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The paper presents a research on the presence of foreign borrowings, i.e English terms exclusively, in the current Romanian and Italian maritime publishing discourse. The study focuses on the articles found in four representative maritime magazines, Marina Romana and Marea Noastra for the Romanian corpus and Rivista Marittima and Lega Navale for the Italian one.
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The world of an organizational culture speaks the language habits of those who assume it, in a self-labelling process, but when two cultures are overlaid in the same organization, new models of communication emerge, in an endeavor of common task solving and shared group interests. The present paper showcases models of communication in a military institution where a number of civilians work along to solve tasks or build understanding within working hours. The way they communicate, from verbal to non-verbal impacts the way people react and it is all due to the different cultures individuals come from.
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The article is a contribution to the research on the linguistic situation of the Czech part of Těšín Silesia (Zaolzie in Polish). Having written on the topic in the past, this time the authors direct their attention to the Jablunkov part of the region and to a mixed language: the so-called po naszymu. In the introduction, they reflect on what functions a dialect can fulfil today, most of which are evident in the authentic linguistic material presented which comes from three extensive interviews that have then been published online. The speech of the dialect’s speakers differs, revealing the general focus of the speaker on a particular ethnic language: Polish, Czech or Slovak. The discovery of these foreign elements is possible due to the phonetic transcription, which reveals lexical, morphological and phonetic transfers in the texts. The purpose of the analysis is to point out the differences in the po naszymu mixed language code with a different rate of Polish, Czech or Slovak elements.
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The verb pytać [to ask] is one of the basic verba dicendi, thus its meaning seems obvious and its lexicographical descriptions exhaustive. At the same time, contemporary uses of this lexeme in the media suggest the presence of additional components, not yet taken into account in the studies of this verb. The author will therefore analyse selected quotations from informative Internet portals and TV dailies in order to then attempt to answer the question posed in the title. The description will take into account the pragmatic elements of the utterance: its context, information about the sender and the assumed recipient, as well as the entire communication situation; the conclusions will, in turn, be confronted with descriptions of the verb pytać [to ask] present in the linguistic literature.
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In this paper we will try to present the stylistic values of the anthroponyms in Vasile Alecsandri‘s work . The function of the proper name is that of reference and denotation of a certain object. Proper names, by their appearance in a literary text, in comparison with names outside the domain of literary communication, had received a special status.
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Numerical speeches are characterized by a multi-level multichannel display, especially at message transmission level. Its first consequence is the rich appearance of forms and content. Our interest goes to the place that the hashtag has in the discourse of scientific vulgarization and we want to see its forms and role in a gender approach: vulgarizers vs vulgarizators. We will take as examples Twitter messages, which we will classify by way of message creation (hashtag-word, hashtag-phrase, hashtag-expression, etc.) or their purpose (playful, polemic, educational)
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The article deals with the origin of 48 surnames based on 20 stems, which represent: 1) eight first names: 1 Bulg. folk name (*Стрезчо); 4 shortened Christian names (Вакин, Лаврин, Липе, Траки); 3 Muslim names (Hakký, Hakim, Jakub); 2) one inhabitant’s name (*юрчелия, from place name Юртчии); 3) noun names of persons according to their place in the family (*стърсак ‘last born child’), status in the society or occupation (*безас ‘vendor of fabrics’, вощанин ‘soldier’, *кюфеджия ‘basket maker’, *ичас(ъ) ‘trusted servant’, колага/коласчия ‘rank of officer’, копузчия ‘musician on kopuz [a Turkish instr.]’, кушчия ‘birdman’); 4) two names according to mental traits (*манзър ‘detrimental’, *мантарджия ‘swindler’). A special attention is paid to the sound changes as an important source of new surnames.
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In this paper the autor brings up the question of the multi-motivation and homonymy in the antrhoponymy on the example of two polish surnames. Different possible ways were indicated to explain the surnames Duszyński and Karabasz in respect of their etymology.
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On the basis of the Catholic and Protestant parish register, the proportion of short forms under the given names until the end of the 20th century on the name treasure of children in three countries was investigated quantitatively and qualitatively. The abbreviated forms of the names of the Catholics and the Protestants, the boys and the girls, the Germans, Dutchmen and Flemings, were compared. The abbreviated forms fall into groups and from the morphological point of view they represent various derivative types. The origin of the full forms of the names by which they have been made, is different. The short forms of names in each studied group have regional particularities and its special characteristics. The rich inventory includes both abbreviated forms of the old Germanic and the biblical names as well as the names from the Mediterranean, the names of the saints, typical regional names and names of Frisian, English and French origin.
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This article analyzes microtoponyms’ names as elements of artistic paintings of Ukrainian artists of the 20th – 21st centuries. There are revealed the main problems of onomastic terminology, coupled with the nomination of spiritual and material heritage of the Ukrainian people. The main emphasis is made on the names of the Ukrainian Carpathians microscopic objects. To nominate paintings Ukrainian artists often use microtoponyms for a clearer localization of a depicted area. Discovered common features of microtoponyms, especially in art and figurative painting. Microtoponyms and paintings embody national values above all spiritual, so have the emotional and aesthetic, suggestive, informative and other features. The names of such pictures on the structural level are both single- and multi-component. Reasoning base of microtoponyms is mainly orographic, hydrographic and dendrological terms that naturally follows from the description of the mountain environment. Explained series of similar paintings by various authors and found that the same locus can be presented to viewers in different ways. This stems from the author’s vision of the object, landscape lay the symbolic subtext. Knowledge of etymology, semantic and motivational elements of names of art paintings significantly expand the horizon of emotional and intellectual perception of pictures.
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Édith Giovanna Gassion, known as Édith Piaf recorded more than three hundred songs. Her repertoire is as rich as her biography. Often, in the texts of Piaf’s songs, we can find some traces of her life, stories that she had told to her lyricists, who made use of them by suggesting that her songs qualified as realistic. While analysing the texts of Édith Piaf’s songs created between 1935 and 1963, we can identify the vocabulary belonging to the slang register. In the linguistic part of our article, we will try to present this lexicon. In the didactic part of our article we will look at the problem of pedagogical exploitation of the slang vocabulary contained in the songs of Édith Piaf.
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Today technological possibilities allow connections between people from different countries and cultures; this process has lately been facilitated by the omnipresence of English as a universal language. Its terms are borrowed, and more or less adapted, in many countries. This study aims to analyze the way the French, citizens and authorities alike, accept linguistic loans from English. We will discuss their perspective on this borrowing process, the main focus being on the presence of anglicisms in French advertising.
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This paper considers two parts. In the first one the two main trends of modern Russian author lexicography have been described: linguistic and literary- cultural. Significance and aims of author lexicography new branch called ‘poetonymography’ has been shown. The second part highlights the description and presentation of original author’s-of-paper dictionary of proper names in works of art by Russian poet Nikolay Gumilev. The structure of dictionary entry has been characterized and a few entries from this dictionary have been given.
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The article is devoted to the study of neologisms and their lexicographic description in the Ukrainian language of the late 20th – early 21st centuries. Although the foundations for neography were laid in the last century thanks to the linguistics of prominent Ukrainian writers and scholars, the active development of neology and neography began in the late 20th century as a reaction to the mass replenishment of modern Ukrainian vocabulary with new formations and borrowings in the context of democratic transformation and Ukrainian official language status. The article contains a retrospective of research on neologisms, and modern neological terminology, areas of study of innovative vocabulary and classification of neographic works. Neologisms are presented in dictionaries and special reference books, the characteristic of references as well as the principles and parameters of their lexicographic description are described. This information suggests that Ukrainian neology and neography have formed into a separate branch of linguistics with its own history, own scientific apparatus and prospects for development. This is evidenced by the emergence of a large number of scholarly studies in neology, which create an important basis for new non-graphic works and allow the improving of their lexicographic processing.
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During the early decades of the twentieth century, foreign visitors to Albania noticed a lot of particular aspects of life that they found unique and worth publishing. They shared impressions, perceptions, research outcomes, emotional reactions, and facts about the way the Albanians managed their lives from 1921 to 1939. In the writings that constitute the literary corpus of this paper, the reader perceives an objective insight into the political, economic, social, historic, and ethnographic Albanian context while reading texts, diaries, newspaper articles, political reports, and research outcomes of the British and American authors who got to know the Albanian reality of this period. The relation between language and culture becomes especially significant when the mentalities of people encountering each other in a place are so different that respective linguistic means do not satisfy the linguistic gap that derives from the lack of awareness of the social phenomena they reflect. Such was the case when the British and American writers first needed to understand the Albanian social context and then convey it as closely as possible to a more international reader. However, since this reader had very little or no knowledge at all about Albanian life of the early twentieth century, there were also limited linguistic resources to express in English the treasure troves of Albanian social life hidden beneath the bjeshkë.* Most of the time, the writers seem aware of the fact that translating the word or defining it in the context would vanish most of its original meaning, so they chose to keep the Albanian word. One often finds such a word (in italics or boldface) in the middle of a page entirely written in English. They also chose to alter the phonological features of a word in order to create close pronunciation features between Albanian and English. They also sometimes chose to preserve the Albanian spelling of the word, but adapt its morphologic and syntactic features to integrate it into the English sentence structure. Such linguistic adaptions are as varied as the nature of Albanian words, their meaning, and social significance. The article aims to display the wide range of such linguistic reflections of Albanian life in the texts written in the English language, through phonological, spelling, grammatical, and semantic adaptions. It provides examples from authentic texts in English, classifies them according to the nature of the linguistic alterations, and explains the intertwining phenomena to reflect social particularities through language and culture.
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The Romanian regional term bérdă (de uscătúri) means “a load of wood, a pile of wood”. It is without doubt a word of Indo-European (IE) origin. But is it a Slavic relic word or a loan from a modern Slavic language? The suggestion that it is a loan word from German, Germanic via Slavic in particular, has been rejected. Could its specific semantics possibly have been influenced by a relic word transmitted via a locally attested and now extinct IE language such as Dacian? It is attested only once with the above-mentioned meaning as a word forming a relic island at the inquiry point No. 157 of the linguistic survey displayed on map No. 592 of the Romanian Linguistic Atlas (ALR) II New Series. Usually, its solely regionally attested meanings are “slope of a gorge, slope of a hill, abyss, chasm, cliff”, which seem close to some of the Slavic meanings of a possible etymon. Using the example of this above-mentioned term, we show the difficulties encountered in trying to establish the exact source for that word, which would go beyond a mere Proto-Indo-European root etymology. A solution such as the latter would prevent us from learning about the specific loan history of the Romanian regional term bérdă.In general, it has been observed that the ambiguity of etymological solutions reveals the danger of ideologically motivated tendencies in Romanian etymology.
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The article addresses the constructions tai yra/to jest in the text of the sermons by Konstantinas Sirvydas. In the contemporary research of syntactic semantics, these units are termed ‘conclusive components’ and are attributed to the group denoting equivalence. Meanwhile, their semantic representation is expressed by the scheme TR1 tai yra R2 (TR1 that is R2). In the scheme, R1 and R2 are linked by the relation of open equivalence based on the correctness of the statement, whereas R2 may express a conclusion, generalization, clarification. The metatextual fragments used in a religious text, which are inserted by means of the phrase tai yra, have much in common with lexical parallelisms. However, they stand out by their greater vividness and richness of the content and play an important stylistic function. The metatextual inserts starting with the construction tai yra are rather widespread in Sirvydas’ Postil (circa 1,000 cases). It can therefore be assumed that it is a characteristic feature of Sirvydas’ baroque style. They recur in a single sentence or in a longer passage composed of several compound sentences. Their functions are varied: a) information restoration, auxiliary; b) explanatory; c) rhetorical. The text by Sirvydas is dominated by the allegorical interpretation of concepts and phenomena. To achieve vividness, the author skillfully combines a word and an image, whereas metatextual inserts add transparency and become a powerful stylistic device in the process of educating the believers and shaping their moral values.
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