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The subject of the article is notes by Piotr Szewc entitled "Bez tytułu i daty", published in “Kwartalnik Artystyczny” in the column of varia entitled "Z powodu i bez powodu". The sketchbook privacy is marked by writer’s mental state, the sense of an obvious bond with the events of a special personal meaning, discretely including notes into the area of emotion reactions. The author , being aware of the gaps of a memoirist form makes an attempt to order himself and drafts thoughts in his non-fulfillment, as well as fills in intuitions of the events reconstructed after years that are intensively close to him. A reflection on the past, that, according to the author is worth remembering, because otherwise, it would get lost without taking care of a tiny detail memory sticks to. Notes by Piotr Szewc point to a thematic dominance of the last achievements of the author of "Zagłada". The novel works are avoided here in favour of poetic and para-textual searches.
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In this article Rodica Zafiu focuses on the word "Bididiu". From the original meaning, "fast and beautiful young stallion" this word extended its sense being frequently associated with young people. Its usage has extended to the underworlds' jargon. It also went through several variations "bidiviu, bididiu," and was used with feminine nouns "bididie".
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Dialectal characteristics of Turkish speeches in Balkan are formed during the complicated migration processes and under the strong influences of non-Turkish (mainly Slavic) language substratum. These influences are especiatly visible in syntax. Apart from the large number of common characteristics which, generally speaking, can be identified as "Slavic", it is indisputable that each one of the dialects has its own characteristics based on tile peculiarilies of subsstratums throughout which the dialects continue to exist. Influences of Serbo-Croatian on "Bosnian" Turkish in matters of syntax are visible not only in the sentence word order but also in the process of conjunctionalization of Turkish pronouns, adverbs and adverbial expressions (specific calques (loan translations) of Serbo-Croatian conjunctions). After analysing these influences the author brings the following conclusions: a) Peculiarity of "Bosnian" dialect is that it was used by non-native (bilingual) speakers and that it was used by ethnically non-Turkish population of Bosnia as a mean of oral communication with Turkish and other non-Slavic subjects of Ottoman Empire, b) For that reason the influence of native language, i.e. syntax of Serbo-Croatian language was more intensive e) "Bosnian" dialect undoubtly was one of West Rumelian (Balkanian) dialects of Turkish laguage, and according to its syntactic charachteristics it could be called "Bosnian", not only in sense of its geographycal determination, but also in sense of its variant-type determination.
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The author of this article demonstrates that Christmas, due to its multidimen-sional character, can be the basis for cross-curricular work of foreign language learners. By analyzing examples of cross-curricular activities suggested by university students who specialize in pedagogy and language, he argues that Christmas can be an adequate topic for the introduction of cross-curricular content in a foreign language class and for the development of different learners’ skills both at the primary and secondary levels. On the basis of the material collected from university students, he draws a conclusion that information from various school subjects can be integrated around Christmas within the monodisciplinary model which has been suggested in scholarly literature and which is discussed together with other models in the theoretical part of this article.
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'Jüdinnenbilder' im Werk von Leopold von Sacher-Masoch
In Leopold von Sacher-Masoch’s works, the so-called Ghetto stories occupy a special position; they reflect the author’s obvious and definitely positive interest in Jewish life in Eastern Europe. Also in this context, Sacher-Masoch’s images of women and Jewish women in particular are remarkable and will be examined carefully in this article for the first time.
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The present article is on the linguistic characteristics of a corpus of letters sent to the television broadcast Buona Domenica, transmitted between 1980 and 1995 by RTL Luxembourg. This corpus contains 600 letters sent to the editorial staff by Italians or other nationalities interested in the Italian language and culture, residing in Luxembourg or in the neighbouring countries: Belgium, France and Germany (the Great Region). The vivacity and spontaneity of theses letters presents us a period of time that precedes the globalization of the mass media and is not so far from our present time. Each letter chosen for this article highlights especially the relationship that bound emigrants to the autochthonous language and to the memory of their mother tongue, almost always a dialect.
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The border between secular and religious discourses, considered so far as separate ways of speaking about the world, has been getting vague in the latest religious materials. One of the manifestations of the phenomenon is the process of adapting the genres from outside the traditional religious language, which is acquiring certain elements of secular genres. The process brings about new forms of expression. One of them is a pilgrimage song. Based on the material of 360 pilgrimage songs, the author attempts to provide genre characteristics. She focuses on 3 aspects which are unique to the genre: - the pragmatic aspect (the aim and sender-recipient relations, life context); - the cognitive aspect: the subject and the way of dealing with it (perspective, a point of view, the hierarchy of values and other components of the linguistic view of the world); - the stylistic aspect: a specific linguistic shape.
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This paper is about learning to interpret, more precisely about cultural references, from the perspective of trainee or beginners interpreters. We pointed out that an interpreter never translates using only language knowledge (he must be able to understand the implicit). The main section of this study provides examples of interpretation errors pertaining to the extra-linguistic, encyclopedic knowledge, by reference field (medicine, geography, history, literature, film, politics, current events, society, food, chemistry). We have shown that the interpreter has to enrich the extra-linguistic background, in order to understand the source text more easily and accurately.
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The misusing of conjunction "căci" which means "for, because," as a substitute for conjunction "că" meaning "that" is a common mistake which people make. Rodica Zafiu gives several examples found on the Internet and concludes that people make this confusion thinking they give a their language a more formal aspect.
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The study is part of a critical system which describes, through an original critical concept (“Caragialumea”), the universe of I. L. Caragiale as a fictionary space where the artistic structure is fitted to the patterns of reality. Here we are focusing here on his writings who describe an “ideal” educational system, which prepares the future citizen of “Caragialume” for the „anti-selection of the moral values”. Those who resist it (pupils, parents or teachers) are finally penalised because this system, or any similar, will not accept you as a successful member unless you are stupid and immoral. The “perfect model” for that kind of success will be the monstrous and, in the same time, comic character of the teacher Mariu Chicos Rostogan.
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Amongst the possible linguistic-stylistic polarities for Italian narrators (monolinguism/standardised language and multilingualism/regionalised Italian), which are clearly outlined by De Roberto in his well-known "Preface" to "Documenti umani", Santo Piazzese and Domenico Seminerio move with care and remarkable metalinguistic consciousness, drawing on Sciascia in different ways. Their different writing practices, far removed from Camilleri’s linguisticstylistic choices, seem oriented towards what Testa (1997) called a “simple style” with a focus on “local colour” that is part of Piazzese’s refined rhetorical and investigative play and, in the case of Seminerio, is functional to the expressive rendering of the interlacing of History, magic, and mystery. In both cases, it is thanks to this specific attention to linguistic facts that the defining principles of detective stories are renewed. The aim of this article is to systematically trace the two different ways of stylistically rendering the sociolinguistic reality narrated by Piazzese and Seminerio, with the first oriented towards the cautious mimesis of regional dialogue, the second, towards the diegetic pole of reproducing indirect and traditional narrative modes.
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The article is an analysis of a part of the material gathered in a social research concerning the truth. I was mainly interested in respondents' definitions of the truth with reference to philosophical works on the issue. Some of the respondents referred to the classical - correspondence theory, some pointed to the onthic theory, most of them, however, understood the truth in the way which cannot be found in any philosophical theories, as the opposite of a lie - telling the truth. Another issue raised in the article is the objective or subjective character of the truth. Some of the respondents were in favor of the former concept while some others were advocating the latter. The last question is about evaluation of the truth. Based on the quoted antonyms of truth and words associated with it, one may assume that it is a positive value for the respondents.
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The article is an attempt to reconsider and reread the novel by Tadeusz Konwicki from today’s point of view and by means of research tools that has not been applied so far to this type of text. A confrontation of its character with a changed reality of the surrounding world becomes an occasion to reflect on coming to terms with tradition and ideas as well as myths of the Romantic provenience or, in a word, the whole symbolic heritage of the past while for the writer himself, also with existing hierarchies and literary conventions. In such a perspective the novel by Konwicki turns out to be an addition and supplement of "Mała apokalipsa" whereas its convention an ironic and prophetic harbinger of a direction the Polish literature goes in totally different conditions and circumstances than before.
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The paper offers an overview of Dabartinės lietuvių kalbos žodynas ('A Dictionary of Modern Lithuanian'), one of fundamental works of modern standard Lithuanian, and discusses its scope, contents and role and how all of these aspects developed from the first (in 1954) to the fifth (2003) edition. The scope of the Dictionary has gradually doubled from 45 thousand words in the first edition to 80 thousand in the fifth. Almost all editions have been amended, also edited and re-edited. As a result, some entries or meanings disappeared, some were given more details, usage instances were updated, some recommendations rewritten. All this has been due to the changes in real life. The dictionary is a work of general universal standardisation. It is meant for Lithuanians all over the world and people of other nationalities who need Lithuanian for one or another purpose.
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