjectivity. Basing on observations by Judith Butler, Eve Kosofsky Sedgwick and Michel Foucault, the author is pointing at the performative contradiction of genres deduced from the autobiographical tradition of confessing in the situation of homosexual subject, and I am also reconstructing rules of textual visibilities of the homosexuality on the example of diaries of Jarosław Iwaszkiewicz and Jerzy Zawieyski.
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The article is dedicated to the poetics of Shmelev’s story’s title “The Hidden Face”. The ideological and thematic aspects of the title, that develop story’s fiction structure of the writing are exposed to analysis. The story got its final title in the last, second, manuscript edition (its previous title was “Furlough”). The writer accentuates the character’s inner, radical crisis of consciousness, rather than external events. This intention manifests itself in the ideological structure of artistic images: the characters’ philosophy is based on the principle “thesis — antithesis — synthesis”. However, there is another viewpoint, that prevails over others and comes out of this system of immanent relations and theoretical judgments of the characters — the Orthodox one. In the text there are several semantic levels of an image system of the story that are kept current in the concepts of “holy face”, “face” and “mask”. The “hidden face” is nothing more than God’s image, contained in every human being, in other words, his true, original nature. Thus, in the title of the story the author’s idea of Shmelev is revealed.
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In the late 1970s, Steve Tesich appeared in Hollywood as a new writer with a fresh set of ideas framed within conventional narrative structures. Having found the space to present personal content within mainstream production, the Yugoslav immigrant created a nostalgic vision of America, breathing vitality into one withered social image. Permeated with the playfulness of ideals on account of which he had embraced his new homeland, his screenplays also leave traces of bitterness of an immigrant whose American Dream was dispersing before his eyes. Tesich’s cinematic expression is led by mild comedy, as well as strong characterization which enables pursuit of layered answers to questions posed by classism, immigraton and social activism. Out of six realized screenplays penned by Tesich, this article deals primarily with films Breaking Away and Four Friends as the most representative samples of his cinematic work and examines them in relation to the norms of the entertainment industry.
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The main aim of the research is to reveal some common evidence about one lost copy of the “Slavo-Bulgarian History”, a historiography written by Paisiy of Hilandar, the Patriarch of the Bulgarian Revival period. The text also presents a version concerning Paisiy’s grave and some genealogical features concerning Apostle of Freedom Vasil Levski.
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Out of the numerous examples of feminine victims in the Romanian literature and historiography, three stand out as a source of inspiration for the Shakespearian narrative poem The Rape of Lucrece. The foundation of moral and political values in ancient Rome is represented by the famous Abduction of the Sabines in Ab Urbe Condita, that of Virginia and the chapter of Lucrece’s rape. In his poem, Shakespeare presents Rome undergoing a period of transition, the starting point for the evolution of the Roman Republic, founded on the death of Lucrece. While in Titus Livius’ work the legendary victims are perceived as essential for the salvation of Rome, and they bring legitimacy and political pragmatism, in Shakespeare’s case Lucrece is the image of “sacrifice” turning “sacred” for its own sake.
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The aim of this paper is to present the phonological features of the English used in the Philippines. We analyze the features of the sound system (vowel systems and Consonants), the traits of accent, rhythm, intonation and phonological processes characteristics. Differences and similarities with standard English, but also with American English - as is usually the case - are also underlined.
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The text examines the close link between the concepts of children's books and the cultural constructs of childhood. The construct does not pretend for authority or model, paradigm or rule, but can exercise a significant influence on people's thinking and their actions. "The construct of quarantine" comes from the conviction which is based on the observation that enlightened action of the isolation from adults serves to the children's needs. The construct of development is based on criteria comforted with the skills of children at every stage of their development. The notion of "easy entertaining book, appropriate to their abilities" still acts as a standard of evaluation of contemporary children's books. If we clearly realize how constructs direct our evaluation of children’s books, we will be able to interpret them accurately, competently and intelligently.
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The aim of the article is to investigate our understanding of the concept of the Internet. In order to do so, an analysis within the paradigm of Cognitive Linguistics is performed. Firstly, the fundamental assumptions, upon which the Cognitive Linguistics are built, are discussed. Secondly, the theory of conceptual metaphor is brought up as it is one of the most significant theories within the said paradigm. Cognitive linguists claim that our understanding of abstract concepts (such as, for example, the Internet) is metaphorical; the complex concepts are understood in terms of simple ones related closely to our bodily and cultural experiences. Therefore, the metaphor governs our cognitive processes and construes our view of the world. Thirdly and lastly, the conceptual metaphors constituting our understanding of the concept of Internet are investigated.
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The article deals with the antonymic terms which were extracted from important works on the theory of literature and history of universal literature published in 1922–1942. That period is an important stage of the development of present-day Lithuanian terminology of literary science. The sources of the article are following: Literatūros teorija (The Theory of Literature) (1922) by K. Bizauskas, Stilistika (Stylistics) (1927) by M. Gustaitis, Literatūros teorija (The Theory of Literature) (1930) by J. Norkus, Įvadas į bendrąją literatūrą (An Introduction to Universal Literature) (1923) and Literatūros įvadas (An Introduction to Literature) (1931) by V. Dubas, Visuotinė literatūra (Universal Literature) (1942, 2 volumes) by J. Ambrazevičius, J. Grinius, A. Vaičiulaitis. Not only “real” literary terms (tragedija ‘tragedy‘ – komedija ‘comedy’) are antonymous, but also general terms of science and art (indukcija ‘induction’ – dedukcija ‘deduction’; realus fonas ‘realistic background’ – fantastinis fonas ‘fantastic background’) and some terms of related subject fields such as linguistics (ilgas skiemuo ‘long syllable’ – trumpas skiemuo ‘short syllable’), aesthetics (grožybė ‘beauty’ – biaurybė ‘nasty’) etc which make the integral part of literary science. In respect of meaning, antonymic literary terms belong to different groups of terms, for instance, names of features, names of the means of expression, names of the elements of text, names of the parts of writings, names of actions etc.According to expression, antonymic literary terms are either conjugate terms (derivational antonyms) (eiliuotinis epas ‘poetical epos’ – neeiliuotinis epas ‘non-poetical epos’) or non-conjugate ones (lexical antonyms) (turinys ‘content’ – forma ‘form’). Antonyms (as well as antonymic terms with opposite elements) are of the similar origin (Lithuanian or foreign) or even of the mixed origin. Terms with Lithuanian opposite elements apparently dominate in the group of derivational antonyms. Therefore the foundations of antonymy of terms are dichotomy principle and binary concepts, investigated antonymic terms more frequently are connected by contradictory opposite (originalas ‘original’ – vertimas ‘translation’) than contrary opposite (užuomazga ‘entanglement’ – atomazga ‘denouement’), vector (directional) opposite (veiksmo kilimas ‘rise of action’ – veiksmo slūgimas ‘fall of action’) or converse opposite (klausimas ‘question’ – atsakymas ‘answer’).Terminology of literary science of the investigated textbooks has not only its own antonyms (such as poezija ‘poetry’ – proza ‘prose’), which have got into common (non-terminological) usage, but also antonyms opposition of which is related with particular antonymy of general lexis (tikrovė ‘reality’ – prasimanymas ‘fiction’). Antonymy of some complex terms is based on antonymy of one-word terms (or their relatives) (compare: poezija – proza → poezijos veikalas ‘poetic work (writing) ’ – prozos veikalas ‘prosaic work (writing) ’), sometimes opposite lies with antonymy of general lexis (gerasis veikėjas ‘positive personage’ – blogasis veikėjas ‘negative personage’). Attention should be drawn to the fact that terms which had been created with antonyms of general lexis may not always be considered as antonyms (compare vyriškas ‘masculine’ – moteriškas ‘feminine’ and vyriškas rimas ‘masculine rhyme’ – moteriškas rimas ‘feminine rhyme’).Amongst investigated antonyms complex terms make up the largest group and complex antonyms with antonymic subordinate elements are more numerous than antonyms with antonymic main elements. This may be caused mostly by a non-linguistic factor – particular system of concepts.Some groups of pairs of antonyms are visible in the investigated material. Those groups consist of key (basic) literary antonyms and terms related with them, for example: poezija ‘poetry’ – proza ‘prose’, poezijos x – prozos x, poetinis x – prozinis x, poetiškas x – proziškas x (‘poetic’ x – ‘prosaic’ x); tragedija ‘tragedy’ – komedija ‘comedy’, tragizmas ‘tragedy’ – komizmas ‘comicality’, traginis x – kominis x, tragiškas x – komiškas x (‘tragic’ x – ‘comic’ x) etc.Significant changes of antonymy of literary terms during investigated 20 years period haven’t been noticed. Surely, over time one or another variant or synonym of antonymic term was chosen or opposite concepts were named by the whole other pair of antonymic terms. However the antonymy itself is constant semantic relation.
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The reorganization of the aspect system of Russian is investigated in the framework of the theory of natural grammar. It is claimed that the grammatical changes in morphological systems of natural languages are determined by a limited number of markedness principles (or naturalness principles, or preference principles). These typologically relevant principles are considerated as the grammatical laws of change. They determine the direction of morphologically-induced changes. These principles explain the attested diachrony of grammatical changes in the aspect system of Russian and in the area of interaction between aspectuality and iterativity.
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The paper is concerned with the persuasive power of presupposition in the language of politics. The author presents logical and linguistic (semantic and pragmatic) view on presupposition. He concludes that presupposition is an effective and convenient instrument of persuasion in mass communication. Examples discussed in the paper proved that politicians eagerly use presupposition in order to impose their visions of the world upon the addressee. The author presents typology of the lexical presuppositions, which Russian politicians use most frequently. The analisys includes the particularity of Russian political space.
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