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The article focuses on how the Communist Party in Bulgaria used slogans in the physical environment as party propaganda. An account of the historical context in the country after the Second World War is provided that lead to the establishment of a Communist regime and the drastic changes it brought in all spheres of life. The books of two Bulgarian philosophers written before the democratic changes in 1989 are commented on – an inside criticism of the inherent flaws of the Communist ideology and its practices that countered the innumerable official laudatory appraisals of the system. In the text, a distinction is made between Marxist- Leninist ideology and ideologies in liberal democracies. Discussed are the repetitiveness, the omnipresence and the key signifiers used in the slogans. Structurally, slogans are viewed as single-sentence texts whose communicative function is explained in terms of speech acts. Analysed are their most frequent topics and linguistic features.
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Proverbs reflect both similarities and differences between the English and Romanian cultures, and an analysis considering the symbols encrypted in their structure enriches their interpretation. Furthermore, symbols represent a key factor when the conceptualisation of proverbs is performed, as they contribute to a proper analysis. Therefore, a thorough investigation of the symbolic terms within the proverbs is necessary in order to translate, interpret, and conceptualise them suitably. The English possess a different cultural background from the Romanians, which is mirrored in the symbols found in proverbs, reflecting specific attitudes in each culture. However, common approaches and universal symbols are numerous due to the Christian religious background of both the Romanians and the English, while the Celtic roots of the English represent the primary reason for dissimilarity. Hence, the attitudes regarding the concepts of HEALTH and ILLNESS, as expressed in Romanian and English paremiology, are enhanced and clarified by symbolic interpretation.
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Review of: Shefkije Islamaj, Ligjërimi, gjuha dhe stili në krijimtarinë letrare moderne dhe postmoderne të Rexhep Qosjes, Prishtinë, 2021, 827 f.
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Review of: Shpresa Ismajli Aliu, Veçori leksikore dhe stilistike në romanet e Rexhep Qosjes, Instituti Albanologjik, Prishtinë, 2021, 332 f.
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The study aims to emphasize how lexical particles and grammatical constructions ex- press indirect evidentiality and the speaker’s stance in Romanian. As with the other Ro- mance languages, Romanian contains the grammatical means to express the speaker’s knowledge source, such as the Conditional Mood, a prototypical quotative/reportative evidential marking, or the Subjunctive and the Future, which, together with the Presump- tive, a modal form specific to this linguistic system alone, function as markers of indirect evidentiality of the inferential type. Additionally, each of these forms can be augmented by a rich lexicalized system of adverbs and particles. For example, pesemne [‘probably’, literally on + signs], poate [‘may be’; a regressive form from the third person singular of the verb a se putea < Late Latin *potere (Classical Latin posse)], probabil [‘proba- bly’, < a borrowing from the Fr. probable and the Lat. probabilis] are lexical particles of inferential evidentiality, and cică [‘supposedly’; a lexicalized form from the expression [se zi]ce că – literally it said that], pasămite [‘apparently’ whose etymology is controver- sial] and chipurile [‘supposedly’; a borrowing from Hungarian, literally ‘faces’] are means of quotative/reportative evidentiality. This lexical and grammatical system marking indi- rect evidentiality will be analyzed with respect to their grammaticalization processes, but also addressing the discursive behaviour.
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Semantic adaptation refers to the process of adjusting the meaning of a foreign word to the linguistic system of the recipient. When a word is "borrowed" from a foreign language, its original meaning may be lost or changed to better fit the new linguistic environment. This usually happens through prolonged use of the word in the target language, during which a new connotation of the word may gradually develop. In this study, the semantic adaptation of German-origin words in the Bosnian language system refers to the adjustment of the meanings of words integrated into the Bosnian language. Specifically, we examine how German-origin words related to sports and games are adapted to the Bosnian language system and what changes in their semantics are noticed after integration into the Bosnian language. This paper will also analyze the prevalence of German words in the field of sports and games and investigate how often they are used in the Bosnian language. By combining the analysis of semantic adaptation of words and research on the frequency of word usage in the Bosnian language, this paper will provide insight into the influence of the German language on the Bosnian language in the field of sports and games.
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Subject of analysis are linguistic and stylistic characteristics of a novel „Magareće godine“ by Branko Ćopić. Published in 1960. this novel presents a story of growing up, friendship, first love, education and mischiefs of a group of children. Analysis was conducted on the level of phonostylistic, morphostylistic, lexicostylistic and semantostylistic. On the level of phonostylistic, stylistic figures of subtraction (syncope and apocope) and adjunction (paragogue) were detected. These figures were used in order to depict characters thoroughly and they indicate on local, mostly provincial and jargon use of language. On the level of morphostylistic very common and specific is use of aorist. Although this verb tense could be substituted with perfect tense, aorist is much more stylistically expressive. Ćopić uses this tense for fast change of actions; for desplaying sudden and lively occurences, as well as at the end or the beggining of direct speech. On the level of lexicostylistic very common is the use of deminutives, augmentatives, exclamations and imitative words. Having in mind, that this literary work is part of literature for children, use of expressive lexic has a function of expressing what is dear, scary, funny or strange to children, or what is small or big. Also, this level of analysis is typical by its use of many nicknames, which is again specific for works from the area of literature for children. Nickanames are created by shortening names and last names, and are also based on physical characteristics or behaviour of its carrier. They mostly have positive meaning, but those of negative meaning are also present. Among lexic and syntactic figures very common is the use of anaphora, rhetorical question, aposiopesis, ellipsis, accumulation (and its varieties), and epizeuxis. On the level of semantostylistic simile is a very common figure. It is used to make expression more lively and to make abstract terms more concrete. Its common use in this litraray work is in order to create humoristic effect. Except this figure, very common is the figure hyperbole. Using semantic figures, together with ellipsis and epizeuxis, Ćopić presents and revives the manner how children speak, and makes this literary work close to those that are intended to read it. Linguostylistic analysis of Ćopić's work „Magareće godine“ has detected that this literary work is abundant is means of expressive lexic, lexic, syntactic and semantic figures, types of aorist and phonetic and phonological figures of substraction and adjunction.
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Proverbs are very interesting, important and complex language structures.They are strong and effective instuments used to propagate one nation's cultural standards, moral values, manners and ideas. It is significant that they are also used to form a complete language statement which contributes to the conversations or it is used for speech act performoming in the different speech situations.Very often they contain universal human values because of interwoven wisdom and hidden veil of truth. This was the main reason why they were chosen as a basis for this reserach done together with the students of the Faculty of Teacher Education. It is considered in this research their way of thinking based on their own life experiance.
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With the purpose of efficiency of the Romanian language teaching-learning process, with the main focus n the professional orientation of the alolingual students, it is important to use the authentic teaching material during the formative process of acquisition of skills, particularly in the medical field. The authentic teaching material represents methods, models and terminological blocks based on real life communication situations of the medical students. The students are engaged in these methods of learning and evaluation as they will be valorised in the teaching process and create and environment closer to the compatibility of the communication competences with professional orientation. Such a teaching and learning strategy makes possible the formation and acquisition of a professional image in a present linguistic environment, under different forms of communication.
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The paper presents a comparative lexical analysis of the most frequent noun lemmas in Slovak judicial decisions. The data was taken from the large corpus of decisions provided by the Ministry of Justice of the Slovak Republic, and compared with lemmas from four other corpora. The style of administrative, legal and other highly formalized texts has been receiving attention in recent years, although research into the style of Slovak judicial decisions remains rather sparse, which could partially stem from their idiosyncratic nature. The paper’s aim is thus to focus on the quantitative and qualitative characteristics of noun lemmas found specifically in the style of judicial decisions.
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The analysis that we propose in this research provides a series of arguments in favour of the fact that the Spanish paremiologic discourse (patterns with religious terms) represent an organic discourse, within which the redundancies, the inconsistencies or/and the ignorance of the sender are far from defining themselves as essential coordinates of articulating this type of literature. Thus, in the case of several of the discussed patterns, the explanatory sequence doesn’t have the attribute of redundancy, the analysed distortive elements revealing in particular the intentional and, at a much lower degree, the ignorance of the popular creator. In this context, even the potential inconsistencies are questionable, many of the antagonistic phrastic variants proving themselves to be, at a closer look, pseudo antagonisms/false antagonistic structures.
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In the paper I draw attention to the difficulties faced by someone who wants to put into practice the demands of criticism regarding linguistic precision. According to these postulates, one should speak unambiguously and precisely, and therefore avoid expressions that are ambiguous, vague and unstable in meaning. However, these postulates are much more difficult to satisfy than one might think, since significant doubts surround the very phenomena of ambiguity, contextsensitivity or vagueness. It seems that in order to teach others to avoid, for example, ambiguous statements, we should have an adequate characterization of ambiguity and be able to diagnose it properly. Meanwhile, the situation is incredibly confusing, and in the literature, whether philosophical or linguistic, there is no single established definition, or even consensus as to which expressions are ambiguous. Significant doubts have been raised regarding the proper characteristic of different kinds of ambiguity, such as homonymy and polysemy. There is also no consensus on how to distinguish polysemy from contextual dependence. Also in doubt is the characterization of vagueness and the proper classification of borderline cases of vague expressions. On the other hand, there is no doubt that most natural language expressions are polysemous, vague and context-dependent at the same time. What’s more, in many cases, these features are not defects of our language at all, but actually improve communication and enable us to convey content quickly. The postulate to avoid such expressions completely is simply unfeasible. However, being guided by the principles of criticism allows one to more easily see and avoid defects of linguistic correctness in those situations in which such defects hinder efficient communication.
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This study aims to offer a cross-disciplinary analysis of authorial voice in the rhetorical structures of research article abstracts in the fields of linguistics and economics written by native and non-na- tive English speakers. The research addresses questions related to the frequency of authorial voice in ab- stracts, the differences between the authorʼs self-mentioning, cross-discipline-wise and cross-culturally, and its influence on the rhetorical structure of abstracts. The study is based on Hylandʼs (2000) five-move model and combines quantitative and qualitative methods. The frequency of the authorʼs self-mentioning across thirty-two abstracts from the two selected fields of knowledge was determined by specifying the distribution of the authorʼs visibility among the moves as well the forms of their visibility. The results of the study showcase the similarities and differences in conveying authorial voice in the corpus and are dis- cussed thoroughly. We found that linguistic abstracts are characterised by a low degree of authorial voice while economic abstracts show a much higher frequency of authorial voice in the form of pronouns. We contend that there is a tendency towards higher authorial visibility among Anglo-American academic writ- ers in comparison with non-native speakers.
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The paper identifies the linguistic manifestations of suspended time, represented by chronotopes of the “other world” of fairy tale and certain rap lyrics worlds. The article is aimed at scrutinizing the semiotic, stylistic, conceptual-metaphoric and narrative properties of suspended time in fairy tales and rap lyrics in a comparative aspect, revealed through the use of the textual-semiotic, conceptual blending and stylistic analyses added by the elements of narrative, componential and archetypal analyses, which were applied in 4 consecutive stages of the study. “Suspended” time, defined as a time of everness and standstill, is identified either in the tale oneiric worlds, or the “otherworlds” related to the kingdom of the dead. It is manifested by symbolic images associated with the meaning of “eternity”, by narrative speed retardation and “pause” as well as by connotations of “serenity” and “tranquility”. It correlates with three topoi, denoted by lexical means of indefiniteness and spatialtemporal remoteness; nominations related to the archetypal elements of worldbuilding or their metonymic designations. The temporal distance separating suspended time from narrative time is “iconically” conveyed by the syntactic redundancy of the sentence structure. In rap lyrics suspended time characterizes the world of the rapper’s Ghetto past, metaphorically interpreted as a time loop, or the oneiric world, and is marked by metaphorically reinterpreted symbols of eternity and conceptual metaphors conveying the meanings of “imprisonment”, “lock up”, “vicious circle”, “temporary trap” and “stop”, associated with narrative speed retardation and “pause” and connotating “danger”, “despair” and “vicious circle”.
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Contemporary linguistics, for years drawing its terminology from other fields of study, in the 20th century became a donor of its own terms for the purpose of describing the visual arts. An important stimulus for this trend came from Benedetto Croce (1902), who postulated linguistica generale as a common platform for the philosophy of language and aesthetics. In the opinion of art historian Jan Białostocki (1980/2009), it was not only Croce’s treatise but also European structuralism (Roman Jakobson, Roland Barthes) that contributed to the intrusion of linguistic terms into the theory of art, leading to a “paralinguistic version” of semiotic studies in the area of aesthetics. In turn, Mieczysław Porębski (1986/2009), an art critic and semiologist, called it a “semiotic attitude” to art, engaging himself in a prolonged debate on the possibility of approaching visual texts in a “pro-linguistic” manner. The following article gives a concise and very selective presentation of advocates of the semiotic (mainly linguistic) approach to analysing visual artworks and architecture. The researchers listed represent various schools and traditions: a) semiotics/structuralism, b) philosophy of art, philosophy of language and formal logic, c) a rhetorical-figurative approach (with its roots in the theories of Barthes and Jurij Lotman, among others), including also a different paradigm of cognitive linguistics and multimodal tropology in particular, d) the Scandinavian school of pictorial semiotics (Göran Sonesson), and – finally – e) social semiotics with its grammar and modality of visual representations, related to various theories of communication. Next, the article poses the question about the status of terminological borrowings from linguistics and the related fields present in theoretical considerations on the visual arts and architecture, dividing them into three classes: 1) metaphorical non-systematic terms (architectural ekphrasis, architectural poetics of Madeline Gins and Arakawa), 2) terminological adaptations, that is partly metaphorical systematic terms (Gunther Kress and Theo van Leeuwen’s grammar of visual design), and 3) metaphorical systematic terms (tropology in visual cognitive poetics and multimodal studies; Andrzej Niezabitowski on their application to a new subdiscipline of architecture, viz. architectonics). A related issue is the status of natural language as a metalanguage in the description of other semiotic systems (Croce, Heinrich Wölfflin, Ludwig Wittgenstein, Emil Benveniste, Lotman, Mark Johnson). The author of this article assumes a semiotic stance, perceiving the presence of linguistic terms across the theory of art and architecture as a proof of transmediality of verbal and visual texts within the Lotmanian semiosphere This calls for development of a broad methodological platform for their comprehensive study, postulated as well by Alina Kwiatkowska (2013) within cognitive studies on visual perception and multimodality.
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The article presents selected results of the pilot part of an experimental study on reporting multimodal communication activities by adult speakers of Polish. The starting point of the experiment was theoretical and empirical research on the involvement of various modalities in communication activities, in addition to words, intonation, prosody, facial expressions, gestures, movements of the whole body and its parts (Austin 1962; Kendon 1994, 2000, 2004; Poggi 2007; Hellbernd & Sammler 2016). In order to obtain data for the analysis, 23 fragments of documentary films from the collection of the Archives of the Film School in Łódź were presented to 101 adults, who differed in terms of age, sex and education. The participants of the experiment were asked to report on what the characters were doing. The result of the study was a database that included recordings of both the communication activities and the reports on them. The pilot part of the study covered the qualitative and quantitative analysis of 10 fragments of films. We analysed the meaning and reference of the vocabulary used by the participants to report on the multimodal communication activities observed in the films, the frequency of expressions used in the reports, as well as the discrepancies in the reports. The analysis showed that if a given turn was a composition or a sequence of activities of different modalities, the speaker could report on each of these activities separately or use a single qualifier to describe a whole group of activities. Such qualifiers can be both the names of performative acts and the names of actions of any specific modality. If the conversation changes in terms of modality, then it can be perceived by individual observers through the lens of the various episodes that make up the conversation. Certain actions are sometimes more often taken into account or omitted, which shows differences in the level of importance that speakers attach to different types of activities.
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The article presents an overview and critical evaluation of three theoretical models of visual metaphors: Forceville’s (1996) and Schilperoord’s (2018) models of the analysis of visual metaphors, and the VISMIP model of the identification of visual metaphors (Šorm and Steen 2018). The models discussed are not widely known in Polish linguistics. In light of the growing academic interest in non-verbal communication in the context of “visual culture”, I argue for the development and systematization of research in this field, which should include studies of visual metaphors. In the article, I also propose Polish translations of terminology and indicate possible directions of future research.
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The paper critically discusses the isotopy-disjunction model (IDM) developed by Salvatore Attardo for the analysis of verbal and referential jokes. We present the main assumptions of the IDM model, focusing on issues such as isotopy, isotopy triggers and narrative functions. The paper also addresses subsequent attempts to develop the IDM model, including the present author’s proposal to increase the number of triggers.
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