Ljerka Šimunković, Problematika prevođenja povijesnih dokumenata na talijanskom jeziku
Review of: Ljerka Šimunković, Problematika prevođenja povijesnih dokumenata na talijanskom jeziku
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Review of: Ljerka Šimunković, Problematika prevođenja povijesnih dokumenata na talijanskom jeziku
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Ziel der vorliegenden Arbeit ist es, referentiell reflexive Konstruktionen im Deutschen am Beispiel des selbst erstellten Korpus aus ausgewählten deutschen Tageszeitungen zu beschreiben. In der vorgenommenen Untersuchung werden gebrauchsorientierte Untersuchungsmethoden (Korpuslinguistik, Textlinguistik und Konstruktionsgrammatik) verwendet. Die Untersuchung sollte Informationen zur Häufigkeit, syntaktischen und kommunikativ-pragmatischen Funktionen der referentiell reflexiven Konstruktionen in den Textsorten Bericht und Kommentar, erschienen in der Rubrik Politik der ausgewählten deutschen Tageszeitungen, geben.
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Metonymy and polysemy are traditionally considered to be figures of speech. These representatives of figurative language, the language of poets and writers, have often been attributed the mere function of decorating the written word. What linguists realized, with the emergence of cognitive semantics, is that the role of certain figures of speech in language is more important than previously assumed, and also that they probably have a crucial role in the deciphering of human cognitive processes. This idea is primarily connected to the Conceptual Metaphor Theory, whose origins we can find in George Lakoff and Mark Johnson’s work Metaphors We Live By. And although the basic premise of this theory is primarily based on another stylistic figure, metaphor - not only as a figure of speech, but also as the basis of language and thought (Evans and Green 2006, 286), the aim of this paper is to present metonymy and polysemy within the framework of the Conceptual Metaphor Theory. The theoretical framework is largely based on Vyvyan Evans and Melanie Green’s work Cognitive Linguistics an Introduction.
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The study focuses on the reflection of quasi-argumentative strategies based on narrative. Nevertheless, the narrative perspective is not reflected by the authors, it is even published as a rational argumentation core. In contrast to secret narratives, I build a purposefully composed literary work that reveals the neglected aspects of human existence (using imagination). At the same time, I express the hypothesis in which the persuasiveness of literature lies: the deprivation of the author’s subject, which happens by placing the reader in the imaginary perspective of narration. In the extrapolation I see Roland Barthes and Václav Havel as conspirators of literature (they are hiding literary investment in their essayist contemplation) against Kundera’s straightforward and admitted art of the novel.
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The study analyses poetological components and their function in relation to the thematically ideological basis of the Apotheosis of Groundlessness (1905) by Russian existentialist philosopher Lev Shestov. Firstly, the link between the importance of literary tradition, literary experience and Shestov’s philosophy is explained. Secondly, the usage of rhetorical questions is analysed in relation to the philosophy of scepticism. Thirdly, the fragmentary form of the text is studied in relation to the absence of unity. Then, the role of plots is analysed as a final component which gives the text its artistic nature.
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Maurice Blanchot’s récit Thomas the Obscure has been traditionally interpreted within the context formed by his essays and philosophical works. The underlying interpretive concept of the study, however, calls this interpretive practice into question and argues for the auto¬nomous nature of a récit. Although Blanchot does not change the scope and the topic of his essays and récits, his récit in this case differs from the intention of his essays in terms of a shift in perspective, from which particularly the agony of denoted objects is viewed and depicted. The analysis of text structures employed in Thomas the Obscure indicate how the poetics of microscopy was revitalized in Blanchot’s récit. It turns the récit into a specific form of prose, all levels of which represent the indefiniteness, enigmaticality and invisibility of the depicted by various strategies of identification – protocol language, description of details, concentration of scenes, summarization as well as formal devices and tropics.
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The study is aimed at the analysis of the particular expressive qualities (semiotically linked with linguistic and thematic elements) of Miguel de Unamuno’s Mist and their function and validity in literary communication. The style-oriented research enables the identification of differences as well as cooperation between discursive and presentational modes in Unamuno’s essays and fiction. Several aspects of genre were considered and Unamuno’s method of creating personae was taken into account in order to explicate the indexical, metonymical relationship between Tragic Sense of Life in Men and in Peoples and Mist. It is not only Unamuno’s thought that guides his fiction but also his narrative production and aesthetics of paradoxes and contradictions that contextualizes his philosophy. The works of Miguel de Unamuno show that the area between philosophy and literature can be characterized by increased semiotic activity. In the circumstances, the function of metalepsis as a means of open extradiegetic communication between the author, literary characters and the reader and as a representation of the agonistic principle of perception of the world and reality is highlighted.
More...Intertextual Figures in Scientific Articles
Since numerous scientific and mathematical concepts can unsurprisingly be found in Alice’s Adventures in Wonderland, the book itself has been a great source of inspiration for many scientists. This paper gives an overview of how Alice finds her way into scientific articles. More precisely, it discusses intertextual figures that refer to Alice’s Adventures in Wonderland in a corpus of 29 scientific articles from disciplines including psychology, medicine or astrophysics. Results show that intertextual figures tend to be more explicit in the field of physics and medicine than those found in the field of psychology. Crucially, observations show that inter-textual figures found in the collected scientific articles serve different purposes depending on the discipline that makes use of them.
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The article deals with some internal theoretical controversies in the concept and the use of the term inversion in English syntax as used in some descriptive and most pedagogical grammars of Modern English. The analysis focuses mainly on the formation of interrogative and emphatic negative structures in English by applying some basic concepts of generative grammar. The aim of the analysis is to explain the transposition of the subject and the verbal predicate by following the Occam Razor' s principle of scientific description requiring the employment of a minimal number of principles and technicalities in the course of analysis which results in higher explanatory adequacy. This aim is achieved through the application of the terms operator and operator fronting in the cases of both obligatory and reversive inversion. The obligatory visualization of the operator in a series of syntactic structures is also discussed and a general rule is formulated.
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The lexeme park should be characterized as an international word. While examining its form and semantics, it is necessary to make references to other languages, primarily to Indo-European ones. A Latin source is pointed out by Jaqueline Picoche – the word parc is derived from Lat. parrĭcus, registered in the 8th century, which was a derivative of the pre-Latin *parra ‘pole, rod’. In this case it is worth asking the following question: what is the source of the root of the word park in the Indo-European Latin language? The form of the word makes us suspect that it is a borrowing from a Semitic language, most likely Arabic. In the Arabic language قرف FRQ carries the meaning ‘to separate, to set apart’, and further nominal formations which are derived from it include farq – ‘separation, division’ and firq ‘part, division; group, herd, set’. The development of the present meaning of the word park represents a broader array of issues associated with the semantic shift. The observation of the lexical material, not only of Polish material, demonstrates the following direction: ‘enclosure → ‘an enclosed (closed) area’ → ‘an area which is not necessarily enclosed’. Such a regularity is observed also in the Old French jardin, in the English garden, in the Slavic words gród (Ch. hrad, Russ. город, OCS гродъ etc.); ogród (ob-gród), kraj (‘end, limit’ → ‘an area within some boundaries’). Today the meaning park ‘garden’, which is a link in the semantic chain, occupies the first place; other meanings are secondary, and the original ‘enclosure’ has become obsolete.
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The article presents the accounts of Polish diarists’ overseas travels (16th–17th century), which include descriptions of parks and gardens. The authors: Mikołaj Krzysztof Radziwiłł “Sierotka” and Karol Stanisław Radziwiłł, Krzysztof Zawisza, Jan Ocieski, Teodor Billewicz, Maciej Rywocki, and others marvelled at the impressive gardens and bestiaries in France, Italy, Spain and the Holy Land. In the travellers’ accounts – diverse in terms of their attention to detail – there appeared descriptions of gardens, their location and arrangement, together with some opinions and evaluations made by the authors. What drew their particular attention and admiration were magnificent fountains, exotic plants and animals.
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The article discusses the transformations of the idea of park in modernity. In the Age of Enlightenment Europe replaced the white of medieval cathedrals with the green of parks. A man, like Candide from Voltaire’s satire, started to “cultivate his garden,” changing private parks in public spaces. As a consequence of that process the idea of park as a place where you could experience beauty and pleasure completely “vanished”. Urban green spaces started to be determined by an efficacy parameter – which can be witnessed in Le Corbusier’s or Ebenezer Howard’s projects – thus opening the way for transforming former landscape parks into modern places of consumption: commercial parks and amusement parks.
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It is impossible to imagine London without its royal parks. One of the most beautiful among them is Kensington Gardens, forever connected with the figure of a boy who didn’t want to grow up: Peter Pan. This article provides an interpretation of James Matthew Barrie’s novel „Peter Pan in Kensington Gardens” (1906), centred mainly around literary portrayals of garden space, which becomes an embodiment of the paradise of childhood: Arcadia, a pleasant place, locus amoenus, allowing one to exist beyond evanescence, growing up and sadness. Kensington Gardens are London’s green island, primeval Neverland, where the fairy-tale and the magic are rooted: during a day it creates a playing space for “human children,” whereas at night it goes under the rule of Queen Mab and mysterious fairies. The outline of various interpretation paths which can be followed in Kensington Gardens are accompanied by the reproductions and analyses of Arthur Rackham’s illustrations, which in an outstanding way capture the whimsical genius of the author of „Peter Pan”.
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Based on the fourth part of Pamela Lyndon Travers’s series of children’s books, „Mary Poppins in the Park”, the article proposes a view of a park as a dychotomic place: subjected to some rules, yet simultaneously a real and magic space which stirs one’s imagination. Following this double understanding, it can be stated that a park ideally matches the title character of the novel, who cares (often too much) about her children’s appropriate behaviour, but at the same time displays her predilection for children plays and imagination games. The conclusion highlights the two-dimensionality of the park, which by welcoming adults and children, becomes the space of both the real and the imaginary.
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The work presents an interpretation of Wawrzyniec Żuławski’s „Wędrówki alpejskie” [Wandering in the Alps], a book which is regarded as an example of classic mountain literature, republished several times. The author focuses her reflections on the description of the Alps, noticing in it three key ways of presenting this mountain range: as “a park of parks”, a playground and a neighbourhood. The analysis of Wawrzyniec Żuławski’s exceptional style unravels the author’s attempts to capture in words “the beauty of mountain experiences.” However, while reading „Wędrówki alpejskie”, what comes to the foreground is the book’s factual dimension. In his accounts of the expeditions from the 1930s and 1940s, a passionate mountaineer and an artist (a writer and a composer) reports on the changes in civilisation which took place in the area of the most important (in cultural terms) European mountain range as a result of the process of park creation. Moreover, Żuławski depicts in his notes significant cultural transformations in the consciousness of people coming to mountain national parks and in their attitude to the mountainous landscape. On the one hand, what seems to be striking in the accounts which are the subject of our interpretation are the tensions between the ideals of protecting “wild” nature and the development of mass tourism. On the other hand, what is particularly thought-provoking is the sense of melancholy, caused by the awareness of the old “romantic” alpinism being displaced by a sport model, aimed not at “metaphysics of the mountain”, but at achievements and records.
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A park is described in this article as a scene of public life where members of the modern society develop their shared forms of behaviour. This is also the perspective of interpretation for the final scene of Witold Gombrowicz’s short story „Lawyer Kraykowski’s Dancer”. A humorous portrait of manners drawn by the author could constitute a peculiar commentary to the nightlife of the Warsaw parks of the 1920s. A park seems to be a suitable metaphor chosen to tell the story of a lawyer and “a dancer”, as well as of the complex social relations determined by humanizing actions and the feeling of uncertainty about human nature which constantly evades them. The authors of the article are particularly interested in this “uncertain” aspect of nature inscribed in the figure of an urban garden, which reminds us that all our calls for regulation are just an appearance, a veil hiding an always distant phantasm.
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The article is an attempt at providing an interpretation of Natalia Malek’s work „Kord” in the context of sculpture and materiality. Starting from outlining a definition of a sculpture as a situation and a meeting, the author tries to demonstrate how a poetical language stages the sculptural, departing from the tradition of concrete poetry in favour of openness and potentiality of a poem. The essential contexts for the following argument are both elements of the study of objects and the feminist approach to corporality, which stimulate thinking in terms of the matter and materiality and enable us to interpret Malek’s project as addressing dualisms of Western metaphysics, as well as calling for a different type of reading. The category of “material vision” (de Man) is for the author of the article a point of departure, however, in result, it turns out to be insufficient and gives way to the project of reading understood as a “sculptural situation”.
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V appeared in 2002, distributed across an invertible two-in-one print book from Penguin, V: WaveSon.nets / Losing L’una, and two online locations: the first, V: Vniverse, a Director project with Cynthia Lawson, and the second, Errand Upon Which We Came, a Flash piece with M.D. Coverley. The print book contained at its center the url for the Vniverse site. This print book was re-issued February 2014 in a new edition by SpringGun Press as V: WaveTercets / Losing L’una. The truncation from Son.nets to Tercets was driven by limitations and affordances that we encountered as we set out to modify the Vniverse Director project to run as an app on iPad. The original Vniverse was created, not using Director’s timeline, but all in one frame. This choice took advantage of the speed of imaging Lingo to control both animation and interaction, permitting swift gestural command of the appearance of language emerging without lag from “the sky.” Since mobile devices support an entirely different suite of gestures, we needed to re-implement Vniverse as an app for a smaller screen and a different gestural repertoire. The re-education of hand and mind, the gestural translation, that such a project entails is our focus in this article which addresses the loss of hover as gesture, the loss of location—a point is no longer a place—and the loss of overview, or revelation, as sweeping gestures no longer reveal, but re-scale. Emotional coloring is shifted when exchanging a click for a tap imposes a required time-delay, when an expansive swing-sweep of mouse is substituted by contractive pinch-zoom, or when legibility can be gained only through granulation (losing the sense of fades between whole poems against which active sky stars can be activated), or through text compression and/or suppression (son.nets to tercets). These losses are in part compensated by other gains.
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With reference to the categories of affectivity and intentionality, the Author considers some of the various research perspectives that can be brought to bear upon the category of literariness in biotextual projects. She therefore introduces the concepts of “technotext” (Hayles), “physio-cybertext” and “biopoetry” (Kac), and “partly non-discursive affectivity” (Knudsen and Stage). The author primarily considers the role of non-human actors in constructing biotextual projects; this includes bacteria and other living cells that display the kinds of goal-oriented behavior (or intentionality) that bring about causal changes in biotextual works. Moreover, non-human actors are considered to be a physiological, affective force capable of altering the physical shape of such works. Introducing her own concept of “inside-body actors” (meaning the functioning of the body’s organs, hormones and other biochemical changes in the organism), the Author demonstrates how these “actors” are crucial to the medium. Her article presents three examples of (trans)literary works that were created in a corporal, affective and biological context: The Breathing Wall by Kate Pullinger (with Stefan Schemat and Chris Joseph); Diane Gromala’s BioMorphic Typography (part of a larger scientific and artistic initiative entitled “Design for the Senses”); and Christian Bök’s Xenotext. This last example is one of the most recent works to combine digital text with the biological functioning of microorganisms in a constantly evolving process.
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Electronic literature has expanded its limits, going beyond issues of definition, genre, and poetics, and developing into something more than literature. The goal of this paper is to address problems related to the discussion and meaning of electronic literature, something that elides a precise definition and clear-cut boundaries. Pawlicka’s article is based on the conviction that electronic literature has developed from a field that was institutionalized by the Electronic Literature Organization into a set of practices. The first part reflects upon changes in electronic literature, changes that compel researchers towards new considerations. This section refers to questions posed by N. Katherine Hayles and Dene Grigar and leads to a vital question, “Electronic Literature: How Is It?”. The question of “how” suggests a shift towards the idea of process; a fresh perspective is implied, one that is related to notions of action, practice, and application. This paper therefore introduces an innovative approach to researching electronic literature, namely a processual approach that is open to changes, revisions, and explorations. It in turn goes far beyond seeing electronic literature as simply a narrow field of literature within digital culture. Instead of that, it offers a new perspective on electronic literature, which is considered as a platform for digital research, textuality, art, and other forms of expression. These ideas are covered in the last part, which presents electronic literature as a platform for textual, artistic, and technological experiments, undertaken by writers, artists, designers, and programmers. This incorporates digital creative writing and creative programming, as well as trans/interdisciplinary research.
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