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Stylistics and rhetoric have always neglected stylogenic procedures associated with the writing level of the language message, procedures based on manipulating the spacing between the words remaining peripheral even in one of the most elaborate overviews of the figures of writing, that of the German rhetorician H. F. Plett, who displays a series of procedures the basis of which is playing of graphemes (or graphs), punctuation and spelling signs. The method of this research will be inspired by the research of Plett, who divides and defines the graphemic figures (as he calls the processes known as figures of writing) by the addition, subtraction, permutation, substitution and equivalence of individual elements of the writing. According to these operations, five subtypes of these figures will be identified and exemplified: the addition, subtraction, permutation, substitution and equivalence figures of spacing, depending on whether any conventional record is modified by adding, omission or displacement of spacing, by replacing spacing with any other means of writing, or about whether any equivalence of the methods of manipulating the spacing between the word within a record is shown. The corpus consists of examples from the Croatian advertising, journalistic and literary discourse, also including examples from other contexts, in order to address the omnipresence of these figures in contemporary culture.
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Many literary critics, philosophers and linguists have studied the concept of irony, but Jankélévitch not only devoted a specific book to it, he also placed the concept in a broader perspective which is at the same time philosophical, historical and literary. Even more, one of his major book, ‘The I Don’t Know What and AlmostNothing’, is the expression of an ironic relationship to the world. My aim is to make visible with Jankélévitch the internal structure of irony and the relation to reality that it establishes. I also intend to bring to light the functions that this figure of speech and thought fulfils. Through a thematic analysis of the work, ‘The I Don’t Know What and Almost Nothing’, I will seek to determine an ironic relationship to the world to see then by what phenomena and linguistic signals it is translated.
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The chapter describes the method of rhetorical analysis by George A. Kennedy and its modification to meet the needs of media analysis. It includes a discussion of the objectives and subject of research as well as methods of analysis, taking into account the possibilities and limitations that the tool created for the needs of biblical exegesis puts on the researcher of the content of contemporary media. The proposed approach can also be used by students when writing bachelor's and master's theses.
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The chapter contains a rhetorical analysis of a journalistic article entitled “President of Citizens” by Jarosław Kurski. The text published in “Gazeta Wyborcza” in November 2019 was a voice in the discussion on the candidates in the presidential election planned for 2020 in Poland. The analysis presents the publication as material in a specific issue of the journal, in the situational context (current socio-political events) and as a message with a specific persuasive purpose. The genological characteristics, composition and means of persuasion used by the author were established. In the final part of the analysis, observations related to the readers' reactions to the publication of “Gazeta Wyborcza” were also taken into account.
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This work deals with narrative elements in Hamza Humo`s prose work titled Slučaj Raba slikara. The title of the narrative announces turn from the fable elements to the inner world of the character, showing the intimate psychological flows and reflections.
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Depending on the poetic description of poetry, the particulars it refers to, or in what way we as a reader experience an imaginary, potential element of this image, they can be: visual, acoustic, tactile, tasteful and olfactive images . Successful poetic images are generated by a description that is realized by a special selection of “decorative adjectives” or epithets. Expressionistic sounds, colors and images are present in this poetry. Most often these are descriptions of Herzegovinian landscapes pervaded by the poet’s inner experience or the most personal intimate feelings, etc. The aim of the paper is to explain the linguistic role of “decorative adjectives”, that is, epithets on the basis of which the poet builds poetic images, as well as their expressive but impressive meaning poetry. This paper will give general information on Expressionism and Hamzi Humi as one of the most significant representatives of expressionist lyrical literature in BH literature. After the basic information about the author and the literary line, theoretical definitions of the epithets will be discussed with regard to the subject analysis. The corpus on which the analysis was made relates to a large number of selected Huma songs from different cycles – Old Motives, Herzegovina Landscapes, City of rhyme and rhythms, Sounds in the heart, Inner life.
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Modernism of Alija Isaković’s prose is, among other things, reflected in the way he uses language. This paper deals with certain phonostylistic and syntaxostylistic elements in the short story Taj čovjek by Alija Isaković. Special attention is paid to the syntaxostylistic aspects where parallelism, elliptical sentences are analyzed. In addition, the paper points out the importance of the inchoative and finitive sentences in the understanding of the text.
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Iako se može reći da nema sustavnog istraživanja Sarajlićevog stila, književni kritičari uočili su karakteristične stilske postupke u poeziji ovoga pjesnika (npr. Martinović 1984/85, Vučković 1998). U opće stilske odrednice tako spadaju specifična ritmičnost i melodičnost stiha, uvjetovana različitim postupcima poetske sintakse, zatim elegičnost, sentimentalnost, odnosno pojačana emotivnost; ovome se može dodati i svojevrsna retoričnost, te narativnost koja, paradoksalno, ne dokida liričnost stihova. Svakako ne treba zaboraviti ni duhovitost, ponekad i aforističnost, te sklonost ka završetku pjesme u nagloj i snažnoj poanti. Na planu stilskih figura frekventne su figure ponavljanja – anafora, anadiploza, te općenito paralelizmi, što sve dolazi u funkciji stvaranja prepoznatljive ritmičke strukture, ali ima i mnemoničku funkciju, jer je poznato Sarajlićevo uvjerenje kako poezija treba biti zapamtljiva.
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U Sarajlićevoj poeziji nisam do sada pronalazio izazove interpretativnoj imaginaciji i on je u mome čitalačkom doživljaju dugo bio pjesnik odveć ličan, ritmički glatko baladičan i elegičan, s jezikom koji ne nudi zakučaste igre i zavodljiva prenošenja do krajnjih rubova asocijativnih mogućnosti riječi. Takav doživljaj ove poezije ponio sam još iz srednjoškolskih i fakultetskih dana i njega je bezmalo uobličila kritika koja ju je označavala intimističkom, naglašavajući da je ona imala značajnu ulogu u poetičkim preobražajima književnosti na južnoslavenskom prostoru odmah iz Drugog svjetskog rata. Tako ga književnopovijesno situiravši, ta kritika kao da je obavila interpretativni posao za čitave generacije čitalaca, a Sarajlić je kasnije smještan i u estradne pjesnike koji su lomili poetski hermetizam neonadrelizma i neosimbolizma. I sam je pjesnik doprinosio takvome čitalačkom doživljaju, tim prije što je kasni Sarajlić postao kanonski pjesnik, veoma omiljen u široj čitalačkoj publici, pjesnik povišenog emocionalnog tonaliteta, estradne poetske geste, lirik koji plijeni, a svojom poezijom kao da uobličava ukus doba koje je došlo iza njega i koje je u težnji za postmodernom jednostavnošću znalo prezreti hermetičnu poeziju jezičkih igara.
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Ako bi trebalo odrediti ključno obilježje Begićevog djela, njegovu stilsku dominantu, onda je to svakako esejističnost kao onaj princip iz koga polaze i u koji se smještaju sva ostala stilska obilježja. Teško je stoga i zamisliti govor o Midhatu Begiću bez naglašavanja njegove ključne uloge kao kanonskog esejiste u bošnjačkoj i bosanskohercegovačkoj kulturi, u kojoj je esej i inače dugo bio, a možda je i danas, dominantna forma književne i umjetničke kritike, pa i književne historije. Ova sklonost esejističkom pristupu književnom tekstu i njegova dominacija nad akademskim diskursom znanosti o književnosti u Bosni i Hercegovini zahtijeva posebnu analizu, ali za samog Begića sklonost eseju bila je potpuno prirodna i u skladu sa njegovim stvaralačkim bićem. Zapravo, ako se prisjetimo njegove misli prema kojoj “kritičar mora da nastavi djelo u istom stilu ili da odloži pero pred apsolutnim tvorevinama mašte i poezije” (“Oko Borgesova Alefa”), onda je jasno da je jedino esej stilski mogao odgovarati programski postavljenom cilju - potrebi homologne veze između književnog djela i kritike toga djela. O tome koliko je danas takav pristup prihvatljiv, odnosno aktuelan u savremenoj književnosti, može se diskutirati, ali neupitna je činjenica d aje on utjecao na dominaciju esejističkog stilskog prosedea u cjelokupnom opusu Midhata Begića.
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In the introductory part of the article, we briefly introduced theoretical knowledge of advertising and using specialized literature, we defined the basic concepts. We focused on the concept of style and we characterized the style of advertising. In the second part, we concentrated on the style of the contemporary Czech and Russian online advertising which we described on the basis of Internet text advertising. On specific examples, we illustrated selected means of language, typical for advertising in the field of education and we outlined the basic features of the advertising style. Above all, we focused on the means of language that are used to make contact with the advertising addressee, how to appeal to the reader, the vocabulary and some of the syntactic means used in advertising texts.
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The contribution deals with the new Czech play Actor and Joiner Majer Talks about the State of his Home which was written by David Zábranský for Studio Hrdinů Theatre in Prague. This play is conceived as a polemic with the majority political view and lifestyle of certain social groups; it is constructed as a text a là thèse. We are especially analysing the linguistic (stylistic), structural and argumentative aspects of the Zábranský’s text with regard to the following performance by Kamila Polívková (2016, performed by Stanislav Majer) and its context.
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The contribution examines the role of certain cohesive devices, namely conjuncts, in academic discourse, comparing their distribution in three text types which are represented by a textbook aimed at university students, research articles from a recognized scientific journal and conference papers. The material under investigation is taken from authentic scientific texts on computer science, all of which are intended for the technically educated reading scientific public, yet are all different in the purpose for which they were written, the presupposed type of readers and the situational framework in which they are presumed to be read. Focusing mainly on the most distinctive semantic categories of resultive and contrastive conjuncts, the paper analyses the frequency and variety of both semantic categories of conjuncts and individual tokens. The paper tests the hypothesis that different academic settings for which scientific texts are designed influence the type of cohesive means used.
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This contribution reports on a study of epistemic verbs in a corpus of scientific research articles from two subdisciplines of the natural sciences (Biosciences and Physics) and their popular adaptations in New Scientist. Epistemic devices express the writer’s commitment to the truth value of a state of affairs. Epistemic verbs can be divided into downtoners, i.e. verbs that indicate writers’ lack of confidence (e.g. indicate, assume) and indicators of certainty that express writers’ conviction of the state of affairs described in the proposition (e.g. show, conclude). Epistemic verbs are thus an important means of communicating knowledge and presenting findings in scientific research articles and their popular versions. This study explores the meaning and use of frequent epistemic verbs in their personal and impersonal uses and aims at contributing to the research on stylistic conventions in scientific and popular academic writing. The analysis shows that there are quantitative as well as qualitative differences in the use of epistemic verbs between the two subdisciplines and their popular versions.
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While concessivity has been approached from various perspectives, the semantic-syntactic model being the most frequent one, the situational context of this linguistic phenomenon seems to have received little attention. Drawing on the interactional tripartite concept of Concession, the author contributes a genre-based analysis of this discourse-pragmatic relation in the context of dialogicality of legal decision-making. The study focuses on monologic Concessive schemata found in judicial argumentation as well as the interactional functions of two Concessive moves: acknowledgments and counterclaims. As expected, the findings suggest that judges, like speakers, are aware of and follow the dialogic pattern of Concession found in spoken language.
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Projekt Jak vzniká literatura si klade za cil ukazat a ve spojeni s reflexi ozřejmit studentům, jak lze ze zaznamu drobne skutečne udalosti pomoci literarnich postupů a vybranych stylistickych prostředků vytvořit fikčni text s estetickymi kvalitami. Studenti mohou pozorovat, jak jim pod rukama z jednoducheho zažitku vznika (kvazi)umělecky text. Cvičeni lze použit pro vyspělejši žaky a studenty přibližně od patnacti let, a to s přiměřenymi variacemi.
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This paper unfolds a research that compares the rhetorical structure of the introduction sections of English language physics articles written by Hungarians and natives speakers of English. The aim of this research was to find out about and to analyse the possible differences in the structures applied by NNSs and those used by NSs. The framework of the study was the CARS model devised by Swales (1990), which has proved its usability in numerous projects since its publication. Our results indicate several important differences between the articles, especially concerning the pattern of the rhetorical move structure and the realization of rhetorical moves.
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