Zur Soziologischen Entwicklung des Stammes urd
Die nichtswürdigste Methode sich einen Latifundienbesitz zusammenzuraffen ist in Nuzi um etwa 1500 v. u. Z. urkundlich belegt. In E. Chieras Worten ist sie kurz und gut charakterisiert...
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Die nichtswürdigste Methode sich einen Latifundienbesitz zusammenzuraffen ist in Nuzi um etwa 1500 v. u. Z. urkundlich belegt. In E. Chieras Worten ist sie kurz und gut charakterisiert...
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В этой заметке делается попытка показать строение нескольких характерных фрагментов из элегий Овидия, сходных по художественному воздействию и по создающим его приемам. Речь будет идти об элегиях из книги «ТпзНа», но сходным образом написаны и некоторые эпизоды «Метаморфоз» (например, описания чумы и потопа, превращения Ниобы в камень и др.). Для примера приведем фрагмент из ТпзНа, IV, 6, в котором художественный эффект достигается нанизыванием образов, иллюстрирующих один и тот же простой тезис.
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The article investigates the various meanings of artistic structures. The author's supposition is that the basis of the notion 'meaning' is found in the transformation of the code of one system into that of another, while one of the systems functions as 'expression' and the other as its 'content'. The relation 'content-expression' can come into being only when the elements are mutually equivalent. The article distinguishes between internal, binary-external and multi-external modes of transforming the code. In the first case an element stands in the relation 'to have a meaning' to another element of the same system. That relation is limited by the boundaries of that system. This type of meaning is the structural basis of romantic works. The binary-external transformations of the code presuppose a relation of equivalence between two (in multi-external transformations between multiple) elements of different structures. Those types of meaning are found in 'realist' and 'relativist' artistic systems.
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The article studies the meaning (meaningful qualities) of rhythmic complexes which are defined as chains of recurring elements on various structural levels. The significance of an individual definite element, far from being an absolute quality, is actually derived from its relations with the whole rhythmic complex (as a confirmation or frustration of our expectations). The author treats, the continuity of textual constructions as a stochastic line, and defines artistic information in accordance with the ideas of the theory of information.
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The paper presents an analysis of cartomancy from the semiotic point of View. A description of cartomancy is made in purely linguistic terms and in terms of the Peirce-Morris classification. In the first case a described cartomancy system is regarded as a special kind of language; the authors describe its vocabulary and the procedure of phrase generation In the second case the authors analyse successively the semantics, pragmatics and syntactics of cartomancy. In conclusion a typo-logical comparison between cartomancy systems and natural languages is drawn.
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The paper deals with prediction by means of cards as a semiotic system. In contrast to the work of M. I. Lekomtseva and B. A. Ouspenski, the author's approach to the description of prediction with cards as a simplest sign system is topical-typological. It sees prediction as a model of elementary plot construction.
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The paper consists of six chapters which deal with the following problems: 1. A description of religious-magical system (RS) of the Kets. 2. Notes on Ket predictions. 3. The structure of Ket riddles. 5. A contribution to the recording of epics and fairy-tale structural schemes. 5. About some properties of Ket drawings. 6. On one paramètre of the Ket universe model (magical number seven).
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The semantic aspect of the simplest kind of the system of musical notation (SMN) is under consideration. The meaning criteria for SMN are formulated, and three types of correspondence of musical notation to its signifié (musical sounds) are described, each of these types of correspondence constituting a sign. In the signs Of the 1st type the height of the tone corresponds to the name of the symbol; in the signs of the 2nd type the length of the tone corresponds to the position of the symbol; in the signs of the 3rd type the symbol corresponds to the specific tone of the given musical instrument. Each of the types of signs is described as the mutual correspondence of the two sets of elements arranged in a peculiar manner. It is shown that in SMN where these three types of signs are used, symbols corresponding to the tones characterized by the different altitude, length, and musical instruments, are distinguished graphically.
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An attempt is made to find formal regularities that characterize coherent discourse as opposed to a random accumulation of sentences. A class of texts is specified in which coherence is manifested in the first place by the fact that neighboring sentences contain identical semantic elements. It is asserted that the description of regularities governing the formation of such texts can be reduced to the description of limitations imposed on the choice of the "initial name" in all sentences of the text except the first one. A relation of domination is defined between the. names from different sentences. Several types of such relation are described which correspond to different types of connection between sentences in discourse.
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Для поэтического отношения к миру характерно стремление охватить воспринимаемый предмет одновременно с различных сторон, уловить в едином акте восприятия (и описания) многообразные связи и отношения, в которых выступает этот предмет. Одним из средств такого «удвоения мира» является метафора. Основным принципом построения метафоры является принцип сравнения, ибо двуплановость предмета выявляется при сопоставлении его с другими предметами.
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On the basis of Alexander Blok's poem "Neznakomka" the author investigates one of the ways of forming new meanings of words which are specific only to the given text. She distinguishes between lexemes the combinations of which according to the rules of the previous cycle ('stihi o prekrasnoi dame') is either predictable or excluded. The replacement (substitution) of instructions of combinations for banned cases forms a new structure.
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Стихотворная форма родилась из стремления поставить различные по значению слова в максимально эквивалентное положение. Используя все виды эквивалентности - ритмической» фонологической, грамматической, синтаксической, - поэтическая структура воспитывает восприятие текста как построенного по закону взаимной эквивалентности частей. В результате читатель, воспринимающий по какому-либо сигналу текст как поэтический, рассматривает его как построенный на принципе взаимной эквивалентности частей даже в том случае, когда это: не ярко выражено в позитивной структуре (доминирует «минусструктура») .
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Хотя мы уже говорили, что знаком, «словом» в искусстве является все произведение в целом, это не снимает того, что отдельные элементы целого обладают разной степенью самостоятельности. Можно сформулировать некое общее положение: чем крупнее, чем к более высокому уровню относится элемент структуры, тем большей относительной самостоятельностью в ней он отличается.
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This work examines conceptual metaphors of space in biblical Psalms and in relation to the psalmist’s personal emotive and theological message which the psalmodic text intends to convey. Language of space and motion is in so many ways crucial for human existential as well as a religious experience. The psalmist reveals and presents his complex existential as well as his theological challenges through a set of conceptual metaphors of space. Orientational metaphors form a specific mental space where the antipodes of up/down and left/right enable the psalmist to express himself in spiritual terms as well. For the biblical psalmist situations of his disorientation are fairly frequent, whether caused by feelings of his sins or social injustices. After all, he yearns for a moral and spiritual re-orientation. While the Euclidean space is homogeneous, in that space biblical psalmist experiences discontinuity for certain parts of this imaginary space is qualitatively different. Namely, the divisions of such non-Euclidean space rest qualitatively on the division between the sacred and the profane. For the psalmist, such division of space rests on some key terms, such as Temple, Heaven, and Underworld. This is followed by the orientational metaphors as up/down. God is up (heavens), man is down below (earth). In eschatological terms, it is the sovereign heavenly judge who will act upon the dividing between the good and the evil ones, between the left and the right, on the horizontal plane. Since that which is above is better than that which is below and underneath, so is the right side better than that which is on the left.
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Games known throughout the history of humanity are among the elements that make up the unique traditional culture of almost every society. The game has different effects on both adults and children. This type of entertainment has positive aspects on the way of being an individual, especially on child development. As it is known, the socialization of the individual begins in childhood. The child acquires both physical and mental development through this socialization environment. Therefore, the child's ability to communicate in a healthy way, to develop a sense of empathy, to accelerate his speaking skills and to acquire certain social values such as being a good individual is provided by some elements. One of the elements that help these elements is undoubtedly games. This is possible primarily with the associations provided in childhood. Because the child's first education begins with the family, diversifies and enriches with what he observes from his environment, and continues throughout his life with what he learned at school. These bonds and all relations that the child establishes with his environment also contribute to his socialization. In summary, socialization first begins in childhood and continues on the path of being an individual until the end of his life. In the study, ten different children's games that we determined as a result of the compilations made with Iraqi Turkmens were evaluated. In the evaluation in question, the names of the games were examined formally and how the game was played and its scope were discussed. It has been determined that mostly the games overlap with the games in Turkey. In addition, the existence of some unknown games in Turkey has also been revealed.
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L’article porte sur le concept de l’eau tel que le révèlent les unités idiomatiques de trois langues dont l’évolution témoigne à des degrés différents d’un type de contact différent entre elles (parenté linguistique, rapprochement géographique, politique culturelle). À travers une lecture littérale des unités figées, on montre quelles sont les connaissances qui y sont contenues sur les caractéristiques physiques du phénomène naturel de l’eau. On étudie également l’utilisation du lexème eau en tant qu’élément de base des images métaphoriques servant à l’expression de diverses notions (temps, espace), qualités ou défauts humains, ou de l’idée d’actes inutiles et dépourvu de sens, etc.
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Language, which is a living being, maintains its existence by adapting to changing and developing conditions. Human beings need to create new words constantly from the moment they start speaking with words. In Turkic languages, where words are made in many ways such as formulaicity, combining, mixing, abbreviation, compilation, scanning, analogy, the derivation method is used the most. It is possible to see that words are given more than one meaning in every language. On the other hand, every word used in Turkish has a basic meaning element. Over time, people attribute new meanings to words in order to explain concepts more effectively, more concretely and more easily. This situation is called polysemy. The number "bir", which is the subject of the study, has become a polysemous concept by taking both inflectional and inflectional suffixes and by using it in new meanings and tasks in a simple form in the historical process. The aim of this article is primarily to focus on the views on the etymology of the number "bir". Then, it will be focused on how the word is evaluated in Uzbek Turkic grammars and in what meanings it is used, and finally, the morphological analysis of words derived from a number in Uzbek Turkic will be made. While giving the meanings of each word examined in the study, Uzbek Tiliniñ Izåhli Luġati I was taken as a basis. In addition, example sentences from literary texts for each word are given by transferring them to Turkish.
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The rate of proliferation and spread of the data of the contemporary world explains the intense relationship of today's art with meanings at one point. Considering that contemporary art forms mostly involve processes based on the production of thought, we can see that the concepts of metaphor and irony are used as the dominant types of the multifaceted ways of seeing in today's art.Metaphor, which is a concept belonging to the world of meaning, is considered as the products of conceptual thinking styles, except for its traditional use, which is handled according to the relationship established in terms of similarity. In this sense, as an important part of art production, it plays a role in enabling the layers of meaning belonging to contemporary life culture to be structured in the context of metaphorical thinking. While the connection between the metaphor emphasizing the multiple aspects of meaning and irony is established precisely at this point, irony emerges as the most important type of art, literature and philosophy fields as a method in which the real meaning is revealed implicitly in a critical context. The effective use of these concepts in the field of visual art, on the other hand, has been realized together with the applications in which interdisciplinary approaches have come to the forefront by reconstructing the art production processes since the beginning of the 20th century. In line with the thought movements that emerged in this period, we can say that the meaning and images are used at a point that mediates the rethinking by liberating them from fixed forms. In this research, the connection of today's art with the concepts of metaphor and irony is presented with examples of different art practices.
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The present paper approaches the issue of semantic deviation in Romanian contemporary mass media discourse, referring both to a pragmatics and a lexical perspective. The first part of the paper presents a brief review of various aspects of the dynamics of senses, as this represents a phenomenon which covers a set of semantic changes. Then the present paper aims to identify and explain the most frequent forms of semantic deviations which occur in the public discourse nowadays, with a special attention for the devices that underlie the occurrence of this deviations, so several aspects of semantic deviations are presented in a pragmatic approach. From a strictly linguistic view, these semantic deviations can be considered a result of a manifest internal device for enriching lexis which gets greater and greater importance in contemporary spoken Romanian.
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