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The article deals with the relevance of the quote as the key concept of the theory of intertextuality and modern interpretative stylistics. The expansion and contemporization of the linguistic meaning of the term quote have been illustrated. Linguopoetic, linguocognitive, axiological parameters of the use of quotes in contemporary Ukrainian poetic language have been considered.
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The present article is devoted to the work of the Belarusian playwright Franciszek Alachnowicz. In his work “Shadows” traces of poetic devices can be found. First of all, the author of the article pays attention to the psychology of the figure, the inner life of the heroes, a conflict between consciousness and soul, as the author creates an atmosphere of tension and horror. These features of his artistic style allow him to be counted among the representatives of the „new drama” – an interesting artistic phenomenon in European drama at the turn of 19th and 20th centuries.
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This paper aims to present a comprehensive overview about studies describing Estonian academic writing. Academic writing inherently belong to the everyday life of an academic community. While aspects of the Anglo-American writing tradition have been extensively described, not much is known about writing traditions of smaller languages, such as Estonian. This paper takes the first step towards understanding the essence of an Estonian academic writing tradition. This paper first presents a summary of our novel model that combines five features of academic writing: coherence, stance, authorial presence, rhetorical structure, and argument (Leijen et al., accepted for publication). Each feature is briefly explained. Next, the paper presents an extended literature overview of Estonian academic writing. Not all the literature specifically investigates the aspects that fall under the features in the model. However, this more general body of knowledge forms the background and creates research context to the literature overview. More specifically, summaries are provided about studies reporting on 1) linguistic features and readability of text types, 2) terminological accuracy and vitality of academic Estonian, and 3) pedagogical studies aimed at teaching and improving the quality of Estonian academic writing. The last part of the paper takes a more specific look at the studies that actually provide relevant knowledge to capture a writing tradition based on the model. The literature overview concludes with a summary stating that until now, empirical descriptions of Estonian academic writing are rather scattered and there seems to be no clear understanding or consensus about what is an Estonian academic writing tradition. We claim that it is now important to move on towards a comprehensive empirical study that includes specific detailed knowledge about academic writing and uses it for a general description to make conclusions about the overall structure and nature of Estonian academic writing.
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Throughout the university education, the most common individual work required from students is writing seminar papers. Although it has not been clearly defined to which type of discourse those texts belong to, according to the available literature, they are often considered as academic discourse. However, some authors use the term academic writing as a special type of discourse that includes various types of student papers written at undergraduate, graduate and postgraduate studies (including essays, reports, seminar papers, etc.). This paper investigates the features of academic discourse using the example of student seminar papers, and it focuses on the basic strategies of academic discourse, spelling and grammar errors, lexicon, and text formatting mechanics (mechanics of writing punctuation marks, physical appearance mechanics and mechanics of citation). The research covers 100 student seminar papers written by second year graduate students of preschool education in academic years 2018/2019, 2019/2020 and 2020/2021 (fall semester).
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Through the centuries, the concerto has been evaluated first as a vocal composition accompanied with instrumentals, then as a composition of several movements, intended for one or more solo instruments and an orchestra. Regardless of its varying conditions and changes, the basic formal and concert postulates were determined by Baroque concerto, the first great era of concerto, and have been maintained through the centuries to today. The second great era was that of the soloist, especially the piano concerto, which is/was representative of the instrumental form of the classical and romantic periods, with numerous structural innovations. In the 20th and 21st centuries, composers mostly revitalized old forms of the concerto, or gave it a new form. All the previously mentioned stylistic changes are reflected in their harmonic language. This paper questions the historical-stylistic and harmonic aspects of the most important concerto works in Western European music.
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Review of: Marina Katnić-Bakaršić: Stil, kultura, semiotika, University Press, Sarajevo, 2019.
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The paper explores F. M. Dostoevsky’s style from the contemporary semantic- stylistic research perspective. Based on canonical work of M. Bakhtin on Dostoevsky and recent corpus-semantic explorations of Dostoevsky’s language, the paper aims to show how microelements at different language levels can be regarded as stylemes and build the unique style, harmonized with the main idea of Dostoevsky’s works. The paper focuses on the stylistic effects of intensifiers and their unusual collocations, and specific usage of particles. From the critical stylistics perspective, transitivity is explored, primarily passivisation – the removal of the agent / actor as an important styleme in Dostoevsky’s novels. The intensified expressiveness of the writer’s style, its “theatricality”, as well as the accelerated, sometimes broken prose rhythm, which also contributes to the speech characterization of his heroes, is also analysed. It can be concluded that criticism of Dostoevsky’s style is not justified, because that style is completely in compliance with the emotional states of his characters and with the key ideas of his works.
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In the past, the role of rhetorical figures was mainly appreciated in literature. Nowadays, the figurative use of language has increasingly been occurring in prevailingly persuasive types of discourse, such as political, advertising and publicist discourses. The paper considers the implications of using figurative, transparent discourse in advertising language, presenting some of the findings of a comprehensive research of the extensive English linguistic corpus in 2009, and also looking at some examples taken from a small-scale Croatian corpus studied within the same research in 2014. Taking into consideration the mass use of rhetoric figures in the press, numerous American experts have dedicated substantial research exactly to comprehending the manner in which presence of specific rhetorical figures can play a decisive role in advertising message effectiveness. The paper highlights the findings resulting from the research of the English advertising language centering on the assumption that figurativeness and stylistic markedness of an advert can be one of the factors contributing to its liking and recall. Although the research centers around several figures of rhetoric (personification, metaphor, alliteration and pun), we are focusing here only on instances of metaphor, and theoretically trying to comprehend what aspects of metaphorical constructions add to the fact that metaphor is one of the most frequently used figures in advertising language, as well as one of the figures most easily recalled by the advert message recipients.Whereas in the Anglo-Saxon advertising industry advertisers have been progressively more aware of the benefits of using figurative, stylistically marked discourse in advertising and keen on taking advantage of that, on the other hand, there is a lack of literature researching figures of rhetoric in advertising in the Western subgroup of South Eastern languages. In view of the above, this paper also aims at drawing attention to the significance of using non-transparent, i.e. stylistically marked discourse, specifically rhetorical figures, in the advertising language of the Bosnian/Croatian/Serbian speaking area, as well as the need to research this aspect of the advertising language further and in a more systematic manner, bearing in mind the infinite rhetoric possibilities opened up by using figurative linguistic constructions in the advertising discourse.
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Buying coffee from a coffee machine is a case of human communication with a pre-programmed machine, in which the multimodal nature of human cognition is fully manifested. In the paper, we approach the communication between a person and a coffee vending machine as an example of multimodal communication in which the means of several semiotic systems are used in the making of meaning. We approach a coffee vending machine as a complex semiotic aggregate which is suitable for a multimodal stylistic analysis in which we use the functional-semiotic model of language (Halliday, 2004) and the grammar of visual design (Kress – van Leeuwen, 1996) as the main theoretical and methodological approaches.
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The article explores how time is referred to in Estonian. More specifically, being based on the theory of conceptual metaphors (Lakoff, Johnson 1980) the study is focused on which conceptual metaphors are used when speaking of time (aeg) in Estonian. Previously some attention has been given to Estonian metaphors from space to time, but there is still no survey of time metaphors. The research data come from a random sample of a thousand sentences with the word aeg ‘time’, all drawn from the Balanced Corpus of Estonian. The corpus data are supplemented with a Sketch Engine’s word sketch information on frequent collocations. The Estonian data are compared with lists of time metaphors representing other languages. The Estonian metaphorical expressions discovered can be divided between four general metaphors: 1) TIME IS PLACE, 2) MOVING EGO, 3) MOVING TIME, 4) TIME IS PHYSICAL ENTITY OR HUMAN BEING. Although a large part of the metaphors thus revealed can also be spotted in the respective lists of other languages, our analysis of the Estonian material provided a rather detailed and systematic picture of Estonian metaphors of time.
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Review of: Munir Mujić, Rječnik klasičnih arapskih termina (gramatika, književnost, stili stika, metrika): arapsko-bosanski, Centar za napredne studije, Sarajevo, 2019.
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The research subject in this work is the repetition of the original root forms in the hadith text. The aim of this paper is to offer a theoretical insight into the repetition of roots in the Arabic language, and then to present a linguistic description and question the function of the use of repetition of roots in the hadith texts of the collection Riyāḍ us-Sāliḥīn (Gardens of the Pious) by an-Nawawi. Since the research is from linguistic nature, the research is based on the analytical-descriptive method with the application of linguistic analysis based on the traditional concept of Arabic grammar. The research shows that the role of the repetition of words and roots in the hadith text is multi-layered and it is reflected in the shaping of the hadith text in terms of formality and meaning. The cohesion and coherence of the hadith text, the realization of the meaning and stylistic intentions of the hadith text are the most important functions of this type of repetition in the hadith.
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Beginning and the development of Yoruba written poetry was believed to be influenced by the Christian songs and hymns. However, this study demonstrates the impact of Yoruba traditional poetry and beliefs in the development of local Christian religion and beliefs in the present time. Relevant data on both Christian and indigenous Yoruba beliefs were sampled through observation as well as extracted from written texts such as songs, hymns and poems in the Yoruba language. On the basis of the ethnographic and empirical materials and texts examined, the study found out that there are many parallel elements relating to form and content in traditional Yoruba and contemporary Christian songs and beliefs. It is stated that the Yoruba religious poetry and songs are valuable cultural elements in contemporary time and actively participate in propagating the Christian beliefs in the Yoruba society. This study concludes that impact of Yoruba religious poetry and beliefs is felt on the Christian religion in the contemporary time just as the Christian religious songs contributed to the development of Yoruba poetry in the past.
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Alicja Mazan-Mazurkiewicz’s aim in this article is to show the richness and variety of poetical implementations of culinary themes in children’s poetry as represented by Joanna Kulmowa, Joanna Papuzińska, Zofia Beszczyńska, and Agnieszka Kuciak. Mazan-Mazurkiewicz wants to emphasise how a topic that is close to the child and somehow obvious makes it possible for the receiver to be themselves poetically creative and offers them an aesthetic experience as well as an initiation (often unconscious) into the processes of artistic creation, involving humour, metaphor, synaesthesia, and retardation.
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The authors of the present article aim at research which is less bound to the development of social traditions according to the place of the woman in society, instead one targets to highlight the creativity of writers as well as the play upon the masculine/feminine forms, whose rules often have an occasional character. The afore mentioned fact allows us to emphasize on one of the possibilities of creating a personal writing style of the author by dexterously using different connotations resorting from this creative process.
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The paper investigates the implications of the colloquial language in the production and reception of the kitsch as a language phenomenon, with a special focus on its processability within the language field in which it manifests itself. Two types of communication contexts are subject to our analysis: the telephone/internet communication (where the target is to set a typology of the occasional kitsch as found in students’ private messages) and excerpts from journalistic text, namely the entertainment category (where we examine the oratorical kitsch facets present in the article titles of the journalistic text). We have thus highlighted that the re-evaluation of established forms transforms various pre-existing models, through the appeal to familiarity, into brands of mediocrity and vulgarity.
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The contribution presents the figure of the journalist and writer Guelfo Civinini in relation to the evolution of the Italian language of daily newspapers in the first decades of the Twentieth century. To demonstrate Civinini's greater adherence to a more understandable and less literary linguistic style, two reports from Belgrade written in the summer of 1914 are compared; the first belongs to the Tuscan author and was published in the “Corriere della Sera”, while the second is signed by Eugenio Vaina De'Pava for "Stampa" of Turin. The comparison is based on the choices regarding the use of verbal tenses, the construction of sentences, the use of words, the presence or absence of elements of emphasis. The choice of the reportage is due by the fact that it is in this type of article that Civinini best expresses his skills as a journalist, while the selection of the historical period is justified by the greater development of the figure of the war correspondent recorded during the Great War and which therefore makes it possible to fully appreciate the writing characteristics of the two authors. The originality of the work also lies in this, because in the studies dedicated to Civinini as a reporter it is customary to take into consideration the articles from the Libyan campaign of 1911. The contribution is also accompanied by an introduction regarding the context in which the writer from Livorno begins his experience as a journalist.
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Review of: Stil – Denkstil – Text – Diskurs. Die Phänomene und ihre Zusammenhänge, Ulla Fix, Frank & Timme Verlag für wissenschaftliche Literatur, Berlin (2021) 570 S., ISBN 978-3-7329-0754-0 (Print), ISBN 978-3-7329-9212-6 (eBook)
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This contribution aims to study the verbal onomatopoeia of Czech, which can be found for example in forms such as A pes haf na Magdu "And the dog haf on Magda", where the onomatopoeia haf "woof" is inserted directly in the sentence and functions as a predicate. We first situate these turns within the class of onomatopoeic words, in order to see what distinguishes them on the one hand from pure onomatopoeia, such as haf, and on the other hand from onomatopoeic verbs, such as hafnout "to bark". . We then propose an interpretation of verbal onomatopoeia within the framework of the psychomechanics of language and the concept of operability. We show in particular that verbal onomatopoeia maintain a specific relationship to language and discourse: they have indeed a value of onomatopoeia in language, but of verb in discourse. They retain from the verb only the property of external incidence, which allows them to find support in the noun and thus have a predicative function. Within onomatopoeic words, the intra-sentence nature of verbal onomatopoeia makes them late entries compared to pure onomatopoeia, which constitute "word-sentences", according to Tesnière's terminology. On the other hand, it is by their deficient verbal morphology that verbal onomatopoeia are distinguished from onomatopoeic verbs, which are provided with all the obligatory verbal categories. Verbal onomatopoeia thus correspond to an early grasp of onomatopoeic verbs during the genesis of the speech act.
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Onomatopoeias — words that echo sounds from the extra-linguistic reality — are usually understood as units representing direct relationship between form and meaning. Lexical onomatopoeias are part of a language system and their meaning can be found in dictionaries. It is assumed that onomatopoeias are crucial in communication by and to infants and are also considered important stylistic devices in poetry. However, they seem to be only marginal in adults’ speech. This paper presents the results of an analysis of the understanding of Slovak onomatopoeias in everyday communication as well as of the stylistic dimension of these expressions in poetry. First, attention was paid to the comprehension of sound-imitating words in context by the sample of 30 native Slovak language speakers. Then, a sample of ten Slovak poems, well-known due to their usage of various sound-symbolic elements (onomatopoeias included) as stylistic devices, was examined to verify the supposed stylistic dimension of onomatopoeias in poetry. The results indicate that the understanding of the real meaning of lexical onomatopoeias depends on the specifics of the context and that onomatopoeias play a less important role in poetry than expected.
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