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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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The theory of foregrounding, developed by St. Petersburg scholar Irina Vladimirovna Arnold in the middle of the 20th century, was rather revolutionary for its time as it aimed to establish connection between formal levels of the language and textual meanings that allowed the reader to decode the author’s message. Arnold identifies four principal elements of foregrounding that disclose conceptual textual meaning: the strong position of a text, repetitions on different levels of language, the convergence of stylistic devices and defeated expectancy. The professor states that these elements of the text are always intentional and, thus, give a key to understanding the author’s message and position. This theory, being universal and easy to apply, has been widely used by Russian scholars working in the domain of textual linguistics and stylistics until nowadays. Such an approach increases the objectivity of the scientific findings in this area and enriches the overall text analysis with extra details and more meanings disclosed. The paper gives an overview of the theory of foregrounding, emphasizing the role it plays in text analysis and stylistics of decoding, and illustrates its principles with examples of practical analysis of the text conducted by the author of the paper.
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Today more than ever innovation seems vital for us to anticipate the future and adapt to our rapidly changing world. But what is innovation and how is it accomplished? How can the mind generate innovative ideas? To gain a better understanding of the mechanisms underlying the human capacity to innovate, the present study aims at answering two basic questions: first, ‘what makes innovation possible?’ and second, ‘why are innovative ideas unusual?’. These questions are addressed within the framework of Peircean semiotics, in particular in the light of Peirce’s conception of inference. Different types of inferences are studied to determine the mode of reasoning which is central to innovative thought. While creativity and innovation are often analysed through the prism of abduction, this study puts forward an alternative approach drawing a parallel between modes of inferences and types of hypoicons. It claims that what makes innovation possible is metaphoric reasoning underlying induction.
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The essential idea of this paper is that the framework of cognitive linguistics – conceptual analysis and conceptual metaphor – enables a more comprehensive and precise insight into lexico-semantic research. Some lexicological phenomena, such as mechanisms for generating new meanings of lexemes (lexical metaphor and metonymy), can be better observed from a more profound perspective, provided by conceptual metaphor and metonymy. This insight has motivated the bold hypothesis presented in this paper: namely, verbal or adjectival metaphor and metonymy seem not to exist; all cases of metaphor and metonymy are actually nominal. In lexical relations established in phrases, the verb and the adjective simply adapt to the noun in order to activate the metaphorical or metonymical dispersion of the given noun.
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Focusing on convergent evidence for the conceptual nature of metaphors that take the near-far image schema as their source domain, such as: similarity is closeness, difference is distance, affection is proximity and emotional distance is physical distance, the application of near-far is discussed not only in the context of linguistic, but also multimodal practice. Results of a number of experimental studies are presented as another kind of convergent evidence for the psychological reality of these conventional metaphors and of the near–far schema. It is concluded that this schema is a reliable and useful research tool that cognitive linguists have at their disposal. In the Postscriptum, the framing of the Covid-19 pandemic in terms of “social distancing” is briefly considered in the context of both the social distance is physical distance and affection is proximity metaphors.
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The paper offers a multimodal analysis of a selected instance taken from a series of commercials for Żubrbeer, an advertising campaign that has received wide acclaim among Polish audience in recent years. It seems that the success of the series resides in two aspects: firstly, by relegating the advertised product to a secondary place, the commercials for Żubrbeer do not activate alcohol-related issues in a straightforward way. Secondly, by assuming the form of ‘mini-narratives’ in the sense of Forceville (2009), they adopt various modes (visual, verbal and aural) which become “the cue to resolving the puzzling message of the ad” (Pérez-Sobrino 2017, p. 124). The way commercials for Żubrbeer are constructed inheres in the incongruity between what is offered in their visual and/or aural elements and the actual message encoded in the verbal mode, and depicted at the end of each commercial. An in-depth scrutiny shows that all commercials for Żubrbeer form a context-dependent Beer is wisent multimodal metaphor, with the visualized wisent as the secondary subject (Black 1979, Forceville 1996, also Fabiszak 2017), or the source in Lakoff and Johnson’s parlance (1980), and the hidden Beer as the primary subject, or the target.
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Krunoslav Pranjić was born on January 7th, 1931 in Zenica, where he attended high school. He graduated at the Faculty of Philosophy in Zagreb. From 1956 he worked at the Faculty of Philosophy in Zagreb as an assistant, then assistant professor and associate professor and since 1982 full professor. He founded the Department of Stylistics and was its head until 2001 when he retired as professor emeritus. He was lecturer for the Croatian language and literature at Berkeley University of California (1968-69) and the University of Amsterdam (1976-1977, and 1992-1993). He wrote about the general issues of language and style, and the Croatian language, but most is published stylistic analysis.
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The world of the novel, “Ulku and Uilli” of Vath Koreshi, is not built only on the opposition of the characters: good and bad, where Bdek symbolizes wicked people and the sinners, while Augustine symbolizes the devoted and the moral people. The characters are dualized from the beginning of the book and it is not that Koreshi has created categories of people from those two persons. This would be the literal meaning for a semantic reader, but the novel also has a second layer of the meaning for the semiotic reader. Such a reader, among other things, observes the coexistence of opposites in each character. Ulku and Uilli, light and darkness, white and black, instinct and reason, strong and evil, co-exist in every human being like night and day. The Wolf and Star antithesis, as a complex relationship, exists and is reflected simultaneously in each era of human development. The Wolf on earth and the Star in the sky, as a binomial oppositions, do not signify two worlds but one life. Koreshi has beautifully narrated with a creative, pronounced, postmodern consciousness on human reason making an unusual finding of language, style, construction and technique of the book. Ulku and Uilli is the text that needs to be re-read due to its aesthetic power and high qualitative literary parameters.
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From a pragmatic point of view, Stylistics is a synthesizing linguistic discipline closely related to metaknowledge, involving three distinct levels: the cognitive level, the pragmatic level and the evaluative level. At the cognitive level, the speaker is endowed with epistemological knowledge, which they can combine and customize according to the context. At the paradigmatic level, the speaker chooses the optimal communication strategy using knowledge subsystems derived from the cognitive level. At the evaluative level, the speaker evaluates their linguistic and extra-linguistic potential and discovers compensatory communication strategies, by which, thanks to meta-knowledge, identifies their own alternative variant that is deeply conditioned by both their cognitive level and the pragmatic aspect of the message. From this perspective, Stylistics is a complex way of cultivating one’s linguistic assets.
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The aim of the paper is to determine the ways of metaphorising land and its crops by inhabitants of the Kłobuck county associated with agriculture. The metaphor is understood according to the assumptions of the cognitive stream of linguistics, i.e. as a linguistic means of conceptualising reality, and not only as a stylistic means. The analyses are aimed not only at describing the lexical resources of the subjects, but above all at determining the forms of their thinking and acting. One hundred inhabitants of the Kłobuck county took part in the survey. A half of them were between 20 and 40 years old, while the other half were at least 65 years old. The research tool was an interview questionnaire consisting of four questions. The questions were open-ended in order to decode the metaphor of land and its crops. The research made it possible to draw unambiguous conclusions about the conceptual tendencies manifested by both groups of respondents.
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The objective of the article is to determine, systemize and analyze the lexical and stylistic means of implementing the category “the image of the author of newspaper discourse”, relying on the material of blogs of the newspaper “Molodyi Bukovynets”. The significance of the research under studies has been stipulated by the necessity of a profound investigation of the nature of newspaper discourse, and particularly – the ways the image of the author is implemented through various lexical and stylistic means. The novelty of the paper lies in a detailed analysis of lexical and stylistic means, which are the markers of the author’s point of view in the texts of newspaper blogs. In the article, both universal scientific (analysis, synthesis, description, generalization, specification, explanation) and linguistic (structural-semantic, functional-stylistic, contextual, typological) methods have been applied. Conclusions. The linguistic category of the image of the author is pervasive in newspaper discourse. It might be found at every linguistic level, as well as is presented by a broad range of lexical and stylistic means. In comparison with other linguistic levels, the lexical and stylistic ones possess a far greater number of opportunities to express the author’s modality. Among the stylistic means, metaphor is used much more frequently than metonymy, synecdoche and various types of comparison. While neologisms are used in newspaper texts quite often with the purpose of reflecting today’s realities, the outdated vocabulary and dialectisms are applied with certain stylistic aims. The imagery of the language of newspaper blogs is also represented by numerous stylistic figures, the latter serving as a kind of markers of the author’s perception of newspaper information.
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The paper analyzed the unknown manuscript of the war diary by Aleksandar B. Cvetković (1891-1962), a farmer from the Šopaj village in the Belopalan municipality, who was the first warlord in the First World War, the commander of the 4th Battalion of the 3rd Detachment of the Third (Pirot) Infantry Regiment of the Moravian Division. The diary was called The Great War Warner (1916-1919) published in 2018 by the merit of Jovan Mladenović and Nemanja Nešić, and is one of the most direct sources of the war picture that came from the ranks of Serbian soldiers. In our interpretation we pointed out the subjective experience of war, as well as the documentary authenticity of the testimony, and the linguistic and stylistic features of the diaries.
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The paper discusses the linguo-stylistic characteristics of Ljubomir Simović’s Užice with the Crows. The writer described this piece in terms of its genre as „a chronicle which is occasionally a novel, or a novel which is occasionally a chronicle”. From the aspect of functional stylistics, the interference of characteristics of belles-lettres style and scientific style is expected in Simović’s text. Stylistic analysis shows: (1) in certain cases the names of the authors and the book titles from which the data is taken are mentioned, and the citations are enclosed with quotation marks; (2) in other cases, the narrator interprets the facts derived from different sources, without the data about the source and the citations; (3) in certain cases the facts are mentioned using the style that is close to scientific style; (4) in other cases, the facts are mentioned using artistic style (with the high level of figurativity). Shaping the text, Ljubomir Simović portrays the linguo- stylistic characteristics of non-artistic and artistic text in his piece Užice with the Crows: (1) he states the objective facts using stylistically neutral lexis; (2) enlightening the facts he applies the methods of expressive syntax, and also combines words in an unusual fashion.
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Сведоци смо да се језик науке претвара у језик који бива оптерећен бројним терминима преузетим из разних језика и разних научних радова на страним језицима чиме се удаљава од језика комуникације и прераста у језик који је мало разумљив или неразумљив већини. Истина, има научника који сматрају да научни стил и не треба да буде разумљив свакоме и да је рад писан овим стилом намењен само одређеној групи. Међутим, компарација са научним радовима (и научним стилом) великана српске науке показује да рад високе научне вредности може бити писан и једноставним и разумљивим језиком. Може се уплив великог броја новонасталих термина (па и других, нетерминских речи) тумачити и као последица мултикултуралности, те се, дакле, не мора посматрати само као „неразумљив језик“, већ и као „језик глобализације“, тј. језик који ће бити разумљив свима који се том проблематиком баве, ма којим језиком говорили (или писали).
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The subject of interest in this study are the linguo-stylistic features of the Nenadić’s novel in which writer’s homeland and its everyday serve as a framework for highlighting the various problems of contemporary social reality. The corpus of research are novels Rain (1979), Flood (1982) and Hurricane (2002). The aim of the research is to examine the linguistic-stylistic means for establishing different narrative voices that appear in the novel – narrative voice and characters’ voices. Linguo-stylistic analysis shows that the voice of the omniscient narrator is not always clearly differentiated from the voice of the characters, no style marked crossing, but there is a kind of interference of the narrative voices. Narrative voice is identified by the ironic relation to the subject of the narrative. Voice of characters is identified by the folk stylization (small folk forms and the phrases). It is noticeable difference between the characters from the rural and urban areas. The voice of the hero from the urban areas is identified by jargon lexicon.
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The contemporary Serbian writer Dobrilo Nenadić (1940) uses ekavica pronunciation and spelling. The subject of our research is the language in Nenadic’s novel Vreme kokoši (2013), which is specific because for the first time in the Serbian beletristics we have the appearance of the palatal sounds marked with the graphems taken from the dialectology: Ś (śednica) и Ź (iźelica).The language in the novel Vreme kokoši is observed from the stylistic aspect, i.e. how much dialecticisms in combination with other forms of stratification of language contribute to building a linguistic picture of the world in the novel. The aim of this paper is to examine the value of the writer’s creative process by which the graphemes which do not exist in the standard language are entered in the written text. With these graphemes, in the written text, you can mark dialectic features of the hero’s speech. The conclusion: (1) with this procedure the writer is able to bring regional issues to the universal sense; (2) in this way a „regional“ novel contributes to the enrichment of the language with new expressive possibilities.
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This paper analyses a distinctive linguistic procedure related to the syntax of the language expression. It turns out that the cases of stylistically marked word order, which depends on the writer’s freedom in organizing, (that it, in breaking syntactic units within a phrase or a sentence,-otkloniti ovaj dio) is an important criterion for characterizing a writer’s language and style. The analysis shows how a syntactic and stylistic procedure makes syntactic units unusual and grant them status of syntax stylistic expressions which testify of the complex language and stylistic turnovers in the language of Janko Đonović, a poet of the picturesque Crmnica.
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In this paper, the author highlights the characteristics of conjunctions and other words functioning as connectors in the language of the lyrical folk poetry of Montenegro. The aforementioned part of speech is observed in the language of the lyric folk poetry of Montenegro, and the results obtained have been compared to the use of language in the Montenegrin oral and written tradition (according to monographs and works on them). The author has studied the common and distinctive language features found in the lyric folk poetry, folk speeches and the language itself. The author paid a special attention to the manners in which the conjunctions are used, as well as their form features which could be considered somewhat unusual, observed from the point of view of the modern literary and language norm.
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This work analyses the semantic and stylistic values of the simple present as used in dialogue of the epic folk decasyllabic poems which were handed down to Vuk Karadzic by the most prominent folk epic poets in Montenegro – Starac Milija and Tesan Podrugovic. Although the Present tense in its literal meaning and its purpose is a stylistically neutral, using selected examples the author points out that its performance of "automatism of perception" may be more contextually conditioned (e.g. participation in its imagery, phraseologisms, directives and commissives or when involved in building an impression of credibility of events described in the poems).
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This paper analyzes the structure of the provocative novels "Wedding" (1950) and the "Tide of war" (1973) by Mihailo Lalic. Apart from the syntactic, stylistic analysis and semantic follows the author has paid a special attention to the structure of the vocative statements. The expressive meaning of the vocative can be found within the forms of the vocative emotional reactions and semantically empty vocative saying. The aim of the usage of the structures of semantic categories provocation is to draw attention of the interlocutors, exercise or achieve directivity which is inextricably linked to the pragmatic circumstances. The writer didn’t align the vocative statements with the appropriate situation and expectations of participants, since they were built on the verbal conflict and expressing negative and often hostile relations between the interlocutors.
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