Tammsaare aga-ometi

Author(s): Arne Merilai / Language(s): Estonian Issue: 05/2015

A. H. Tammsaare was drawn to the musical tonality of prose. Importantly though, he did not wholeheartedly embrace sound patterning as a mode of writing. Rather, he preferred a semantic widening of ordinary language within a comprehensively holistic „spherical music”. Still, in his novels, we can detect a deliberate use of rhythmic motion also in sentences. This is evident primarily in the wealth of lexical and syntactic repetitions resulting in a parallelism of patterns. An obvious, although discreet rhythmic design emerges in the thesis-antithesis-synthesis parataxis whose core words are the adversative and coordinating conjunction aga (‘but’) and the integrative ometi (‘yet’). The frequency with which these bound conjunctions occur in Tammsaare’s case surpasses that of ordinary speech by about four times, and it is twice as high as the statistical mean for literary texts. One might call this expressive of an epic but-mantra, a prose-poetic but-meter, or a narrative polysyndeton, and, from a philosophical point of view, a but-dialectic. Whenever a reader fails to appreciate Tammsaare’s underlying tone and does not discern the emotional flow of longing scepticism that issues from his dyadic-triadic chains, this pervading, yet inconspicuously arguing textual mode may seem unduly pretentious. Indeed, there is nothing to prevent a prose text from featuring a poetic style that is rooted in a poetry-like, paradigmatic parallelism as the poetic principle of formal and semantic equivalence.

Osutamine iseendale teadustekstis. Kas kunst vältida mina-vormi?

Author(s): Riina Reinsalu / Language(s): Estonian Issue: 11/2017

The requirement that a scientific text should be neutral and objective not only affects substantive issues, but also linguistic choices, including how to refer to oneself. The Estonian language offers numerous relevant options, the most natural of which are the first-person singular (for a single author) (Töös analüüsin... ’In the thesis I analyse...’) and the first-person plural (for collective authorship) (Töös analüüsime... ’In the thesis we analyse...’), both of which make an explicit mention of the author’s presence in the text, whereas the third person (Autor ­analüüsib... ’The author analyses...’), a metaphoric person (Töö analüüsib... ’The thesis analyses...’), the indefinite person (Töös analüüsitakse... ’lit. In the thesis it is analysed...’) and forms of the generic person (Võib analüüsida... ’One can analyse...’) exemplify implicit language use, which enables keeping the author to the background, if not pushing them out of the text altogether.Taking a metadiscursive approach to the 320 Master’s theses defended in the University of Tartu through 2013-2015, was attested that the impersonal is an accepted way of self-mention in all fields of research. This has become a norm supported by recommendations met in various instructions and guides. The impersonal is rivalled by mina ’I’, but only in the humanities and social sciences. The first person is rare in the sciences and medical papers, but there are a few graduation papers, where a single author refers to himself or herself using the first person plural form meie ’we’. The use of the third person pronoun, a metaphoric person or the generic person is occasional and may dominate but in single cases.

Sina-kõnetlused tõnu õnnepalu, ülo mattheuse ja jaan kaplinski teostes

Author(s): Brita Melts / Language(s): Estonian Issue: 11/2019

The article looks at how the storyteller’s self-expression is directed to the second person addressee, using the example of three autobiographical works: these are Paradiis (Paradise, 2009) by Tõnu Õnnepalu, where the story of a fixed place and time is told to a young friend, Isale (To Father, 2003) by Jaan Kaplinski, seeking a dialogue with a father long dead and never met, and India armastus (The Love of India, 2006) by Ülo Mattheus, which consists of letters sent to the storyteller’s beloved during the several months spent in religious asylum. The comparison of the three texts seeks to clarify the role of the (second-person) addressee in each book, the compositional and stylistic meaning of the “you”, the possible influence of the storyteller’s thinking of the addressee on his self-presentation, and the voice and views of the “you” possibly elicited by the rhetorical address. In each book the storyteller relates differently to the “you”. Õnnepalu’s narrator keeps recurring to his memory of the addressee, yet there is no sign of active communication except some cryptic phrases. Mattheus’s narrator, however, addresses the “you” for the purpose of active communication, while the response keeps guiding the thematic course and tonality of the work and the relationship supports the self-analysis of the narrating “I”. In Kaplinski’s case the whole story has been written to create, based on documentary material, an idea of the explicit addressee, whose quiet voice belongs to an imaginary father figure. Thus, unlike Õnnepalu and Mattheus, Kaplinski depicts the pivotal communication process not as direct contact but rather as something imaginary. Now, each of the above three ways of address supports a different kind of storytelling. Õnnepalu addresses his “you” mainly from the position of a narrating “I”, while Kaplinski mediates a historical “I” based on family and development history, and Mattheus’s “I” could be classified as an ideological one, engaged in explaining the ideological foundations of his attitudes. Either way, all three texts use the second-person addressee not only for structuring the narrative but also for developing a dialogue: the imaginary “you” serves to amplify a self-based narrative into a self-critical reflection.

Eesti keele viitevahendid kirjeldustes ja jutustustes

Author(s): Renate Pajusalu ,Helen Hint,Maria Reile,Piia Taremaa / Language(s): Estonian Issue: 4/2020

This study focuses on reference in the Estonian language by taking an experimental approach to spatial and discourse reference. The aim is to reveal what is the inventory of referential devices in Estonian, and whether there are context-related factors that influence the choices made when referring. In particular, the data from two tasks are analysed. In the spatial setting, participants were asked to describe the surroundings by referring to large visible referents, i.e. houses. In the discourse setting, participants had to narrate a story based on a picture book by referring to animate and inanimate objects. Importantly, in both tasks, the speakers had to differentiate between competing referents (houses in the spatial task, and boys (as well as other objects) in the narration task). In the data, five types of referential devices occur: bare NPs (e.g. maja ‘a/the house’, noorem poiss ‘the younger boy’), NPs with determiners (e.g. see maja ‘this house’, üks poiss ‘a boy’), bare demonstratives (e.g. see ‘this’, seal ‘there’), personal pronouns (i.e. tema/ta ‘(s)he’), and verb forms without overt subjects (e.g. seisab ‘stands’, jookseb ‘is running’). In the spatial context, NPs both with and without determiners are used most frequently, followed by bare demonstratives. In the narrative context, bare NPs are used the most, followed by significantly less frequent personal pronouns. In both contexts, the main determiner used is see ‘this’. However, in the spatial context, demonstrative adverbs are also typical determiners (e.g. siin majas ‘here in the house’), whereas in the narrative context, pronouns üks ‘one’ and oma ‘one’s’ are typical determiners (e.g., üks poiss ‘a boy’). As such, the results show that the choice of referential devices is highly dependent on the referential context. Describing the surroundings requires the speaker to use other strategies as compared to narrating a story. Furthermore, the analysis indicates that contrast also contributes to the use of different referential units, as does the location of the competing entities (i.e. distance).

Lüürilisuse ja autobiograafilisuse konflikt

Author(s): Joosep Susi / Language(s): Estonian Issue: 1-2/2021

Several features of lyric poetry – e.g. subjectivity, vague deixis, monologic structure, low mediation, and weak narrativity – provide a good ground for reading lyric texts as a priori reliable and autobiographical. The metatheoretical discussion here takes a lyricological approach to the relationship of referentiality and self-referentiality in lyric poetry with a view to illuminating the general field of tension between the lyric and the autobiographical. The focus of the discussion is on the following five prototypical features of lyric poetry: temporality, immersion, performativity, hyperbole, and apostrophe. As is proved by case studies, lyric poetry tends to blur the time and space characteristics of autobiographical moments, as far as those are separated from concrete reference. As a result, a specific point in time or space blends into lyric atemporality and sticks together with the uttering present. As for autobiographical material, it is intertwined with the underlying values, figurative system and semantics of the poem; moreover, its authenticity is questioned, thus increasing the probability for the lyric text to be read as fiction. External references are subdued as the focus moves to introspection. The autobiographical element, in turn, undermines lyric by weakening the autonomy and performativity of the lyric text, enhancing the specificity of temporal and spatial deixis, questioning the truth value of the text (lowering its axiomatic reliability), reducing the reader’s option for immersion, restricting textual hyperbolicity and concretizing the addressee.Thus, in lyric poetry autobiographical material functions differently than in other genres. There is an inherent conflict in the field of tension between the lyric and the autobiographical as autobiographical compromises lyric, while lyric, in turn, transforms the autobiographical of certain moments. On receptive level the process can be described as a scalar one, notably, the more autobiographically we read a lyric poem, the weaker its lyricism, and vice versa.

La notion de vie dans la Stylistique de Charles Bally

Author(s): Hélène Richard-Favre / Language(s): French Issue: 2/2006

Научная школа функциональной стилистики профессора М. Н. Кожиной

Author(s): Maria P. Kotjurova / Language(s): Russian Issue: 2/2004

В современном науковедении школа понимается как структурная ячейка науки, как тесно спаянный коллектив ученых старшего и младшего поколений, усилия которого сконцентрированы на решении актуальных проблем, т.е. находится - что особенно важно! - на магистральной линии развития науки. В этом отношении существенно подчеркнуть, что проф. М. Н. Кожина и ее ученики разрабатывают актуальные проблемы функциональной стилистики - дисциплинарного направления в филологическом образовании. Как известно, стилистика русского языка уже четверть века преподается в вузах по учебнику М. Н. Кожиной, который получил медаль ВДНХ, переведен на китайский язык, широко используется и в других странах. Три издания учебника - это научно-исторический факт, которым может гордиться Пермский университет.

“If things are to go on…” – potentiality and entropy in Magdalena Tulli’s early prose

Author(s): Bogumiła Kaniewska,Krzysztof Skibski / Language(s): English Issue: 26/2021

The article concerns the specificity of the language in early prose works by Magdalena Tulli. The phenomena of literary grammar (a specific manner of operating abundance in the narrative, a particular type of arranging syntax and a creative use of colloquialism) allow one to consider this prose as an entropic story. Predominantly thanks to a characteristic dispersion of narrative energy, as well as chaotic moments, contrasting with readers’ expectations. Thanks to quoted examples and references to selected linguistic research concepts, yet another perspective on interpreting textual features in the works of the author of “Skaza”, which will in turn allow asking new questions about the exceptionality of stories included in this original poetic prose.

“Hee Haw:” Singing and performing song lyrics on Nick Cave and The Birthday Party’s album The Birthday Party (1980)

Author(s): Paweł Tański / Language(s): English Issue: 27/2022

This article attempts to interpret the performative aspects of Nick Cave’s singing and song lyrics written in collaboration with the guitarist Rowland Stuart Howard (1959–2009), Mick Harvey, Vincent Eugene Craddock (also known as Gene Vincent) and William Douchette (also known as Bill Davis). I focus specifically on the album The Birthday Party (1980) which Nick Cave recorded together with his band The Birthday Party. This analysis, representative of rock song lyrics studies, is a receptive trace and a reflection on the beginnings of this outstanding songwriter, rock musician, and singer’s career. I argue that the Australian singer, beginning with the first recordings with the band The Boys Next Door (Door, Door from 1979), writes about love, pain, and loneliness, and show how each new album by the author of Into My Arms records the experience of longing. The Birthday Party, therefore, is no different; it expresses regret and sadness – the feelings of the author/singer, the narrating/singing “I,” the lyrical and the musical persona or, in other words, the singing and performing subject. Cave’s signing is a metaphor for the habitus of punk song miniatures, which are lyrical and vocal expressions of rebellion, filled with irony, while the main principle of the poetics of these works is the grotesque.

TROPES AND CLICHÉS IN SCREENWRITING

Author(s): Irina Andreea Moise / Language(s): English Issue: 1/2022

The purpose of the current article is to explain the meaning of the terms "trope" and "cliché" in regards to screenplays and to emphasize the importance of these elements in the construct of the script. The article takes into account: the definition of both terms; classification of tropes according to genre, such as horror screenplay tropes, tropes in film noir, female screenplay tropes that depreciated into clichés, exemplifications included; classification of tropes according to their referential meaning, i.e. according to their importance in the screenplay, such as primary tropes and secondary tropes, according to the object they personify, such as person tropes, place tropes, object tropes, according to specific attributes of characters, such as secret or change based tropes; classification of clichés with exemplifications; ways to avoid tropes turning into clichés and it concludes by stressing the importance of understanding the difference between tropes and clichés in the screenwriting landscape so that the interest of the audience canal ways be kept alive.

Rimparare a vedere, imparare a comprendere la storia attraverso l'esperienza. Antonio Rinaldis, Il Treno della memoria: Viaggio nel presente di Auschwitz (2015)

Author(s): Georgiana I. Badea / Language(s): Italian Issue: 2/2022

In this article, we aim to follow the narrative and metanarrative tracks that Antonio Rinaldis combines in Il Treno della memoria: Viaggio nel presente di Auschwitz (Imprimatur, 2015, translation into Romanian in 2020) and to highlight the role that a journey into the present of the past can have in shaping the behavior and the mentality of young generations. Not so much a lesson to protect (us) once and for all from the World War II atrocities of horrific memory, the experimental immersion into the past has a violent impact upon the youths and all those accompanying them on this journey. Since time travel, either to a past or future physical reality, is not yet available, visiting history – a cycle of immersive-tours to Auschwitz, Birkenau and Monowitz – makes possible the acquisition and cultivation of authentic empathy, with an undeniable role in the development of a dynamic memory. We therefore examine the ways of awakening conscience and of preserving awareness, as well as the human inclination to learn too little from one’s own experiences and even less from the experiences of the past.

Emocionalne zajednice u Vitezovićevim pjesničkim poslanicama: digitalno-tekstualna analiza

Author(s): Tihana Kušter / Language(s): Croatian Issue: 1/2022

The paper examines Pavao Ritter Vitezović’s ability to manoeuvre within several different emotional communities through a combination of historical analysis of networks and the method of distant reading from the perspective of the history of emotions. Vitezović’s Latin poetic epistles sent to actual addressees in the period from 1701 to 1703 are used as the main source for the digital-textual analysis, however, the entire corpus of his epistles created in the period from 1676 to 1712 is also taken into account. The paper critically tests the possibility of using the approach of distant reading or macroanalysis on a small amount of text in combination with qualitative analysis or "close reading" as an analytical procedure for historical-emotional research.

Zum neutralen, verhüllenden und dysphemistischen Sprachgebrauch in deutschsprachigen Traueranzeigen

Author(s): Agnieszka Gaweł / Language(s): German Issue: 9/2020

The communication about death is determined by numerous social constraints, resulting from the fear of the confrontation with this inevitable experience, as well as the sacralisation of the sphere of dying in the European culture. In this paper we analyse the influence of the social convention on the language use in German obituaries. The focus of the analysis lies on the typology of designations of death, as well as various forms of neutral, euphemistic and dysphemistic notification of decease.

Universul onomastic din proza fantastică a lui Mihail Bulgakov: dimensiunea traducerii

Author(s): Inga Druță / Language(s): Romanian Issue: 3/2022

Proper names are double-character words: national and international. This is why translation requires an in-depth knowledge of the culture and civilization of the source language people. If a name is used for communication purposes (in a literary work), it must be treated in a special way. These are the most difficult cases for a translator, who has to be creative. Transferring names from one culture to another requires communication skills, but also intercultural skills: respect for traditions and cultural values. Proper names-anthroponyms can only be translated in certain contexts, where they describe a character, but are usually preserved intact. Usually proper names from stories, nicknames, but also some suggestive literary character names are translated and adapted. In most cases, the names of literary characters are not translated, but reported over to facilitate cultural transfer and eventually annotated. Thus, the translation process oscillates between science and art.

Ilus selge ametikeel

Author(s): Heigo Sooman / Language(s): Estonian Issue: 02/2014

Eestisse on jõudnud Põhjamaadest, Kanadast ja muudest edumeelsetest riikidest selge ametikeele liikumine. Euroopa keeltepäeval, 26. septembril 2013 toimus Tallinnas esimene selleteemaline konverents. Keeleline selgus on õilis eesmärk, eriti õiguskeele küsimustes, kui kõne all on kodaniku suhted riigiaparaadiga. Seda võib näha demokraatia vajaliku eeltingimuse või soovi korral inimõigusenagi. Üldteada on seegi, et vahutav kantseliit on saatnud üsna mitme kokkukukkunud üliriigi viimaseid tõmblusi. Teisalt on selge ka see, et igasugune oskuskeel on ja jääb tavakeele osaks ning „miski keeleline ei ole talle võõras”, nagu viitab Tiiu Erelt.

O SINTAKTIČKIM FUNKCIJAMA REČENICE STANJA U ARAPSKOM JEZIKU

Author(s): Elma Dizdar / Language(s): Bosnian Issue: 71/2022

The circumstantial clause (al-ǧumla al-ḥāliyya) is one of the syntactic structures in Arabic that received due attention in Arabic grammatical description throughout the time span from the era of classical Arabic until the present day. Various forms of the circumstantial clause were therein described, including its syndetic and asyndetic, nominal and verbal form, the form it takes depending on the time of events in the main clause and the circumstantial clause, as well as the relationship between the circumstantial clause and the circumstantial accusative as its non-finite equivalent. Still, in the extensive and widespread description of the circumstantial clause, fully justified by its frequent use in Arabic, the syntactic functions of this clause are mentioned only rarely and sporadically, lacking a systematic analysis. Therefore, the main goal of this paper is the analysis of various syntactic functions that circumstantial clauses can take in the Arabic complex sentence. Such an analysis shows that this syntactic category, special in so many ways, whose subordinating conjunction is at the same time the most frequent coordinating conjunction in Arabic, covers a wide spectrum of syntactic functions in Arabic clauses, from verb phrase modifiers to noun phrase modifiers and, although less frequently and with limited distribution, to verb phrase complements. Such a wealth of syntactic functions certainly deserves to be a subject of a systematic description.

QUELQUES REMARQUES SUR LA SUBJECTIVITE LANGAGIERE

Author(s): Ivan Mirela Valerica / Language(s): French Issue: 21/2022

The present paper aims to analyze the speech, from the perspective of subjectivity in language, as the subject of an utterance almost always leaves traces in that utterance. Which are the linguistic indicators of subjectivity in a discourse, and how can we identify them? In other words, we are asking ourselves what does a speaker openly say, what does he or she allow to be understood, what do they demonstrate through their speech, and what do they allow to be seen—deliberately or not—from their inner selves. First, we will attempt to present various interpretations of the idea of subjectivity in language, ideas belonging to the most significant linguistic works on enunciation. Next, we will discuss deixis which has the significant responsibility of transforming language into speech (we will mention personal pronouns and demonstratives here). In order to ultimately discuss explicit /vs/ implicit subjectivity, we will briefly go through the parts of speech with a subjective feature (subjective nouns, subjective adjectives, subjective verbs, and subjective adverbs). As a main support of our work we drew on C. Kerbrat Orecchioni's theory on subjectivity in language, as well as on some of the most significant works on enunciation from the 19th century.

“THE PEN IS MIGHTIER THAN THE SWORD” A FRAMEWORK FOR EFFECTIVE MILITARY COMMUNICATION IN ENGLISH

Author(s): Brânduşa-Oana Niculescu,Isabela Anda Dragomir / Language(s): English Issue: 21/2022

Accurate, clear, and concise communication in the military is one of the most important elements of interaction at all levels of the organization. Qualitative writing draws on unambiguous and coherent discourse, whose construction must respect a specific style and standards. The article proposes an informed discussion targeting the development of military writing skills, based on clear standards and guidelines. Drawing on a specific example (military memorandum), the authors discuss the most prevalent elements of effective military writing and suggest a specific military writing style aimed at ensuring a successful written interaction in this professional context.

BİR ÜSLUP BELİRLEYİCİSİ OLARAK YÜKLEM EKSİLTİLİ CÜMLELER

Author(s): Muzaffer Uzun / Language(s): Turkish Issue: 75/2022

Deviations and preferences in the way a writer uses of language ultimately contribute to their style. They are part of the style of the text and appear in a certain degree of frequency. Thus, uncovering them is essential to understanding the text. Stylistics identifies and interprets that within the framework of several established methods. Common to all is that every element of the text -sound, word and sentence- constitute one such a stylistic determinant. One such an example are elliptic sentences. In this study, we’ve decided to look at how the Turkish writer Nazan Bekiroğlu uses elliptical sentences in her books, namely İsimle Ateş Arasında, Cam Irmağı Taş Gemi, Lâ: Sonsuzluk Hecesi, Nar Ağacı and Mücellâ. We examined how frequent they appear, what forms they take, and what functions they serve in her texts – accompanied by examples. What we’ve discovered is that in İsimle Ateş Arasında, Cam Irmağı Taş Gemi, and Lâ: Sonsuzluk Hecesi, she uses them as an alternative to standard Turkish sentence structure in order to cultivate her own literary style. On the contrary, she appears to avoid elipces all together in Nar Ağacı and Mücellâ.

Ogrody – pomniki antropocenu

Author(s): Mateusz Salwa / Language(s): Polish Issue: 2/2022

The aim of the article is to analyse the metaphor of the garden as a metaphor which allows one to give an account of the conditions of the Earth subject to human actions and –more importantly –to sketch a utopian project of going beyond the Anthropocene. A new understanding of the garden modifies the traditional view of it as a paradise, where a harmony between humans and nature reigns. Today, gardens are often approached as places of cooperation, negotiation as well as of tensions and conflicts among human beings and other-than-human beings, that is as places where numerous relationships create a human and other-than-human community. The analyses will start with an interpretation of Alan Sonfist’s Time Landscape (1978–), a public park in Manhattan that was conceived of as a reconstruction of the local precolonial landscape and at the same time as its monument. Sonfist’s work is a good illustration of how the metaphor of the garden is nowadays interpreted and –I contend –it may be also seen as a monument of the Anthropocene.