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The article deals with the relevance of the quote as the key concept of the theory of intertextuality and modern interpretative stylistics. The expansion and contemporization of the linguistic meaning of the term quote have been illustrated. Linguopoetic, linguocognitive, axiological parameters of the use of quotes in contemporary Ukrainian poetic language have been considered.
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Review of: Stil – Denkstil – Text – Diskurs. Die Phänomene und ihre Zusammenhänge, Ulla Fix, Frank & Timme Verlag für wissenschaftliche Literatur, Berlin (2021) 570 S., ISBN 978-3-7329-0754-0 (Print), ISBN 978-3-7329-9212-6 (eBook)
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The present article attempts to investigate how terms from various fields that are incongruous with the business discourse may carve their way in two types of business writing, namely in the report and the SWOT analysis. Even though these genres exhibit divergent features in terms of structure and purpose, they are nested within an economic context, abounding in a specific terminology. With this in mind, the paper expounds the way in which phrases imported from marriage, art, medicine and the military lend themselves to being used as synonyms for economic phenomena. For this purpose, we survey the assignments of students and conclude that technical expressions from the four areas breathe more life into the business language, as they provide a new framework within which the classical economic context can broaden its horizons, hence it better captures the most appropriate nuances. In this way, the metaphors stemming from other domains gain access to business texts, where they delicately complement, or explicitly reinforce essential information. Such qualities of the non-economic jargon help not only to skillfully convey specific messages but also to deepen the understanding of economic trends.
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This paper focuses on the usage of euphemisms in public discourse and is based upon the thesis that they have both veiling and disguising character while heavily influencing the public opinion. It also deals with the semantic shift euphemisms experienced over the last decades and their perception as lies and metaphors. Euphemisms are not only present in language, they are part of human life and can be found in psychology, sociology, politics, economics, religion or media. Basically, they are to be found in all domains that cover taboos for a specific purpose. Taboos change in time, thus controlling the formation of new euphemisms.
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This contribution aims to study the verbal onomatopoeia of Czech, which can be found for example in forms such as A pes haf na Magdu "And the dog haf on Magda", where the onomatopoeia haf "woof" is inserted directly in the sentence and functions as a predicate. We first situate these turns within the class of onomatopoeic words, in order to see what distinguishes them on the one hand from pure onomatopoeia, such as haf, and on the other hand from onomatopoeic verbs, such as hafnout "to bark". . We then propose an interpretation of verbal onomatopoeia within the framework of the psychomechanics of language and the concept of operability. We show in particular that verbal onomatopoeia maintain a specific relationship to language and discourse: they have indeed a value of onomatopoeia in language, but of verb in discourse. They retain from the verb only the property of external incidence, which allows them to find support in the noun and thus have a predicative function. Within onomatopoeic words, the intra-sentence nature of verbal onomatopoeia makes them late entries compared to pure onomatopoeia, which constitute "word-sentences", according to Tesnière's terminology. On the other hand, it is by their deficient verbal morphology that verbal onomatopoeia are distinguished from onomatopoeic verbs, which are provided with all the obligatory verbal categories. Verbal onomatopoeia thus correspond to an early grasp of onomatopoeic verbs during the genesis of the speech act.
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The article brings into discussion the linguistic configurations connected with the reader – versus writer – centered approaches of business letters. It makes an inventory of those morphological and syntactic patterns which serve for the expression of the two orientations. Furthermore, the paper showcases the roles attributed to the emphasis and draws attention to the modalities through which it blends into the business correspondence. From the analysis of English and Romanian business writings we infer that the emphasis attaches a supplementary meaning to both perspectives. By emerging in various structures, i.e. in the form of repetitions, exclamations, inversions and ellipsis, the emphasis has the means for strengthening or weaking the position of the reader or of the writer.
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Onomatopoeias — words that echo sounds from the extra-linguistic reality — are usually understood as units representing direct relationship between form and meaning. Lexical onomatopoeias are part of a language system and their meaning can be found in dictionaries. It is assumed that onomatopoeias are crucial in communication by and to infants and are also considered important stylistic devices in poetry. However, they seem to be only marginal in adults’ speech. This paper presents the results of an analysis of the understanding of Slovak onomatopoeias in everyday communication as well as of the stylistic dimension of these expressions in poetry. First, attention was paid to the comprehension of sound-imitating words in context by the sample of 30 native Slovak language speakers. Then, a sample of ten Slovak poems, well-known due to their usage of various sound-symbolic elements (onomatopoeias included) as stylistic devices, was examined to verify the supposed stylistic dimension of onomatopoeias in poetry. The results indicate that the understanding of the real meaning of lexical onomatopoeias depends on the specifics of the context and that onomatopoeias play a less important role in poetry than expected.
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The article aims to expose the peculiarities of the use of transformations in the translation, analyzing the grammatical substitutions found in the translation of the literary text from Romanian to Bulgarian. The peculiarities of translation are described according to the theory of transformations in translation, belonging to the Russian linguist L.S. Barkhudarov.
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ANALYZING THE SITUATION OF THE CURRENT POLITICAL DISCOURSE, WE FIND THAT ALL THIS STYLISTIC PROPS BECOMES DOWNRIGHT INCRIMINATING, INSIDIOUS AND THUS REAL HUNTERS FOR THE GUILTY OR INNOCENT INSIDIOUS PEOPLE ALIKE ARE ESTABLISHED THROUGH DISCOURSE. THE HIERARCHICAL DIFFERENCES, EXISTING BETWEEN THE INTELOCUTORS IN DIFFERENT FORMAL (POLITICAL, BUT ALSO SOCIO-CULTURAL) CONTEXTS OF COMMUNICATION, ARE KNOWINGLY ERASED, BY THE WILLFUL ELIMINATION OF THE PROTOCOL FORMS OF ADDRESSING (MARKED IN OUR ANALYSIS BY THE VERBAL AND PRONOMINAL FORMS, SALUTE AND INTRODUCTORY FORMULAS, INITIATING FORMS OF CONVERSATION).
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Investigations of biblical texts have always been the topic of heated discussion among theologians and linguists, as well as representatives of other scientific disciplines. Over the years, the biblical stories and testimonies have been persistently challenged by different scholars, with a particular emphasis on the language of the Bible. In this paper, we dwell upon the events preceding the emergence of the King James Version and the immense authority that the KJV gained both in the churches of England and among the common people of the British Isles. As this translation of the Bible was authorised by King James, it is often referred to as the Authorised Version, and has become the Official Bible of England. Many people still believe that the KJV is The Bible, since according to them, its creation was inspired by God himself. Hence it becomes essential to reveal the factors which contribute to the supremacy of its language and majesty of style.
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One of the most important problems of today's advertising world is logo designs that cannot represent businesses and their work. The most important reason for this is that the fonts used in the logos are chosen incorrectly. Each typographic formation evokes different thoughts in the human mind. This event can be thought of as the spiritual change that occurs when listening to classical music and modern rock music, or the picture drawn with sharp lines and colors from the paintings in which the same object is depicted, stimulating harder dynamic feelings than the picture created with softer lines. The fact that the society determines brand preferences according to the emotions formed in them reveals the importance of the logotype design that accurately describes the company. It is wrong to choose a soft and full font in a suit store, as it is wrong to use a font with nails in a children's clothing company. This research was carried out in order to reveal the importance of the fonts used while creating logo designs.
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The present article brings to the attention of European readers and literary criticism the volume of prose poetry Fifteen Stones (2015) of the contemporary North American poet Craig Czury. Even though Craig Czury is the author of more than twenty books, many of them being translated into Albanian, Russian, Croatian, Lithuanian, Spanish, and Italian, there is very little literary criticism in relation to his works, particularly in Europe. Our analysis demonstrates that the controversial nature of prose poetry allows Craig Czury to create his poetical sites of resistance against the contemporary neoliberal consensus. Most of the prose poems included in the volume have the form of monologues, bearing a marked autobiographical character, revealing personal life experiences, sometimes traumatic ones, and carrying us into the vast geographical and cultural spaces the poet has travelled to, but also into surrealist scenarios of his imagination.
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The language of faith in Islam primarily derives from the Qur’anic revelation as a comprehensive and complete revelation of God. Just as the Word of God establishes and covers all aspects of existence as God’s last and most perfect step towards human civilization, so too does the language of faith in Islam touch upon and define every aspect of human life. To illustrate what has just been said, it is sufficient to analyze it only through five fundamental categories, the meanings of which unequivocally testify to this fact: fiṭra, īmān, islām, dīn and iḥsān. These concepts have already been discussed in detail in the literature. Therefore, this paper offers only definitions as evidence that we often talk about different aspects of the language of faith.
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The article discusses the phenomenon of styling in the genre of instructions, in its sub-form of instructions for a board game. It is recognised that the text of the instructions leads to linguistic creation, introducing the player to the game’s specific world. This involves further creation of meanings in the game process and inclusion of users in a culture-based interactive character system. Stylisation occurs in about 20% of contemporary Polish texts studied. The choice of a less typical strategy for explaining the game’s story introduces an element of surprise to the product, provides additional aesthetic impressions, and sometimes even organises the entire game world. Quantitatively, fragments subjected to language stylisation do not prevail. Such stylisation, however, appears in the text frame and concerns not only the lexical layer, but also the language variation, genre, and even discourse.
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În lucrări normative mai recente ale limbii române, felul în care se discută despre secvența dar și indică o acceptare a acesteia între construcțiile coordonatoare copulative, alături de cele organizate în perechi corelative. Ca și în cazul lui nu numai ..., dar și, implicarea corectă în discurs a locțiunii conjuncționale dar și este cu necesitate controlată de conținutul semantic adversativ latent al conjuncției dar din structura ei. În uzul cotidian, pot fi identificate însă exprimări în care emițătorul nu mai ține seama de faptul că dar și „focalizează membrul sintactic pe care îl precedă, prezentîndu-l ca fiind mai puțin probabil, deci mai semnificativ”. În asemenea situații, dar și apare ca exces verbal, în locul conjuncției coordonatoare simple și. Tendința ar putea fi justificată de nevoia emițătorului de a compensa, prin nota formală și aglomerare lexicală, simplitatea (uneori pauperitatea) conținutului de transmis.
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In more recent normative works of the Romanian language, the way in which the sequence dar și [but also] is discussed indicates an acceptance of it among the copulative coordinating constructions, along with those organized in correlative pairs. As in the case of nu numai ..., dar și [not only..., but also], the correct involvement in the discourse of dar și is necessarily controlled by the latent adversative semantic content of the conjunction dar [but] from its structure. In everyday use, however, the transmitter no longer takes into account the fact that dar și “focuses the syntactic limb it precedes, presenting it as less likely, therefore more significant”. In situations as such, dar șiappears as a verbal excess, instead of the simple coordinating conjunction și [and]. The tendency could be justified by the speaker’s need to compensate, through the formal note and lexical agglomeration, for the simplicity (sometimes pauperity) of the content that is to be transmitted.
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The research issue of this paper is Scepanovic’s narrative procedure in the novels: Sramno leto (Summer of Disgrace), Iskupljenje (Redemption) and his novel/novella Usta puna zemlje (Mouth Full of Earth). The analysis is based on the pluralism of literary theory methods, i.e. a combination of phenomenological, semiotic and narratological methodologies, and focuses on distinguishing of the following elements of the narrative structure of the mentioned texts: narrative situation, time and space organization, composition and character modeling, with a special view on Scepanovic’s modernist method which is, in the first place, characterized by the suppression of traditional dogmatism and patriarchal ethics, deconstruction of “humanity and heroism” semantics and the cult of the woman as an exemplary mother, sister and wife, relativization of post-war communist ideology ect.
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Jasmin Imamović, Bosnian writer, in his novels The killing of death, Immortal deer, The adorer of a moment and Please, write proved himself as an excellent chronicler of the Zeitgeist. The paper shows the way in which Imamović inscribed urban identity, including: analyzing ways that was either experienced individual memories and experiences in urban space, watching the writer’s specific socio-cultural construction of the city and looking for events in the texts of everyday practice in an urban environment.
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Two short story collections, Godišnjica mature (2005) by Lamija Begagić and Sanduk po mjeri (2007) by Snježana Mulić, significantly marked Bosnian-Herzegovinian literary production of the first decade of the twenty-first century. Despite both collections being authors’ first books, mature writing, feeling how to round up a story, cogent interweaving of perspectives and thematization of ”short cuts“, pieces torn out of narrators’ lives (bitter-sweet stories about small things that usually have fatal impact on protagonists’ lives) are characteristic for them and are narrated in the manner of montage mosaic. The paper shows from one side similarities, and from the other side differences in authors’ poetics (the first one is born in 1980, the second one in 1962) and at first sight apparent change of optics and narrative strategies in their second books, the novel Povratak (Mulić 2009) and the collection Jednosmjerno (Begagić 2010) where recognizable melancholic lyricism from their early prose works is kept.
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