Особливості просторовочасової структури первісного танцю
In this article the features of formation in time and space of symbolic structures of the original dance, reveal their function and semantic richness.
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In this article the features of formation in time and space of symbolic structures of the original dance, reveal their function and semantic richness.
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This article is devoted to the questions of semantic integrity and national peculiarities of the modern Ukrainian culture. New preconditions and abilities of the discursive culture consideration, meaning of personality in culturological process are discovered.
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The article analyzes the phenomenon of modernism and postmodernism and the idea of the expediency of their study in the context of the intentional period of European culture is held. The point of view: intentionalism is much broader phenomenon than modernism and postmodernism, which also contributes to a deeper semantic generalization of various phenomena of contemporary culture, is substantiated.
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The authors of this article investigates the processes of distribution socially engaged art in the Ukrainian culture situation. Semantics of new tendencies in art is traced both by the example of the Ukrainian actual art practices.
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Given that the wedding ritual as ethno cultural phenomenon, and today is attracting interest among the general population, the study of different levels and use of certain aspects of modern life with knowledge of semantics of each ritual, is one of immediate restoration and preservation of national heritage and spiritual gene pool of the nation.
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The author considers a possibility of application of the esoteric knowledge about phenomenological sphere in the field of humanities sciences, and offers an optimal structure of person’s mentality and creative process.
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The word “Türk” had appeared in the written documents from the Kök- Türk period. In those documents the word was written either in one- syllabic form as “Türk” or in two- syllabic form as “Türük.” But in time the one-syllabic form has become popular. The word “Tu-kue” in the Chinese sources had been used to denote “Türk” and the words “Thrak”, “Targita” or “Tyrkae” in the Grek sources; the words “Turukka” or “Turuska” in the Indian sources; the word “Turki” as a country name in the pro-Asian cuneiform sources; the word “Turukku” in the Asyrian cuneiform sources and even with the word “Togharma” in the Old Testament. It has been put forth that the word “Türk” was produced from the verb “türemek” which means to reproduce and that it is connected with the words “türe” which means justice and “töre” which means ethical principles. It was used to mean “yaratılmış” (=created) and “yaratık” (=creature). The common belief of the ancient Turkish cultural environment that the Turks had descended from the wolf confirms the above mentioned meaning. Besides, the archeological description that a wolf lactating a human child also supports this meaning. At first the word “Türk” had been used both in singular and plural forms. It is thought that in time it gained the meanings such as “sound”, “powerful” and “strong”. Today the word “Türk” is used both to describe a person and nation.
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Emotion concepts across different cultures and languages have been studied extensively. New research on emotion concepts can efficiently capture the “experience-near” and “universal” aspects of cultures and languages for the construction of a language-independent semantic metalanguage, namely the Natural Semantic Metalanguage (NSM) (Goddard, 1998). Wierzbicka (1999) claims that lexical discriminations in the area of emotions (as well as in other semantic fields) provide important clues to the speakers’ conceptualizations, and thus, a considerable amount of lexical data collection and of serious semantic analysis is needed before any universals in the area of emotion concepts can be proposed. Based on the classification of the cognitive scenarios for emotion terms in Wierzbicka (1999), the current study investigated one area of the emotion lexicon in English and Turkish, that is, a set of terms within the domain of “I don’t want things like this to happen”. It explored how these concepts relate to each other in terms of their cognitive scenarios intra-linguistically and whether their cognitive scenarios match within the domain of “I don’t want things like this to happen”. The study revealed the core meanings of target concepts show a high amount of correspondence, excluding cases of immediacy and intensity.
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Based on an individual, short-short stories, which convey a universal phenomenon to the reader with a simple and striking language, meet the needs of modern times in literature under the influence of speed concept. Language, which is the core material of literature, is the most important means of conveying these short texts to the reader with a world of intensive meaning. Short-short stories reach a multi-layered meaning with proper use of linguistic indicators. The short-short story of Küçük İskender, Yazgının Ölçüsü, tells the loneliness and captivity that the modern day man experiences. In the story that shows at least two contradictions with the fewest words, the encirclement and the enlightenment of the mind, it is conveyed in a universal dimension how the world, in which the individual exists, leads to a dilemma by becoming a labyrinth. Yazgının Ölçüsü, which is about the helplessness of the individual who wants to get rid of his or her captivity, will be discussed within the themes of the "dilemma of the mind" and the "enlightenment of the mind" and the deep-layered linguistic indicators in the story will be analyzed.
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Today, an additional source to look up toponomies in terms of semantics and etymology is “Tarama Sözlüğü”. Besides Divanu Lugait’t-Turk and Derleme Sözlüğü, Tarama Sözlüğü is also a source for toponomies. On 1935, “Tanıklarıyla Tarama Sözlüğü” , one of the first pieces of TDK, was started by scanning of 135 books in the first place, later by addition of many pieces, it was published as “Tarama Sözlüğü”. Certainly, toponomies are among the words which are scanned from old pieces. In this respect, “Tarama Sözlüğü” is compared with “Köylerimiz-1933” and toponomies are identified. On the other hand, words which may be candidates for toponomies but do not appear in “Köylerimiz-1933” are determined from “Tarama Sözlüğü” and are listed.
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Almost everybody who is interested in literature and poetry has an idea in terms of rating a poet as a good poet or a bad poet in his mind. However, the same is not the case according to what criteria this rating is performed. If there are no criteria and concrete references in the mind of the person in terms of a rating or evaluation, the rating or evaluation in question will be unhealthy. This also indicates that the person does not have the necessary consciousness and accumulation of knowledge when evaluating a literary work. Because, if the person regards a literary text as superior to another literary text based on some criteria, his criteria or provision, which is the result of these criteria, even if they are wrong, can provide important data concerning the nature of the text. In this study, the criteria and concrete references that distinguish a literary text from another literary text, or a poet from another poet were put forward specific to the case of the divans of Adli (Adlî) and Ahmet Pasha. The aim, however, was both to demonstrate the role of the method of comparison in achieving the true character of a literary work, and to encourage people to turn to concrete references when two poets or literary works are compared or evaluated. The reason behind the selection of Ahmet Pasha and Adli as poets was to believe that it was necessary to compare Ahmet Pasha – being considered by many researchers to be the best poet of his time and the founder of the classical Turkish poetry, but not much concrete data have been presented to support this – and Adlî – relatively having remained in the shadows – based on concrete data. Accordingly, it was one of the most important goals of this study to suggest criteria to consider when a poem is said to be good or bad. In this direction, the materials that the poets possessed and the way they used these materials constituted the basic action points of this study.
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The paper deals with semantic derivatives derived from phytonims and zoonims which are used to denote person by focussing upon its predominant traits, intellectual, personality or physical, both positive and negative. As a corpus for this survey the author used some of the most notable works of Branko Ćopić.
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In Serbian traditional culture, folk medecine, beliefs, ritual practices and magic arts numerous plant species are represented in many ways. Their qualities stand out during the stylization of all oral forms, while the floral symbolism is amongst the most common figures and formulas of oral poetry. The first impression may be that such processing are associated with the beauty of youth (girls / boys), colors and fragrances of flowers rest on the deeper layers of the folklore. The semantic potential of certain colors of flowers will be analyzed on this occasion. The symbolism of color and flower is a part of poetical image and stating feelings using auxiliary stylistic figures (epithets, similes, metaphors, allegories, metonymy, etc.). Unlike color, the smell of flowers, as a sensory experience, receives distinctive abstract components. Smell (immortelle, basil, roses) regularly equates with the soul, and depending on the poetic form (love poetry, ballads) receives some distinctive features.
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The paper analyzes the semantic field of adjectives dobar and hrabar in Serbian language using the associative method. The aim of the paper is to, based on associations with above mentioned examples as words, disclose a cultural framework, which is not recorded in descriptive sentences, and to identify the social motivation of the associative field. In addition to findings recorded in Asocijativni rečnik srpskoga jezika, the research is also carried out using results of new surveys, in order to establish the degree of overlap and identify the influence recent events on the social and political scene in Serbia have had on the conceptualization of analyzed features.
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Modality shows the emotions and thoughts of the speaker, the attitude towards an event or situation. These modalities can be seen via modals in sentences. Modals can vary from phonemes to sentences. Non-language elements or emphasis, intonation and body language also can show the modality. Thereby modals have a wide range. There are also discourse-based markers among the markers that indicate the level of knowledge and confidence of the speaker. These markers indicate the level of the speaker's prediction, inference, curiosity, concern, wonder, certainty, evidentiality in relation to the event and situation. Discourse-based modals take the eloquence in context. Imaginations in dialogue, silence, missing sentences, emphasis, intonation and body language indicate modality in discourse. Modals are related with meaning and context, so discourse is also important for this situation. It can be given as far probability, certainty, ratiocinative evidentiality, perceptual evidentiality, cognitive evidentiality, prediction, inference, hesitation with discourse in epistemic modality.
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Poetics of motion in oral lyric poetry understands functionality of the images of motion at compositional, stylistic and semantic level. These images could form composition principle or one segment in song structure. The most frequent figure of speech are: repetition, parallelism, contrast, gradation and metaphor. The notions of movement for- mand direct the space in the songs. They also influence on the meanings of boundary, closeness/distance, one’s own/alien, passable/impassable. Motion as a human activity is marked by changing of perspectives, by memories, and emotions and according to that it transforms space of oral lyric songs. Since these notions have its temporal dimension they form chronotopes.
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This paper analyzes the poetic function of derivatives, whose derivational stems consist of either a prepositional phrase beginning with the preposition bez or a complex suffixational word. The analyzed examples illustrate wide stylistic and semantic spectrum of derivatives, which has manifested itself through construction of figures of speech: antithesis, paradox, gradation, metaphor, etc. The research conducted is of a preliminary character, and it has shown that derivatives are unavoidable elements of the structure of literary texts, that they lexicalize the broader sentential context with their forms, and that they make contribution to the poeticization of the utterance in the stylistic and syntactic level.
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This paper offers an analysis of curses which come to being within the text of the epic songs. This specific form of cursing is particularly pointed in the curses by mother’s milk. Both in tradition and in the epics, these curses are equal to taboo, which means that nobody dares not obeying them: such is the deep belief in their efficiency. Because in the epics there is no discrimination about who can or cannot make a curse (everybody can: narrator/singer, heroes and their foes, messengers, mothers, wives, godmothers, sisters, brothers, fairies, forests etc.), focusing on the four systemic types of curse is necessary for the sake of congruence.
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The work represents a derivational and semantic analysis of the words with a zero interfix in the contemporary Serbian language in accordance with a conceptual and terminological apparatus of the modern Slavic derivatology. The author also claims that the zero interfix, like differentia specifica of the words formed by composition, occurred in the Serbian language very early - at the end of the XII century, whereas this derivational model itself of the words with a zero interfix is very productive - suitable because of economy, the words of this type are subject to expansion by borrowing from other languages, primarily from the English language (e.g. pank moda, boks-meč, Pres-centar etc.).
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Symbolic-mataphorical level of Miodrag Bulatovic’s novel Red Rooster Flies to the Sky makes the basis of the plot-lines of the novel, where fantasy serves as a shaping means. It is present in the reversion of the semantic field of the symbolic foundation of the story about the rooster, which makes the dramatic knot of the novel and the point where the lines of the motivation of the narrative stream cross. It branches around a specific sacrifice ritual which is stratified into two parallel episodes: the sacrifice of Muharem and the rooster, and the sacrifice of crazy Mara, where the sacrifice of crazy Mara is a projection of the reversion of the semantic field of the symbolic-metaphorical level of the novel. A branch of the symbolic-metaphorical level of the novel is supplemented with the story about heart which opens the issue of identity, meaningfully contributing to the semantic strain of the novel.
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