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Dictionaries and text examples are used to analyse the senses of the word чудь in modern Komi and to define the diachronic relationships between those senses. By today, the word has become a polysemantic unit, while its original ethnic sense has faded making room for some new ones. Of the latter meanings, the pejorative and the poetic are of particular interest. So the word чудь has come to serve as a poetic synonym for ethnonym komi.
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Review of: Language and Style, Dan McIntyre & Beatrix Busse, Palgrave Macmillan, New York, 2010.
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The problems arising at the intersection of text linguistics and cognitive linguistics are analyzed, among which the most important are cognitive-referential aspects, understood as the connection of real phenomena and images in fantasy worlds.The features of the manifestation of the author’s intention in the process of building a text for children, characterized by its cognitive-referential specificity, are investigated. Consideration of these properties raises questions related to the originality of the ways of text formation by different writers. The aim of the article is to investigate the authors’ idio styles inthe aspect of text reference. The novelty of the work is determined by the substantiation of the determinism of the referentiality of the children’s text by the cognitive potential. The relevance of the publication is reasoned by studying worksfor children, which largely determine their personality development and reveal their linguistic nature. The use of anthropomorphism,which is one of the main characteristics of this discourse, is demonstrated. Particular attention is paid to the anthropocentric characteristics of the characters, manifested in a special ratio of human characters and animal characters,as well as in the nature of their communication, which can be different. The result of the analysis is the conclusion that the fantasy worlds of this macrotext are referential, and the range of reference depends on the individuality of their creator.
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Les recherches antérieures consacrées à la langue et au style des œuvres de Liviu Rebreanu ont affirmé que ceux –ci n’ont pas une valeur artistique particulière. En continuant les études publiées par l’auteur jusqu'à présent qui ont analysé la configuration de l’épithète chromatique dans les romans représentatifs, cet étude est consacré aux nouvelles. On a examiné l’apport de l’épithète, de l’ensemble des figures de style et de sa riche typologie, est approfondi l’épithète chromatique, qui après le sixième rang des 16 variantes de celui-ci, sont recherchés et examinés successivement l’origine, les catégories de l’épithète chromatique, le comportement lexico-gramatical, les valences et les fonctions stylistiaues, l’apport prépondérent à côté de la comparaison, à l’amplification de l’expressivité du langage artistique de la prose de Liviu Rebreanu.
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The aim of the study is to identify the main types of word-building of the emotive-expressive neologisms and to examine the most productive means used in the coining of these new words. The object of the research includes 479 neologisms that perform emotive-expressive function. The word-formation analysis of emotive-expressive lexis included in “The Database of Lithuanian Neologisms” (DN) revealed that: 1. Stylistically connotated neologisms are formed mostly by means of suffixation (45.7 %), composition (31.7 %) and blending (12.7 %), the latter being a non-morphemic type of word-building. 2. The most formative suffixes of the most productive type of formation, i.e. suffixation, are as follows: the suffix -(i)ukas, -ė (6.8 %) in the formational category of names of possessors of nominal characteristics and the suffix -izmas (6.8 %) in the formational category of names of characteristics (nominal abstractions). 3. The data of DN show that the following elements of compounds valdžia- (first component), -skleisti (-skleidė) and -žmogis (second component) are productive elements of stylistically connotated neologisms. 4. Less productive types of word-building are prefixation (5.6 %), mixed type of word-formation (2.4 %) and inflectional derivation (1.9 %). 5. This was the primary research on emotive-expressive lexis, which revealed the necessity to stylistically edit some neologisms in DN. Moreover, seeking to conduct an in-depth analysis on tendencies in formation of emotive-expressive lexis, more diversified and numerous sources should be included. 6. The data available in the database should be analysed not only in terms of word-formation but also from the perspective of ethno-linguistics. Lexis is a reflection of the society and the neologisms (signs of realities of current time) stored in the database provide valuable information about a certain period in the life of nation.
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The form that linguistic development takes is social, economic, political, religious, or genetically determined. At different times, different features of language have struck people as particularly significant, typical or worthy off attention. Any complex system, as the human language, is bound to lend itself from a variety of other language systems. This article does not stand as an aversion against foreign words used in German language, but TOO MUCH IS TOO MUCH. Although, the inflationary use of English words in today's German is not perceived with hostile feelings as one must be CONTEMPORARY even if this modernization means a streamlining of German which, in many communication situations, has become only an English dialect. In nowadays usual language, there are more and more types of texts in a mixture of self-made English, that the Germans themselves have made, and of a remainder of German. The Anglo-German is as weird as it is unavoidable, and the distortion of German into DENGLISH has almost become a custom. Examples of this language are analysed in this article and the opinions of linguists on this topic are presented.
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The paper analyzes syntactic style intensifiers in three Croatian jeans-prose novels: Kratki izlet by Antun Soljan, Kuzis, stari moj by Zvonimir Majdak and Bolja polovica hrabrosti by Ivan Slamnig. It covers phenomena and procedures at the syntactic level (decomposed predicate, ellipsis, reticention, nominative sentences, parceling, inversion, repetitions and epithets) in which we find discrepancies from the usual sentence structure. Since jeans-prose is concerned with stylization of spoken language, procedures such as ellipsis and reticention are used to make impression of spontaneity and unpreparedness, while repetitions can reveal emotional state of protagonists besides contributing to easiness and relaxation.
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This present study adapts feminist stylistics framework to examine and analyse the gender representations and language of the laugh of the Medusa a speech written by Héléne Cixous. The paper, using a content analysis method, will mainly focus on issues related to gender representations and the language to interpret and uncover the implied and underlying meanings of the text. Héléne Cixous in her speech brings samples from the ancient Greek mythology of Medusa to give advices to her young female audience to write for themselves. She highlights the challenges and struggles that females have been repressed themselves through the patriarchal society. She encourages young girls to express themselves, their strengths and strong points in bravely through writing and boys to understand the feminine world. The study will scrutinize the speech to reveal the foregrounded features related to gender.
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The article deals with the process of forming Junior pupils’ lexical competency in the structure of the speech theory activity. The most effective principles of the method of forming lexical competence on a functional basis are determined. In primary classes the girls’ lexical competence is bigger than the boys’ one. There are some indicators which established the level of speaking development and creative abilities in primary classes. They are: phonetical, lexically-semantic, syntactic and stylistic devices; stylistic figures: rhetorical questions on the elements of intonation expression. We can’t separate these indicators from general communicative competency. The lexical competence depends on the environmental influence and as for the competence the potentialities are socially conditioned. Therefore, lexical competence are related to the special and intellectual abilities which person’s individual-psychological peculiarities, which are the conditions for successful realization of speaking and creative action.
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In the Qur’ān, it is stated in thirteen places that the Prophet was asked with the sentence “They ask you ... Say:” and answers are given to these questions. Nine of these questions are related to judgment and five of them are related to the unseen. Questions about the unseen are about past, present and future. In these verses, questions about the nature of the unseen are left unanswered, only information about how is provided. As a person who lived in the past, the question about Zulkarneyn was conveyed in ambiguous expressions and admonition themes in the Qur’ān’s own narrative style. Questions about the law consist of basic issues that determine the characteristics of Islamic society, from family law to war law, from halal food to alcohol and gambling. The answers given to these questions have escaped from particular events and turned into norms of universal law. There are also some criticisms about the questions in some answers. This study is limited to the questions and answers that come with the “They ask you ... Say:” sentence. Questions and answers are classified under the headings of law-unseen. While analyzing the related verses, the occasions of the revelation mentioned in the sources are explained. Considering the volume of the article, the subjects of the verses were considered only in terms of question-answer relationship. In this study, it is concluded that the questions pointed to by with the “They ask you ... Say:” sentence are a stylistic feature that the Qur’ān uses to pass universal answers.
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The article contains a description of the advertising genre, which is a sponsored article published on websites. Advertorial is large advertisement deliberately styled to look like the editorial guise of editorial material. The author lists and thoroughly analyzes structural elements and vocabulary of this type of texts, showing their persuasive character.
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The article discusses the interpretative and methodological potential inherent in the synergetic application of two categories paradigmatic for cultural studies and cultural literary theory: translatio and memory. It is argued that both categories, viewed as cultural metaphors and combined with each other, may serve as a complex model for the interpretation of cultural phenomena. The starting point for developing such a model is the insight that both concepts have undergone a similar semantic evolution in the discourse of cultural studies, and may now be represented as radial categories with a “prototypical centre” and metaphorical-metonymical extensions, translatio going far beyond interlingual “translation proper”. Next, some further contact zones between translatio and memory are outlined: firstly, their functional analogies, which are reflected in parallel metaphors depicting memory and translation (such as the “palimpsest” and the “devouring of the Other”). Secondly, the metaphor of the “dissemination of memes” is discussed as the most promising idea that brings together the discourse of translation studies with reflection on the mechanisms of collective memory, drawing attention to ethical and political aspects of both translatio and memory. The image of the “dissemination of memes” is also a point of departure for its derivative metaphors of “translation as memory transmission” and “memory as a space of translatio”. The conclusion is that the interactions between memory and translatio that engendered these metaphors could be put to use in comparative investigations. Finally, some representative research problems are formulated based on various configurations of literal and metaphorical meanings of both terms. It is emphasized that the coming together of divergent yet close pathways of translation and memory studies could be of mutual benefit to both fields of inquiry.
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The paper deals with the relation between verbal expressions and mental images. As claimed by cognitive linguists, “understanding a verbal message” requires that two kinds of mental imagery be evoked: rich images, which are encoded in individual lexemes, and schematic images, conventionally related to grammatical structures. Based upon this principle, an analysis of a Polish poem and its English translation is carried out, in order to demonstrate that a complicated interplay between the two kinds of mental imagery underlies the texts and accounts for their interpretation.
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The author proposes a new critical model for translation analysis. The method is based on translation tropics, an idea presented by Douglas Robinson in The Translator’s Turn, which appears here in a much expanded and modified form. Five tropes (irony, metonymy, synecdoche, hyperbole and metalepsis) describe five types of translator and the respective affective motivations that inform decision-making in translation: the translator’s affect towards the Other of the source text and culture. One trope in particular (metonymy) is examined in more detail. The analytical part, which presents practical results achieved with this theoretical tool, is based on the alphabetical translations of Charles Bernstein’s poetry by Peter Waterhouse and his VERSATORIUM group.
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The present study investigates to what extent the effect of cross-linguistic differences on L2 idiom comprehension is modulated by the presence of a context. Sixty students of German as a foreign language (L1 French) completed a comprehension test consisting of metaphorical idioms in the L2 that differed from their L1 equivalents conceptually and formally and were presented with or without context. The results show that an increasing degree of conceptual and formal distance as well as the absence of context are generally associated with lower performance in the idiom comprehension test. However; the analysis of interactions shows that the presence of the context was especially supportive for conceptually different items, whereas the facilitative effect of formal similarity considerably diminished with increasing conceptual distance.
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The poetic temples of François Habert (1508?–1561?) are one of the last vestiges of the tradition of allegorical temples, very popular in the time of the Rhétoriqueurs. But there remains very little in his poetry of this type-cadre and its characteristics. The comparison of his temples with the temples of Jean Lemaire de Belges and Clément Marot shows the poetic debt of this author towards his great predecessors and at the same time his way of appropriating tradition. As an évangélique he restores the metaphor in its original meaning: the pagan temple of courtly literature becomes church again.
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Académie Française has been a guardian of tradition and a symbol of continuity of the French literature and culture for nearly four hundred years. The speeches provide a link between the past and the future at least by the obligation of a new member, elected to replace one that passed away, to give a eulogy presenting glory and praising works of his/her predecessor. Based on several speeches, the paper discusses, in the first place, evolution of reflections on literature and predecessors’ works and, in the second place, provides an example of breaking with tradition: election of the first woman to Académie Française and justification of this radical change. The speeches constitute a bulwark of tradition, since their form and the way predecessors are presented do not change but constitute a reflection of change.
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The first part of the paper is to introduce the main motif of Bernardino Ochino’s Trajedyja o Mszej (Tragedy on Mass) published in Polish translation in 1560. The work tells the story of a trial of the personified Mass indicted by figures that can be identified with the Reformation and the individuals engaged in it. The Author discusses the structure of this literary dialogue and describes briefly the characters involved in the plot with their polemical background (these include in particular personifications of the Mass, the Lord’s Supper, and the Roman Church, as well as figures of the Pope, Satan, Holy Spirit, and a metonymic protagonist named the Lover of God’s Glory). The second part presents the context of literary tradition, where Mass was personified for controversial purposes, mainly by authors connected with the Reformation. The motif of a personified Mass was probably introduced in Swiss pamphlets of the 1520s (Krankheit und Testament der Messe by Niklaus Manuel, Querela Missae by Johannes Atrocianus). The concept of accusing Mass of dishonesty and performing her trial was recognised as an innovation of English Protestant writings of the late 1540s (esp. William Punt’s and William Turner’s dialogues). The aforementioned texts are juxtaposed with Ochino’s dialogue to show the probable origins of the concept used in his text, as well as to specify additional motifs combined by him (and consequently the Polish translator). The similarities between Ochino’s work and the texts chosen, as well as Ochino’s connections with the places of publication of these texts, allow us to see them as part of a small yet consistent subtype of Protestant polemical writings, which Ochino chose to use and modify for controversial purposes.
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The work reveals stylistic features of socialist realism based on the novels of Soviet writers who received the Stalin prize. The analysis is based on description of the language units which are the key words for understanding the principles of the socialist realism in forming of the new person in the developing Soviet society. The work also exposes connection between the language and style of Russian social realistic novels in cultural-historic context.
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The author presents the analysis of A. Akhmatova’s poetry from the point of view of a musical sonata form. The Second and the Third Piano Concert by Rakhmaninov is brought to mind as the poet reaches the unity in multiplicity of presented metaphors and the dramatic development of melodics of a poem.
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