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The aim of this paper is to present the way in which the positive law forms the author’s speech and points to the possibility of the untypical creation of a new speech genre or subgenre. The research of interaction between normative and speech is limited herein to the analysis of the Courts interpretations of permissible speech. This method defines qualifying elements of authorial speech, which include content, the terminology used, and the context in which the statements were made. The specific feature of the permissible speech is threefold. Namely, in addition to (1) the building elements that amount protected speech which are distinctive as compared to that of other genres and subgenres, the specificity of this subgenre is also in (2) the appearance of a specific interaction between the state as an object of speech and its tendency to limit speech, as well as the involvement of legal instruments for protection of the freedom of speech, and (3) the methodology of its creation which is specific for the creation or more precisely for the unification of a law, and not for the creation of genre. In addition to these characteristics, the specificity of this subgenre is in the temporal and geographical universality of its significance.Bearing in mind that the methodology of the introduction of compulsory elements of permissible speech is non-linguistic, as well as the fact that artistic forms of ex- pression enjoy wide freedom, the protected or politically correct speech remainedunidentified as a new speech subgenre.
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The paper deals with lexical collocations which have the semantically depleted verbs make, set and take and adjectives good, real and standard as their secondary collocate and their treatment in English monolingual and bilingual dic- tionaries. The research presented is aimed at determining the criterion employed in listing these units under individual headwords and their status in relation to free word combinations and other fixed phrases. The contrastive analysis shows that the lexicographical treatment of collocations primarily depends on the type and purpose of a dictionary and the combinatory potential of collocating lexemes. Likewise, it reveals similarities and differences in the approaches applied, as well as frequent methodological inconsistencies in the presentation of collocations within individual dictionary entries. We conclude that the problem of collocations, as one of the fun- damental issues in translational (meta)lexicography, is rendered significantly more complex when we take into consideration the semantic depletion of certain lexemes. Therefore, a proper treatment of such multi-word units requires the consistent ap- plication of one primary criterion in order to reconcile the principles of economy and exhaustiveness. In addition, the research provides insight into the specific nature of lexical collocations with semantically depleted constituents and may thus serve as a basis for their treatment in a combinatory English-Serbian dictionary.
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The article presents an interpretation of the book by Daniel Chmielewski and Magda Rucińska, Miasto Złotej [Inner City] (2018), classified by the authors as an urban horror story. The author of the paper attempts to expand this category with elements of the eco-horror genre. The study is supplemented by the concept of Anthropocene, as well as an approach that integrates ecological humanities and ecocriticism. It is aimed to determine to what extent the postulates related to those notions are implemented in the analysed book. The author of the article proves that not only does their presence modify generic conventions of horror, but most of all it transforms the book into a small treaty on community education.
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Constantinople has a key place in Bulgarian national mythology. In many texts (folklore, chronicles, literature), it is presented as a great city that had to be seized or that was conquered by alien infidels. Petko Todorov and Nikolay Raynov, two important writers from the early 20th century, introduced an alternative version of the attitude towards the capital of the Byzantine Empire. In it, the Bulgarian ruler King Simeon refuses to subdue the city because they do not want history to recollect them as barbarians and destroyers. Such an attitude could not be interpreted as dominant or representative for its time. Nevertheless, it suggests the existence of some overtones in the overall image of the city and directs towards an ambivalent interpretation of Constantinople in the imagination of the Bulgarians.
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Nick Hornby is an author who has placed a significant emphasis on music in his writing. It has the role of being obsessive and stifling in the lives of the characters. They are immersed in listening to it and are often immature people. As a result, they find themselves at a standstill in their lives. The narrator of Fever Pitch, Rob, Dick and Barry from High Fidelity, Duncan from Juliet, Naked, and Will from About a Boy are typical examples of relatively young males who need to overcome their obse- ssion with music in order to reach maturity. They mostly manage to achieve this by encountering real problems which bring them back to reality and help them realise the absurd state they have allowed themselves to slip into. Therefore, the paper aims to examine these roles and establish whether any parallel can be drawn between the character and their author. The paper also attempts to see what kind of attitude Nick Hornby has towards music and the characters themselves.
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Janteloven is a set of ten detailed laws formulated in Aksel Sandemose’s book A Fugitive Crosses His Tracks. First intended as a satire of the Scandinavian mentality and of how individuals should integrate themselves in a group, this set of rules is nowadays a cultural phenomenon in Norway that influences not only adults, but also children. The aim of this article is to analyse Thorbjørn Egner’s book People and Robbers of Cardamon Town (Folk og røvere i Kardemomme by) -1955, focusing on what children’s behaviour could look like, according to the „Jante mentality”. We argue that the message presented in the book shows how children’s behaviour is influenced by adults’ expectations regarding modesty. The self-appreciation or self-depreciation of the children’s inner „I” is therefore related to the difference between standing out and standing still.
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Madame de Staël or the Necessity of a Second Life: The Theatre. Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold: on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre.
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The Relationship between Mother and Child in Staël’s Playwriting. The article aims to analyse the plays of Germaine de Staël Agar dans le désert, Geneviève de Brabant and La Sunamite, considered as serious dramas, brought together in the perspective of the maternal relationship. The maternal archetype follows the form of the mater dolorosa capable of the greatest sacrifices. The child is seen as being inseparable from the mother and is often an innocent victim of human sins. Passionate love as the essential coordinate of romanticism is replaced by maternal love and by the love of God. The plays have a clear moralizing value, but the pathos of declamation and the introspection, characteristic of romanticism, are well visible
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Tyranny and Derision in Alexandre Dumas’ Caligula. This paper studies the character of Caligula in Alexandre Dumas’ Caligula (1837) in comparison with the image left by the Roman emperor in ancient literary sources. Dumas highlights a tyrannical regime based on denial and flattery, shows the emperor as a tyrannical lover and mocks aspirations to the divinity of the one who takes himself for Jupiter, but is afraid of thunder, who wants to be the master of the destiny of all, but doesn’t master his own, falling under Messalina’s machinations.
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The Ambivalence of a Masterpiece: A Lost Letter by I.L. Caragiale. A Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losing its dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions, the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment.
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The Impromptu in Question: From Molière to Giraudoux and Ionesco. The starting point of this research is a line from Eugène Ionesco’s play The Alma Impromptu: “theatre, of course, changes, for the theatre is life. It’s changing like life”. The author of this article aims to verify the viability of this assertion by analysing the following plays: Molière’s The Versailles Impromptu, Giraudoux’s The Paris Impromptu, and Ionesco’s The Alma Impromptu. This constitutes an investigation on some grounding points of the topic. The critical meta-text is focused on aspects such as the status of the playwright, the purpose of theatre, the fabrication of the dramatic text, the relation author/text/comedian/public and the status of theatre as a social phenomenon rooted in the lifeline of collective existence. However, the meta-text is constantly scrambled by a certain form of auto-referential writing unveiling its own mechanisms, the creative process being the play on its own. Molière puts himself on stage while writing his play, as author, director and comedian, Giraudoux shows himself through his character Jouvet, Ionesco places himself on stage while writing his play, being disrupted by three characters, “Ph.Ds in theatrology” who write a play themselves, encasings present in Molière and Giraudoux’s works as well. Consequently, the reflection on dramatic arts shows, in its essence, the same poetics and/or poïetics, the mirroring games favouring structural and thematic duplications, and depicts the evolution of technical devices and creative specificity shared with an audience more and more discerning.
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Theatre as an Image of Proust’s Aesthetic. In In Search of Lost Time, theatre holds an important place, especially in the first three volumes. Being part of the frequent activities of society, it gives many occasions to the narrator to express his thoughts about theatre shows. Our aim will be to demonstrate that those thoughts are one of the ways used by Proust to bring out his complex theory about novelistic creation – a theory which shows to what extent art’s aim is to access the essence of things through sensitive experience.
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Marcel Proust : The Berma, Actress’ Figure, Motherhood’s Character. La Berma is an actress in Proust’s novel À la recherche du temps perdu. Her main model is Sarah Bernhardt and she has the same beautiful voice, a golden voice. Both of them are famous for their role of Phèdre in Racine’s drama. Theatre represents firstly a family matter and a social challenge. The child discovers theatre outside theatre where he is not allowed to go, that is on posters from the Morris column. And the first approach is semiotic. Theatre is included in narration, through two performances that the hero attends. With them, we have an image of theatre in the 19th century, from a sociological and artistic point of view. In the first one, theatre is considered as a low art and actresses are immoral women. Theatre is a cruel world which leads from glory to death, brings rivalry between actresses. In the latter, theatre is above all a text; Proust is interested in gesture and costume. He is focused on the quality of interpretation in comparison with the role. He shows that interpretation is a real art, which can be compared to painting and music.
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Localization in translation involves the process of translating, adapting and adjusting the texts of video games, websites, blogs and many other products and it is an activity that is part of the translation field, but goes further. The characteristics of each project or the use of an information support platform will specify their own guidelines, in addition to adapting to the target culture that must be taken into account. The goal of some language professionals is to adapt the content to the new target market and thus ensure a positive user experience from a linguistic point of view. While translation focuses on expressing in the target language what has been written in the source language, in the global sense, localization is a mixture of different processes, including translation. In other words, translation is part of localization and acts as a bridge among different cultures that will receive the same product.
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The subject of this analysis are three stories by Kanovich, whose main characters are Polish, Lithuanian, Jewish and Russian, living in a common Vilnius yard. The multinational neighbourhood relations between them are emphasized, considered in the category of “familiarity” and “strangeness”, shown through the lens of emotions. Attention in these relations is drawn by the dominant role of the Polish woman and the Polish language in contacts between neighbours, and then the Jew, who after the death of the protagonist, takes over the role of an intermediary in the integration between nations.
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This article examines problems in comparing idiomatic expressions with clothes and footwear in Russian and their Polish equivalents. The types of conformity between those idioms in both languages are analysed. The results of the study may be used in the dictionary-making process, in translations and in Russian language instruction in Poland
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