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If we have a tertium comparationis X, the marked member of a linguistic correlation always expresses a feature A expressing in this way X.A. On the contrary, the unmarked one has two meanings: in a situation of an opposition between the entities participating in the correlation it expresses X.A', i.e. a hyperonymic meaning, and in a situation of a neutralization it expresses X, i.e. a generic meaning. Nevertheless the two semantic values of the unmarked member of a correlation are only its subvalues and it preserves the unity of its system conditioned meaning. So the marked member is of system-creating nature while the nature of the unmarked one is system-provoked - it acquires its semantic feature when in opposition and it loses it in case of neutralization in which, because of the lack of the marked member’s interaction, the system comes to be reduced in regard with the opposition concerned.
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The paper investigates some syntactic properties of person agreement in Bulgarian within the framework of the current developments of the generative theory of language. The structural approach that agreement is an instantiation of the more general specifier-head relationship is applied and is argued to have implications for Bulgarian which can explain the ways in which person morphology interacts with various syntactic principles, both universal and language-specific. It is shown that the projection which hosts agreement features is the highest functional projection in the clause and that Verb movement is operative for checking of person/number features. Null subjects are also examined and are shown to be selected, depending on whether they are associated with a specific, a (quasi)-universal or a (quasi)-existential interpretation. The agreement relation between arbitrary or expletive null specifiers and the head of the agreement projection is achieved through a proposed co-indexation mechanism under a matching feature specification of the two category types.
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Review of: Ц. Иванова, М. Алексич. Српско-бугарски речник. Тематски. Хомонимни - Сръбско-български речник. Тематичен. Омонимен. Велико Търново, Издателство „Пик“, 1999. 287 стр.
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The article is a report of four discovery systems, operating in linguistics. All of these address „empirical“ discovery, or discovery from data. The first program models the familiar induction methods of John Stuart Mill, the second performs componential analysis of kinship terms, the third is a general concept-discrimination program, and the fourth can discover word order universals and write a report in English, summarizing its discoveries. These systems are briefly described and some arguments are offered in favour of machine-aided empirical discovery in linguistics. The arguments refer to the strength of machines in computationally complex tasks, the guaranteed consistency of machine results, the portability of machine methods to new tasks and domains, and the potential machines provide for our gaining new insights.
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Review of: Л. Манолова. Речник на лингвистичните термини в българския език. Наука и изкуство. София, 1999. 202 стр.
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Review of: Konfrontační studium inovačních procesů ve slovanských jazycích. Red. Eva Slaufová. Praha, Euroslavica, Slovanskÿ ústav AV CR 1999 (ze sazby casopisu Slavia 68/1999, ses. 1), 124 str.
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Those who have studied Alecsandri’s literary work – professional writers, historians and literary critics, described him as: ‹‹a great citizen writer, deeply involved in the problems of the social- political, cultural and literary life of the epoch, a member of Junimea Literary Group of 1848››, as Garabet Ibrăileanu justly states, ‹‹the head of our poetry›› (T. Maiorescu), ‹‹a great creator in his literary domain›› (B.P. Hașdeu), ‹‹a reader and a bard›› (Al. Vlahuță), ‹‹a wise and a great national poet›› (M. Dragomirescu), and G. Munteanu supports the fact that ‹‹the writer born in Mircești, essentially remains a poet››. Up to Mihai Eminescu’s affirmation, Vasile Alecsandri, ‹‹this exemplary consciousness of our nation and our literature›› (A. Martin), was, perhaps, the most complete writer that the Romanian literature had ever had, at the stage of the development on the great and modern coordinates, given by the Introduction of the ‹‹Dacia Literară›› magazine. His varied literary work, with essential values, penetrated by a profound and justified militantism, is not only the product of his epoch, but it is also the expression of his personality. Vasile Alecsandri’s literary work reception had along the years well-defined stages, which could be easily distinguished through a spontaneous and partial manner of interpretation of his writings, starting with the first eulogies inserted in the ‹‹Danube Star›› (1856) up to 1881. It is the epoch of enthusiasm and admiration almost unanimously, when the bard from Mircești is considered as a king of our poetry. His prestige, as it is stated in the articles published in various magazines of the time, is due to the appreciation of his substantial contribution to the development of the Romanian literature and culture, as well as the important part he performed in the main social and political events, which put the basis of modern Romania.
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The beginning of the tenth decade registers a distancing from non-fictional literature and miserable realism, in favor of an increasingly meaningful approach to fiction. In this context, the discussions focus on a new generation made up of prose writers such as Dan Lungu, Florin Lăzărescu, Lucian Dan Teodorovici and many others, including Radu Pavel Gheo, one of the topical prose writers, essayists and translators of the period, of whose novel, Disco-Titanic, becomes the reference point of an alternative cultural history. The novel provides the reader with a complex story, in which well- individualized characters participate, beyond which a certain amount of mystery is interwoven, creating suspense. The main issues on which the whole speech is based are precisely the traumas of the civil war in Yugoslavia and the separatist manifestos in Banat, the author trying to unravel the mystery that allowed such a tragic history. Despite the territorial and temporal distance from the significant events, the consequences of a turbulent past left their mark on future generations, visibly affecting their existence. By perfectly combining reality with allegory, fiction, hyperrealism and the fantastic, in the account of the key moments of Romania and the Eastern part of Europe, from the end of the 20th century and the beginning of the next, it is possible to attach the concept of narrative art to writing. The epic-solid construction of the novel that presents two stories, on the one hand the Romanian one, of Vlad, and on the other hand the (ex)Yugoslav one of his friends in Split manages to capture very well the phenomenon of rupture between the image of the Yugoslav space from the character's childhood and the present, reconfigured following the extreme violence spontaneously and irrationally exploded in 1990. In this rupture zone, the drastic consequences of the war are acutely felt, which reverberate in all dimensions of existence, Vlad, the central character of the entire creation feeling he was always caught between the world of his childhood and the present in Split. As a result, through the verve of the rendering and through the suspense created by waiting for the details to be revealed, Disco-Titanic is a novel that wants to surprise, recording, at the same time, the author's success in illustrating the transition between two spaces of incompatibility, which contributes to missing the central character of the novel.
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The article shows a different perspective both on Cioran's work and on the author's personality. By applying terms from the legal field, I have proposed an innovative analogy with the literary domain in which I capture different aspects of the great philosopher's creative and personal journey. This way, the work exposes one by one the usual tabs of a police or prosecutor's file but adapted to the writing style. We discover documents such as the existential register, the literary record, the literary research report and the confession.
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Emil Botta's lyricism is impregnated by the symptomatology of the dream, by bookish echoes, as well as by the usual spectacular-fanciful hypostasis. He lives with extreme intensity and expresses himself with a poetic purity, which necessarily implies the rupture, the "division" of the poet from the world and the environment, the recovery of the lyrical self in the imaginary, of the "lost" world in his own plan, by the aesthetic assumption of reality. Invested with the negative duties of an enemy, Chimera is for Emil Botta a fascinating being, tying the poet into her murderous nets through that open eye in the depths of the unconscious to which she wants to attract him. Emil Botta's lyric leads to the extension of the idea of the fundamental irreversibility of time, to the entire Universe, to the notion of mystery as a defining note of human existence. Thus, Emil Botta presents himself as a fascinated poet by chimeras and endowed with an obvious ability to remove the contradictions between the pleasure of creating and the social reality, successfully fulfilling the creative act's specific objectives.
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Discovering and recovering the self is an arduous process, and it can last until old age. The individuation process is long lasting, full of trials, and it is the epitome of the self. The “journey of the hero” can and it is applied to all kinds and sorts of people. It is all the same consuming, difficult, and rewarding in the end if it is done properly. However, the “lens” with which the heroes view their lives is of the utmost importance. Having courage, the stern and correct analysis, and most of all consistency contribute to the hero’s wellbeing and view on life. The main purpose of this paper, which is part of a thesis, is to analyze Ono’s life through the prism of psychology and psychoanalysis.
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The genre of fantasy literature has gained ground in the fields of arts, being included in the making of film art and visual electronic game designs. There is that influence of myths, legends whose presence is evident in the concept of fantasy. Initially, this type of fiction was synonymously associated with children's literature and seen as a way to escape from reality. The presence of magical elements and supernatural phenomena were considered standard points for highlighting the juvenile side of fiction. The fantastic was a distant realm even if in a certain way connected with the real world and the characters drawn into magical and imaginary events and happenings. Wizards, witches, dragons, monsters, castles and caves, swords and dark magic, talking animals and men turning into beasts, undiscovered mysteries, impossible journeys, epic battles with supernatural beings, deities and demons: an endless list of to those popular elements with fantastic content. An analysis of the modern dimension of fantasy fiction can be carried out along three dimensions: realism, audience and classification. While the main concern of literature is that detailed study of human life, fantasy writing is somewhat neglected for inventing its own realms instead of mirroring reality as we know it. For those who perceive literature as a mirroring of the world subject to human senses, stories that break from reality and are based only on the imagination of the writer, they become secondary literature, that pleasant form of enjoyment that often also exposes literary depth, and thus, condemned to remain in the sphere of popular culture.
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In a consumer society, Dan Coman publishes a new collection of short stories, which under a somewhat ironic title in relation to the content, presents a series of personal stories dominated by instability and fragility. In search of answers that are often nonexistent, the characters confront various forms of crisis, which cause them to miss out on their own lives, either by forgetting themselves or by becoming included in the destiny of others. This merit is due to the writer, who builds a series of characters, free to make their own decisions, regardless of the consequences. Any attempt to find a stability in existence is marked by the intervention of external factors that amplify the problems.
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