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Klausiamieji sakiniai publicistinio stiliaus tekstuose

Author(s): Audronė Bitinienė / Language(s): Lithuanian Issue: 53/2004

The article analyses interrogative sentences in journalistic style texts. In exploring their frequency and use tendencies, it is important that interrogative sentences can provide information, while the author himself may be their target audience. The functions of interrogative sentences are associated with many parameters, which indicate that the primary use area of these sentences is dialogue. The dialogising direction of journalistic style texts depend on its strains; the genre dispersion of the journalistic style is based on the relation between monologue and dialogue in the text. The basis of dialogue genres (interview; talk) is formed by a stylised dialogue; in monologue texts, interrogative sentences are most often included into dialogising fragments. It appears from specific texts that journalistic style texts are united by the attitude of a friendly, respectful conversation with the target person, with the aim of convincing and influencing him. This general attitude helps to realise linguistic instruments of a colloquial form. The dialogising of journalistic style texts brings monologue closer to the spoken language, but does not copy it. To summarise, it should be said that in journalistic style texts, it is possible to distinguish two layers of linguistic instruments corresponding to the functions of a linguistic act. Some linguistic instruments are associated with the communication of information; others are used for highlighting polemic statements. The elements of the first layer provide new information, while elements of the second group should be interpreted as verificational ones – conveying response to the possible opinion of the target person. For functional stylistics, it is important that factual information is associated with standard expression, while verificational elements – with implicit or explicit dialogue.

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Experimental Language Deconstructing Patriarchal Discourse in Ntozake Shange‘s for colored girls who have considered suicide/when the rainbow is enuf

Author(s): Silvia Mara Tellini / Language(s): English Issue: 25/2015

By sharing the experiences of women and the black community of her time, represented as a journey towards womanhood on stage, Afro-American playwright Ntozake Shange deconstructs the patriarchal structure of language, by pushing the boundaries of genres as she assembles prose, poetry and stage performance in a “choreopoem” capable of empowering and liberating the trajectories of the represented black women. The present study explores the semiotic and linguistic deconstructions of the patriarchal ideology in for colored girls who have considered suicide/when the rainbow is enuf, aiming at a discussion of the author‘s experimentalism with language outside instituted discursive paradigms regarding women. Considering that the concept of the liberation of the individual is strongly historicized in the play, the characters of the seven ladies are focalized as being tightly related to the feminist movement in North America in the seventies. Furthermore, the implications of ideological impositions and limited roles for women in society are analyzed.

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Между възприятието и словестната образност. За някои основания на визуалната реторика

Author(s): Nikolina Burneva / Language(s): Bulgarian Issue: 2/2014

Plato’s Allegory of the Cave is an early example of currently still ongoing debates on the principles of reflection, the conditional nature of the imaginary world and the relativism of cognitive psychology. This text posits certain narrative archetypes applicable to the discussion of image based thinking, transformations of ideas, objects and simulacra, as well as the open character of the verbal representation of these processes. Based on various visualizations of the plot from the time of the Renaissance to the present day, the paper illustrates the Allegory’s interpretative potential and poses certain questions to the modern world of multimedia products.

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Jezik u zamkama tranzicije

Author(s): Rastko Močnik / Language(s): English,Serbian Issue: 0/1994

One should expect the reflection about the interplay of social and linguistic changes to touch upon quite fundamental questions. Still, if we do not want to bet blindly on the chances of the paralogic known from old pioneers- accounts and from detective stories, where false hypotheses lead to true discoveries, we should keep in mind how insidious any kind of not avowed "evidence" may be.

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Немски сложни съществителни в специализирани текстове и техните съответствия в български език – формален и семантичен анализ на мотивационните отношения между непосредствено съставящите им (2. част)

Author(s): Milkа Encheva / Language(s): Bulgarian Issue: 2/2013

The present paper represents a unilateral contrastive study with German as the source language. The object is a motive analysis of the formal and semantic relations between the immediate constituents of the German composite nouns and their Bulgarian equivalents in specialized texts from the field of technical chemistry. The first part of the paper – due to the limited space – the research model in the contrastive analysis is elaborated and only the semantic motive analysis of the immediate constituents of German composite nouns and their Bulgarian equivalents is carried out. In the second part of the paper the formal motive analysis and the projection of the semantic relations onto the formal structures are carried out.

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Немски сложни съществителни имена в специализирани текстове и техните съответствия в български език – формален и семантичен анализ на мотивационните отношения между непосредствено съставящите ги

Author(s): Milkа Encheva / Language(s): Bulgarian Issue: 1/2013

The object of the study is a motive analysis of the formal and semantic relations between the immediate constituents of the German composite nouns and their Bulgarian equivalents in specialized texts from the field of technical chemistry. The results of the analysis are important for the formation of terminology, the lexicography, the translation and foreign language teaching. The first part of the paper – due to the limited space – the research model in the contrastive analysis is elaborated and only the semantic motive analysis is carried out. In the second part of the paper the formal motive analysis and the projection of the semantic relations onto the formal structures are carried out.

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Понятията за „разговорен“ и „разговорност“ в стилистичната система на славянските книжовни езици

Author(s): Svìtlana Bibik / Language(s): Bulgarian Issue: 1/2013

In the article the questions of display are considered colloquial on the example of correlation of functional-stylistic markers the „colloquial – poetry“, the „colloquial – scientific character“, the „colloquial – official business“. The peculiarities of controversial issues in the study of oral and conversational speech areas in Slavic languages. A theory of conversational-style domestic literary language as a source of the elements of spoken in other genre and stylistic conditions of communication.

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Nataša Puškar, Srpski bukvari 1965. – 2011. Socijalno–semiotička analiza

Author(s): Virna Karlić / Language(s): Croatian Issue: 92/2021

Review of: Virna Karlić - Nataša Puškar, Srpski bukvari 1965. – 2011. Socijalno–semiotička analiza. Zagreb: SKD »Prosvjeta«, 2021. – 204. str.

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Е. Добрева. Толерантност, нетолерантност и нулева толерантност в съвременния българския печат (критически лингвосемиотичен анализ)

Author(s): Yuliana Stoyanova / Language(s): Bulgarian Issue: 2/2010

Review of: J. E. Dobreva. Tolerance, intolerance and zero tolerance in the modern Bulgarian press (critical linguistic semiotic analysis) Veliko Tarnovo, Faber, 2009. 390 p.

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Mit și logos în opera lui Vasile Voiculescu

Author(s): Oana Marin / Language(s): Romanian Issue: 1/2019

This article proposes, on the basis of an incursion in the work of the Romanian poet and prosaist Vasile Voiculescu, a meditation addressed to the practitioner of theatrical art on the need for understanding and exploitation of the written word in order to offer expressiveness to the spoken word. The importance of the “sense of speech” is underlined by one’s need for meaning and significance in its ontological trajectory, and this is accompanied by a heightened attention given to the symbol, the religious act, the myth, and the legend. The work of Vasile Voiculescu is the perfect framework in which the Actant, the living story maker, can practise his vocal capacity – thus understanding not only the possibility of articulation and sound emission, but also consciousness, feeling, meaning and sacredness, in order to dig up the essence, the primitive substance of the theatrical act - the sacrament of sharing and confession.

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Baltā galdauta svētku sākotne

Author(s): Rita Grīnvalde / Language(s): Latvian Issue: 39/2019

The article explores a new tradition, the White Tablecloth Festival (“Baltā galdauta svētki”), in its early development phase. It was introduced at the national level by the Ministry of Culture of the Republic of Latvia and its partner organizations as a new and fresh form for celebration of the Day of the Restoration of Independence of the Republic of Latvia on May 4, 1990. It always had a place on the official calendar of holidays, through codified protocols, some ritual activities were carried out in narrow elite circles mainly inside the Parliament building and at the Liberty Monument in Riga; however, the Day was not widely celebrated by the general public in a broad ritualistic way. Launched on May 4, 2016, the White Tablecloth Festival was conceived as one of the large scale Latvia’s centenary (2018) celebration projects. The newly created White Tablecloth Festival tradition is based on a purposeful cultural memory strategy and encompasses objectives of strengthening patriotism and targeted collective memory guiding. Planned, implemented, and monitored by the experts of culture, politics, history, marketing and media, the White Tablecloth Festival tried to be an inclusive, simple, and not strictly regulated novelty. Having the white table setting as a unifying element and symbol of self-confidence and pride in the centre of the new tradition, other activities were proposed and demonstrated to people in Latvia and beyond. These included being together and sharing memories, singing together, enlivening old culinary heritage, documenting the holiday, and sharing photos on social media. People were invited to celebrate both in public spaces and in family settings. The first four years of the White Tablecloth Festival demonstrate fluctuating dynamics in its celebration and precautious attitudes. Likewise, the audience reception of this tradition is also rather divisive. The controversial opinions have been shared mainly on social media. The arguments in favour of the Festival are: clarity of celebration form, sense of community, inclusiveness of everyone, the opportunity to celebrate with dignity and style. The main argument expressed against the new calendric practice is the danger of deprivation of the national history narrative along with substituting it with entertainment and consuming activities. *Baltā galdauta svētki ir viens no Latvijas valsts simtgades svinību (2018) projektiem. Tā ir valsts līmeņa jaunrade, mēģinājums rast nebijušu veidolu 4. maija – Latvijas Republikas Neatkarības atjaunošanas dienas – atzīmēšanai. Kultūras pētniekam dzīvot laikā, kad tiek radītas jaunas tradīcijas, ir liela veiksme. Ir dota iespēja reizē būt gan Baltā galdauta svētku tapšanas aculieciniekam – vienam no sabiedrības, gan svētku rašanās brīdī analizēt to kultūrpolitisko un etnogrāfisko pamatu. Šā pētījuma mērķis ir saprast jaunās tradīcijas “anatomiju”. Rakstā analizēta Baltā galdauta svētku cilme, nozīme, etnogrāfiskās izpausmes un recepcija.

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The Symbol of the Morning Star During the Third Awakening in Latvia (1986–1991): From Cultural Opposition to Non-Violent Resistance

Author(s): Digne Ūdre / Language(s): English Issue: 39/2019

In 2018 Latvians celebrated their centennial of the foundation of the Republic of Latvia. This was also a time to remember that after 50 years of the Soviet occupation, independence had to be regained in the late 1980s and early 1990s. This is the historical path that all three Baltic countries—Latvia, Lithuania, and Estonia—shared. Events of those days, both in popular discourse and scholarly literature, are referred to as the Singing Revolution, thus pointing to the non-violent nature of the revolution and the importance of singing in these national cultures. In Latvia, the years from 1986 to 1991 have been named “the Awakening” or “the Third Awakening”1 [Atmoda, Trešā Atmoda]. The Awakening is the name given to a number of political and social activities that embodied the longing to regain freedom lost after the Second World War, which became possible after the USSR’s general secretary, Mikhail Gorbachev, initiated the political reforms of perestroika and glasnost, leading to the restoration of the independence of the Republic of Latvia on 4 May 1990. As a non-violent resistance movement the Awakening involved many symbolic actions and symbols. The one that is probably the most recognized is the Baltic Way.2 Powerful visual images were used by the supporters of independence claims. However, the most potent of them besides the revival of the red-white-red flag (prior to Soviet occupation, the official flag of the state) was the regular eight-pointed star or octagram. The eight-pointed star or “Auseklītis”, “Auseklis” in Latvia, is the symbol of the Morning Star. This symbol, which descended from a folk ornament, in its graphic, geometric shape came to embody the hope of national awakening and a wish for political independence. The Morning Star is not only inevitably tied to the Awakening, but also has deeper roots within Latvian culture and tradition of folk ornaments. The importance of folk ornament in Latvia has been very visible in the last decade, especially in popular discourse, and there has also been a critical response from academia;3 nonetheless, the topic is somewhat stuck between esoteric, romanticized, and commercial interpretations. Based on in-depth interviews with participants and opinion leaders of the Awakening as well as published sources and public media materials, this article addresses the following questions: How did the Morning Star become a symbol of the Awakening? What meaning did it carry on a personal level for those involved in the processes of the Awakening?

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Vilka tēls “putnu kāzu” kontekstā “Latvju dainās”

Author(s): Beatrise Reidzāne / Language(s): Latvian Issue: 39/2019

Overall, there are 400 song types mentioning a wolf in the Latvju dainas tradition. A lot of songs show the wolf as the main subject of the song, although there are many songs where it is one of the participating animals. Some of the songs show the wolf as a personified animal, acting like a human. Among activities performed in this state there are singing songs, playing a pipe or a bagpipe, dancing, getting married, baptizing the wolf ’s son. As the first folklore researchers considered such animal activities childish, the song types describing them are found in the first volume of “Latvju dainas”, incorporated in the cycle “Education of the child, nursing and teaching”. As a musician and singer the wolf is described in approximately 50 song types, the most important is song type LD 2686, included in the subgroup “birds wedding”. The word “bird” has some semantic peculiarities evident in the opposition of “undomesticated birds and animals” vs. “domesticated animals and people”. Quantitative analysis shows that this type contains 40 variants (having 20–60 lines each), which K. Barons divided into 14 versions. The wolf is mentioned in 20 variants, 9 versions, the wolf blows pipes and bagpipes (16 variants), starts singing (1 variant), slaughters a cattle (1 variant), guards horses (2 variants) during this common meal. In addition to the wolf in these 9 versions there are 21 bird, 9 mammals, 3 reptiles, 2 insects. A wedding meal appears in the story, consisting of beer and meat, meaning that all birds and mammals, including a hare, are considered carnivore. In the group of classical quatrains (approximately 15 song types) the wolf is shown a) as a bridegroom at his wedding party – his bride is a fox, b) in their family life, c) how they get ready for their son’s baptizing with a hare as a godfather. A number of textual variants of Christmas game (38 variants) and some quatrains show the wolf as a suitor going or riding to take a goat as a wife. There the wolf fights alone against people and domesticated animals (masking, breaking promises). The wolf personified as a dancer is described in approximately 20 song types. The most interesting of them is LD 2206, included in the same children’s cycle. It is a long song type, too, containing 21 variant being divided into 17 versions. Of 9 full-length versions (16–24 lines) the wolf is mentioned in 6. The plot of these songs shows an event reminiscent of the Canadian Indians – potlatch, i.e., gift-giving. In this gift-giving everybody and everything may take part – people, animals, natural objects, mythological beings – and the wolf is the last gift-receiver. Each of these song types relates to a certain historical period and different worldviews. * “Latvju dainu” personificēto dzīvnieku tēlojumā risinātas daudzas un dažādas cilvēku sadzīves un sociālo attiecību problēmas. Rakstā mēģināts sniegt ieskatu, kā vilka tēls izmantots svarīgu un svinīgu dzīves brīžu tēlojumā: ko tas dara kāzās, kristībās, īpaši uzsverot funkcijas kā muzicēšana, svētku galda gatavošana, dejošana, līgavas izvēle un kāzas, bērnu audzināšana. Nosacīti nodalītās četrās dziesmu kopās skatītas personificētā vilka un tā apkaimes (dzīvnieku fona) saskares jomas: apģērbs, dalībnieku kvantitatīvais sastāvs, valodas lietojums, personifikācijas pakāpe, dalība dāvanu apmaiņā.

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Дрок (Spartium, Genista L.) в фитонимии Адриатического и Ионического побережий

Author(s): Marina V. Domosiletskaya,Alexander A. Novik / Language(s): Russian Issue: 2/2022

The paper analyzes local Balkan phytonyms used for broom and spread on the territory from the Adriatic coast to Greece. In the past, broom was used for weaving and manufacturing rough textile. One can notice a strong influence of Romance (including Dalmatian) on the Serbo-Croatian plant names for broom (Lat. juncus, Ital. giunco, Venet. zunco). In the northern Albanian dialects, especially in the Albanian-Slavic contact areas, a great role was played by the borrowed Serbo-Croatian word žukа (and probably Venet. zunco as well). South of Northern Albanian Ghegnia – in the middle Gheg and Tosk territories – loan-words from different times can be found: Lat. genista, genesta and Ital. ginestra. Further south, in the Albanian dialects of Labёria, in Greece and Italy (Arbёresh), there is a clear influence from the Greek σπάρτο. The research is based on long-term field observations (the fieldwork was conducted in 2009–2019), as well as on the previously published phytonomastical and ethnological data.

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Lühikroonika

Author(s): Not Specified Author / Language(s): Estonian Issue: 06/2017

Chronicle of events.

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Lühikroonika

Author(s): Not Specified Author / Language(s): Estonian Issue: 10/2017

Chronicle of events.

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KROKODIL LACOSTE ZLATKA TOPČIĆA KAO SILVERTOWN: ANALIZA PREVODA DRAME

Author(s): Selma Đuliman,Amira Sadiković / Language(s): Bosnian Issue: 21/2022

This paper contains an analysis of the selected scenes from the play Krokodil Lacoste / Silvertown by Zlatko Topčić. The play won the “Alija Isaković” award in 2010, while the Cultural Association of Bosniaks Preporod published its dual Bosnian and English edition in 2016. The segments are analysed parallelly in Bosnian and English for the purpose of observing the level of functional equivalence in the target text. The analysis entails extralinguistic and linguistic categories in accord ance with the model developed by Hatim and Mason (1990) and later expanded by Zhang et al. (2015). The extralinguistic category includes, among other, the culture-translation relationship, and the linguistic category entails three dimensions: communicative, pragmatic and semiotic. The analysis in this case includes the communicative and semiotic component.

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The cinefication of museums: from exhibitions to films. The case of Tate Modern

Author(s): Aluminé Rosso / Language(s): English Issue: 1/2023

Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.

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Remediating fantasy narratives for participatory fandom: Tolkien’s stories and their translations in films, video games, music and other products of the culture industries

Author(s): Eirini Papadaki,Nestoras Volakis / Language(s): English Issue: 1/2023

The phenomenon of fantasy transmediality (Rebora 2016) has been discussed by many researchers and scholars during the last decade. The need for the creation of alluring cultural products in the highly competitive new media environment has led to synergies between many cultural industries and/or cultural producers, such as film, music, literature and videogame industries, etc. Many well-known and fan-developing narratives have been remediated – repackaged and redistributed – through the various media, answering to the contemporary nostalgia of pastness (Williams 2016), the cherishing of the familiar and intimate, as well as the need to further popularize “a pre-conceived merchandising industry” (Ball 2002), create new side-products for a fan community or even offer escapelands, which fantasy narratives succeed in creating. This paper will examine the translation and adaptation of Tolkien’s Lord of the Rings (LOTR) to different media and cultural industries, such as:- Peter Jackson’s films,- role-playing games (RPGs),- the music industry – with reference to well-known songs and bands.Through comparative analysis of certain segments of the LOTR industry market and comments made by fans on digital platforms, the paper underlines the basic story elements of the Tolkien universe, as adapted to each above-mentioned variant and examines the role of fans in the digital semiosphere.

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Identification – Categorizing Living Creatures and Human Cultural Practices

Author(s): Hanna Mamzer,Jan Marcin Węsławski / Language(s): English Issue: 10/2022

A widely publicized IPBES report from 2019 warns that close to one million species currently on Earth will soon be extinct. In addition to debates in the media and among professionals about the factual value of that number, a larger problem remains—we do not know how many species are on Earth. According to extensive studies and statistical modelling, there are at least six million species in existence that have not yet been described. The term “described species” means that the animal or plant has received a unique scientific name that confirms its identity and relation to other organisms. A question thus remains about how we value species that are not yet named, known, or discovered. The most common practice is to value only creatures that are directly related to human existence, yet there is growing concern that we should value animals for the sake of their existence, for their intrinsic value. In this respect, the anthropocentric concepts of “pest” and “invasive species” need to be re-considered.

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