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The text is an essay about the culture of memory in poetry.
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U ovom radu predmet interesоvanja je uticaj engleskog jezika na leksiku u žargonu omladine koja komunicira preko interneta i društvenih mreža, konkretno na primeru upotrebe jezika u klipovima jutjubera Jaserštajna. Ova tema zapravo obuhvata dva žargona, žargon omladine i kompjuterski žargon, koji se u govoru mladih često prepliću. Cilj ovog rada jeste da na žargonskoj građi ilustruje, zabeleži i obrazloži pojavu nastanka i promene leksičkih jedinica pod uticajem engleskog jezika, koje imaju tendenciju da se preliju u standardni jezik. U radu su obrazložena i ilustrovana dva tipa leksema pod uticajem engleskog jezika koja su najdominantnija u korpusu, te značajno utiču na leksički sastav srpskog jezika: anglicizmi koji unose nove pojmove u srpski jezik i domaće i/ili odomaćene lekseme koje razvijaju nova značenja ili menjaju polje značenja pod uticajem engleskog jezika.
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This paper analyzes the representation of synonymy in English dictionaries of synonyms and thesauri with the aim of revealing and comparing their theoretical views of this phenomenon as well as a critical assessment of their practices as reflections of these views. The theoretical foundation of the analyzed reference works is determined according to two aspects: the scope of the notion of synonymy and the relation between synonymy and polysemy. The results have shown that the selected lexicographic resources are based on near-synonymy exhibiting two types – the one with a narrower and the one with a broader scope. However, the narrower understanding of near-synonymy leads to more systematic and consistent compilation of synonym sets with a clear structure. Moreover, synonymy and polysemy are viewed in two ways: as independent lexical phenomena or as interrelated phenomena, inseparable from each other. It has been concluded that the recognition of synonymy-polysemy interplay results in the proper treatment in the case of a polysemous word since its entry contains several synonym sets, each corresponding to its different sense.Key words: synonymy, synonym set, polysemy, English, lexicography, dictionary ofThis paper analyzes the representation of synonymy in English dictionaries of synonyms and thesauri with the aim of revealing and comparing their theoretical views of this phenomenon as well as a critical assessment of their practices as reflections of these views. The theoretical foundation of the analyzed reference works is determined according to two aspects: the scope of the notion of synonymy and the relation between synonymy and polysemy. The results have shown that the selected lexicographic resources are based on near-synonymy exhibiting two types – the one with a narrower and the one with a broader scope. However, the narrower understanding of near-synonymy leads to more systematic and consistent compilation of synonym sets with a clear structure. Moreover, synonymy and polysemy are viewed in two ways: as independent lexical phenomena or as interrelated phenomena, inseparable from each other. It has been concluded that the recognition of synonymy-polysemy interplay results in the proper treatment in the case of a polysemous word since its entry contains several synonym sets, each corresponding to its different sense.
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This paper deals with idioms in German and Serbian as they are used in Elfriede Jelinek’s novel Die Klavierspielerin and in the Pijanistkinja, its translation into Serbian. It points out the syntactic characteristics, similarities, and differences between German and Serbian idioms, which are examined through a model of contrastive analysis created by Dragana Mršević-Radović. This model had to be extended for these corpora with a model of phrasal lexemes created by Tvrtko Prćić. Although Mršević-Radović considers idioms to be syntagma constructed of a verb and a noun, the corpora in both languages contain examples of idioms constructed of just two adverbs. The distribution of elements in both languages is very similar, and most differences are in grammatical case, which can be explained by the nature of the two languages. The analysis showed that in some cases it is not possible to examine the syntactic level of idioms without considering their semantic level.
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The paper presents the results of a contrastive study of conditional sentences in French and Italian. First we compare the three basic types of conditional sentences (open conditional, hypothetical conditional and unfulfilled conditional), using conjunction si in French and se in Italian. The second part of the article deals with other types of conditional clauses (using other conjunctions). The contrastive analysis of those sentences reveals both similarities and differences between the uses of verb mood in the two languages.
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This paper deals with French, Spanish and Serbian phrasemes with the lexeme Fr. tête / Sp. cabeza / Ser. glava that qualify human personality and intelligence and one`s physical and moral traits. By using the method of contrastive semantic analysis, the aim of this study was to determine the extent of the lexical and semantic structure of the extracted 174 examples as well as the (non) matching of the concepts they express. A lexical and semantic matching in three languages was found in 15 cases (45 phrasemes), while the same matching in two languages was noted in only 13 cases (26 phrasemes). In the three languages, the head is not conceptualized in the same manner, which is demonstrated by zero equivalence in a large number of examples (104). Such an imageis unusual since somatismes are largely based on the mapping of properties of the human body, which is universal. The large number of non-equivalent phrases is due to the fact that several phrasemes of identical semantics but different lexical realizations describe different individual traits (e.g. wit, lack of reason, stupidity).The most numerous are phrasemes that qualify human character and its intellectual properties and activities, while those which express human physical appearance and moral characteristics occur in a far smaller number. In the three languages, the phrases observed reveal primarily negative traits of a person's character (stubbornness, recklessness, being scatterbrained, superficiality, irritability), as well as poor intellectual ability. Numerous phrasemes carry a negative connotation towards one`s physical appearance, and compare it to the appearance of an animal, the shape of an object or a piece of fruit. Some of the undesirable features were noted only in French (rebelliousness, fearfulness, impudence, ruthless exposure to risk), only in Spanish (lack of courtesy or ideas, cowardice) or only in Serbian (scheming, hypocrisy). Desirable properties (attachment, rationality, persistence, cold bloodedness) are present in a small number of cases.In all the phrasemes analyzed, the background image is easily visible, understandable and predictable.
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The article of Sara Kruszona entitled „The Theater of Death” treats the spectacular-theatrical character of collective hunts. The author puts forward the thesis that these hunts can be read as a form of a spectacle. The starting point for consideration was the article „Customs and hunting ceremonies in collective hunts”, derived from the website of the Hunting Signals Group, “Hagard”. This text is a kind of a scenario of hunting ceremonies taking place during collective hunts. By quoting its fragments in his text on the Theater of Death, the author proves the thesis about the pageantry of hunting rituals. Events which take place during hunting, their organization and arrangement, whose important aspects include tradition and ritual character, interpreted as a kind of spectacle. It was similar to the ancient venatio. The author also refers to the ancient roots of performances with the participation of hunters, i.e. venatio, described by Miroslaw Kocur in his book entitled „The Roots of the Theater”. A particularly important argument for the possibility of considering hunting as a form of a show is the hunters’ awareness of role–playing and audience presence. This can be understood by guests invited to the hunt as well as opponents of hunting, or as a community focused on their activity and ready to criticize it. The awareness of the presence of spectators determines the obvious awareness of playing whether the hunters perform a specific social function in the spectacle called hunting. The finale of this performance, played according to a strictly defined scenario and with strictly assigned roles, is pokot. The author draws attention to the fact that the system of animal bodies and all activities related to them resemble a specific form of a spectacle – anatomical theater.
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This article provides a comparative analysis of translation strategies for the English titles of Oscar-winning movies (Academy Award for Best Picture) into Polish, German and Russian. The titles analyzed show two strategies: adaptation and exotisation. However, they did not show a clear connection between the translation strategy and the degree of linguistic similarity since there was no clear dominance of exotisation in the German versions, considered to be the closest to the original. A significant use of explication of the meaning of the title in German versions was observed, which may indicate an attempt to more accurately convey basic information about a foreign movie to a German viewer.
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The first edition of one of the most important and mysterious novels of the 20th century appeared more than fifty years ago. Despite the passage of time The Master and Margarita still enjoys popularity; it also intrigues and inspires. Until now five Polish translations of Bulgakov’s novel have appeared. It is known that the interpretation of the original might be expressed in the form of many potential texts that are communicatively equivalent. There is no doubt that it is the translator who plays a vital role in any translation; her/his personality, life experience, knowledge, skills, and also the times s/he lives in regulate the target text. That is why, no matter how many times a text is translated, the final product will always be different. Taking this into consideration, the author will compare the three Polish translations of Bulgakov’s Master and Margarita, paying attention to the diachronic perspective as far as linguistic norms are concerned, the modernity of language, and the way the anthroponyms are expressed.
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Alexander Vertinsky belongs to the group of representatives of the first wave of Russian emi- gration, whose refugee history interwove with Poland. The article discusses the issue of the singer’s multiple stays in Poland in the interwar period. While visiting our country, the artist gave concerts in many cities, recorded albums, collaborated with the “second stream theatre”, and made numerous acquaintances, among others, in the environment of actors, writers and politicians.
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From the earliest times, people have been bending over the issue of death, trying to reach its essence. Therefore, death has become one of the leading literary motifs. The article analyses hu- man attitudes towards death depicted in short prose forms of Mikhail Artsybashev. The writer took the position that the mystery of death is impenetrable and all attempts to discover it do not bring any expected results. The essence of death can be reached neither by mind nor through any mystical knowledge. It just needs to be accepted.
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In the contemporary linguistic research, the colour system occupies a special position. Today’s culture space is supersaturated with colours, which are important semiotic components of human functioning and their relationships with other people. This paper attempts to describe colour semi- otics from the point of view of the human’s development period. The author tries to find an answer to the question whether colours can also determine the age frame of a person. First, the relation- ship between colours and time is analysed. The suggested description of the stages of life through the colour spectrum shall allow answering the question how the respective stages of human life are determined by the colours assigned to them by the culture.
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The subject of this article’s research is the problem of translation of poetic texts on the basis of a poem Метель by Boris Pasternak. The work aims to analyse certain mechanisms and processes involved in the translation of poetic texts which are not limited to the rhythmical layer but also include lexical and phonological dimension. The article examines strategies of translation created by Adam Pomorski, a critic, essayist and recognised translator of Russian, German and English belles-letters, and a chairman of the Polish PEN Club. Pomorski reckons that translation is a “reconstruction of the prototype” within the norms and conventions, while all rest is a result of individual style. While cre- ating literature, some artists recall the sounds that they associate with the literary pictures. This way, the language goes beyond the sematic layer of a work, while trying to imitate the sounds through onomatopoeic words, acoustic expressions and also other ways that influence the rhythmisation of a poem and bring out the connotation to the musical side of things. We will try to investigate how the poetic word of a prototype changed upon a translation on the basis of a Метель poem Pasternak.
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Nowadays the publishing market offers five Polish translations of Mikhail Bulgakov’s novel Master and Margarita, which appeared in the space of almost fifty years. The objective of the article is to concentrate on the way the components of third culture are rendered in the translations mentioned above. The author tries to draw the readers’ attention to the analogies and discrepancies within the translators’ choices. The analysis covers the names of natural phenomena, names of tra- ditional culture phenomena, both material and spiritual, as well as the names of social and political life phenomena.
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Altergraphy is writing for the other, it is complementary to autobiography. According to structuralist poetics, the autobiography puts its own self in the center of the text while on the periphery puts the other. Thus, escaping or returning to the center of the text does not question the boundaries of the text, but it is the opening of the genre by violating its 'rules'. This leads us to Derrida's question: What belongs inside and what belongs outside? However, the text retains its own categorial status, only being exposed more to trial verification, while weaves history (story) for the other. In contemporary autobiographical Albanian prose, the alterography is escaping from subjectivity for the sake of objectivity, but also because of prosopography of the other. The latter concept justifies some kind of alternating narrative, which is functionalized through lecturing pronouns. Is this not an introduction to the narrative grammar of the text, concretely of the Albanian autobiographical prose?! This remains to be proven through our research.
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The Author of this very article explains the term ‘essay writing’ through the analogy with the theory of autobiography. Main questions, asked throughout the article, concerns ‘womens essay’ and influence of literary criticism on multiple genre conventions. Furthermore there are discussed a few examples of women writers and their work in the field of ‘literary essay’. Books, written by women, sometimes described as ‘essayistic’ or ’autobiographical’, remain dependent on different institutions, such as: publishing houses and universities, and are related to literary criticism and awards.
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Abstracts are the requirement for publishing academic papers. They also provide a summary of what the ensuing paper is about. They are also often the reason why a paper is read or discarded as irrelevant by a particular reader. This paper provides analysis of the wording of abstracts contained in a randomly chosen journal published by the Faculty of Law in Split. What emerges are the linguistic discourse issues in academic discourse when authors of a non- English-speaking background are required to produce an abstract in English of their professional paper which will hopefully be published. Issues for further research are also mentioned.
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