Kognitywizm a komunikatywizm – dwa bieguny współczesnego językoznawstwa.
Dyskusja okrągłego stołu
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Dyskusja okrągłego stołu
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W artykule opartym na materiale z prasy wyspecjalizowanej autorka porusza następującezagadnienia: dlaczego tak bardzo atrakcyjny jest dla dziennikarzy styl potoczny, jakie składnikii cechy tej odmiany traktowane są jako szczególnie użyteczne, jakie są skutki częstego użyciaform potocznych dla procesów przeobrażania stylu publicystycznego i wybranych gatunkówprasowych. Potoczność rozpatrywana na płaszczyźnie tekstu zyskuje na komunikacyjnejatrakcyjności dlatego, że pozwala nadawać wypowiedziom znamiona komunikatówskierowanych, nastawionych na kontakt z drugim człowiekiem, umożliwia ucieczkę odabstrakcji w stronę mówienia (czy raczej pisania) konkretnego, bliskiego codziennemudoświadczeniu, obrazowego i zaangażowanego. Dzięki stosownym zabiegom stylizacyjnympublicyści budują z odbiorcą wspólny świat i kształtują określoną wizję tego świata: (1) zpunktu widzenia odbiorcy – z uwzględnieniem jego potocznych wyobrażeń i doświadczeń; (2)zgodnie z oczekiwaniami odbiorcy, a więc przystępnie, plastycznie i sugestywnie; (3) z(fingowanym) udziałem odbiorcy; (4) za pomocą środków językowych znanych odbiorcy(potocznych) lub środków wykreowanych przy użyciu technik stylizatorskich typowych dlawypowiedzi potocznych. // In the article which is based on specialized press material, the author raises the following issues: why is the colloquial style so attractive for journalists? What features and factors of this variety are treated as particularly useful? What are the results of the frequent use of colloquial forms for the processes of transforming the journalistic style and selected press genres? Colloquialisms considered at the textual level gain the communicative attractiveness because they allow utterances to acquire the status of targeted messages, aimed at seeking contact with a fellow human being, and because they facilitate the escape from abstraction towards concrete speaking (or rather writing), close to everyday experience, imagistic and involved. Thanks to appropriate stylization techniques, journalists construe the world in common with the audience and shape a specific vision of this world: 1/ from the point of view of the audience, taking into account their colloquial images and experiences; 2/ in accordance with the audience expectations, i.e. simply, visually and suggestively; 3/ with the (fake)participation of the audience; 4/ through linguistic means known to the audience (colloquial)or the means created with the stylization techniques typical of colloquial utterances.
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Współczesne media elektroniczne stały się celem licznych badań językoznawczych. Niniejszaanaliza dotyczy jednej z najpopularniejszych ich odmian – krótkiej wiadomości tekstowej. 160prywatnych SMSów, zarówno w języku polskim, jak i angielskim przebadano pod względem ichcech formalnych, skupiając się głównie na aspekcie redukcji tekstu pod względem obecnościbądź eliminacji elementów fatycznych, szczególnie zwrotów adresatywnych, powitań,pożegnań oraz emotikonów, a także interpunkcji. Badanie przeprowadzone również wodniesieniu do wcześniejszej analizy wiadomości mailowych wykazało znaczny procenteliminacji elementów konwencjonalnych tekstu w SMSach w porównaniu z mailami,szczególnie zwrotów adresatywnych i powitań, redukcję formalną zwrotów pożegnalnych orazomijanie znaków przystankowych, pokazując tym samym, jak dużo elementów w komunikaciejest redundantnych. Analiza wykazała również widoczne różnice między SMSami polskimi iangielskimi, zwłaszcza pod względem frekwencji takich elementów, jak podpis, zwrotpożegnalny, użycie emotikonów oraz skracanie wyrazów, które znacznie częściej występowaływ tekstach angielskich niż polskich. // Contemporary electronic media have become a frequent object of linguistic research. The present analysis concerns one of its most popular manifestations – the short text message. 160private text messages, both Polish and English, have been investigated in terms of their formal features, with a focus placed mainly on the aspect of text reduction with respect to the presence or absence of its phatic elements, primarily forms of address, greetings, leave-takings,emoticons as well as punctuation. The analysis conducted also with reference to an earlier investigation of the electronic mail has demonstrated a significant percentage of the conventional text elements elimination in text messages in comparison to emails, especially of forms of address and greetings, a formal reduction of leave-taking formulas as well as the omission of punctuation, this way indicating how many elements of communication appear to be redundant. The analysis has also shown visible differences between Polish and English text messages, particularly in terms of the frequency of the use of such aspects as the signature, the leave-taking formula, the use of emoticons and word abbreviations, which appear to be a more typical element of English rather than Polish text messages.
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Przedmiotem pracy jest pojęcie twarzy (wizerunku własnego jednostki) oraz jego rola wkontaktach międzyludzkich. Społeczne znaczenie twarzy uzależnione jest od kontekstukulturowego, a w szczególności od wartości dominujących w danej kulturze oraz od charakterurelacji społecznych tam występujących. Twarz uważana jest za główny wyznacznik dynamikiinterakcji społecznej w kulturach zachodnich. Nie we wszystkich kulturach, jednak, pełni onatak ważną rolę. Celem pracy jest przedstawienie głównych wyznaczników dynamikiinterakcyjnej w kulturze anglo-amerykańskiej i polskiej. // The subject of the study is the concept of face (self-image of a person) and its role in interpersonal contacts. The social meaning of face depends on a cultural context, particularly on values that dominate in a culture and on the nature of social relations which occur there.In Western cultures face is regarded as the main indicator of the dynamics of social interaction.It does not play an equally significant role in all cultures, however. The present article aims at presenting the main indicators of interactive dynamics in Anglo-American and Polish cultures.
More...Myśl, język, kultura
Artykuł podejmuje problem nieprzekładalności jako wypadkowej działania łączących się ze sobą w rozmaitych proporcjach trzech podstawowych czynników budujących przekaz przekładanego komunikatu: myśli zrodzonej w umyśle, kultury stanowiącej tło ludzkiego myślenia oraz języka jako narzędzia ekspresji. Jako ilustracja służą cztery przykłady komunikatów; w trzech pierwszych warstwie werbalnej (tekstowej) towarzyszy kontekst w postaci rysunku; w ostatnim kontekst przywoływany jest za pomocą struktury gramatycznej. Opisując mechanizmy interpretacji komunikatu w towarzyszącym mu kontekście, autorka odwołuje się do teorii przestrzeni mentalnych, stworzonej przez Fauconniera (1985). // The paper addresses the issue of untranslatability as the resultant of three basic factors, which constitute the content of a translated message and which are interconnected in various proportions: thought originating in the mind, culture as the background for human thinking, and language as a tool for expression. The illustrative material is constituted by four messages: the verbal (textual) layer of the first three is accompanied by the context in the form of a drawing, while the context in the last message is evoked by means of a grammatical structure. In describing the message interpretation mechanisms in the context provided, the author avails of the theory of mental spaces by Fauconnier (1985).
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Failed humour in conversational exchanges has received increasing attention in humour research (see Bell 2015; Bell & Attardo 2010). However, tensions between what constitutes successful and failed humour have yet to be fully explored outside conversational humour. Drawing on Hay’s (2001) classification of humour stages and using a socio-cognitive approach to pragmatics to examine responses from Spanish L1 and L2 users to differing combinations of structural and content features in cartoons, the present study aims to explore what factors contribute to successful and failed responses to multimodal humour. Previous research has predominantly investigated the role of caricature as one of the prototypical features of cartoons affecting humour communication, suggesting that this feature plays an active role in the recognition of the humoristic genre (Padilla & Gironzetti 2012). Findings from the present study indicate that caricature operates not only in the recognition, but also in the understanding and appreciation stages. In particular, our results point to two other roles of caricature as a secondary incongruity and as a factor that can trigger appreciation through empathy and/or a sense of superiority. Importantly, this investigation indicates that the presence of secondary incongruities can compensate for a partial lack of understanding, highlighting the relevance that this type of incongruity has in humour appreciation.
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Studying cartoons in Romanian humorous news is a great way to underline the diversity of humour’s mechanisms and construction. The common topic of cartoons in Romanian media is politics, but there are also a great number of cartoons exploring subjects such as art, science, society or famous people. Unlike verbal humour, wherein incongruities are text-based, in cartoons, incongruities can emerge through the interaction of image and text, between two elements in the image, or even between the texts in the balloons (Hempelmann & Samson 2008). The present study aims at analysing how humour emerges differently, depending on their topic, in cartoons created by the Romanian humorous media websites Times New Roman and Academia Catavencu, as these have been the two of the most controversial humorous news websites for quite some time. I intend to argue that, when it comes to political cartoons, the methods of humour are quite complex, equally relying on the image and the text, using polysemy, paronymy or syllepsis to create humour, while cartoons about society or gossip are usually based on implicitness and exaggeration, mostly found in images and symbols, as the targeted topics or people do not require such a complex background in order to make readers laugh. I have also observed that cartoons that rely less on text have more powerful symbols, which are full of various significations that help the readers make all the necessary connections to correctly interpret the image.
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The present paper is aimed at exploring humour and cultural aspects in TED talks recorded at Hungarian independent TEDx standard events. Applying Speck’s (1991) humour taxonomy, a corpus of 30 Hungarian language talks have been classified based on Barry & Graca’s (2018) humour typology groups and further examined by descriptive statistical indicators. Results show that cultural and other national features are reflected in the talks and are appreciated by the audience. Incongruity and disparagement appeared to be a safe comic device to create laughter in highly individualist and masculine cultures; however, relief-based humour is riskier in high uncertainty avoiding countries, as the message may be interpreted differently than expected.
More...the Ghanaian humorous tale
Aspects of contextual jokes include the relationship with the goal of the interaction, and the involvement of the audience in the overall manifestation of the joke and its response. Sacks' identification of the ‘response’ or the ‘reaction’ – the final of the three-phased organisation of joke narratives (Sacks, 1974: 337; Attardo, 1994: 307-311) points to an aspect of the manifestation of contextual jokes beyond the fabula or the narration of the tale ‘proper’ to include a part relating to the reaction of the audience. Such reactions may be the joke itself or to its telling. A study of the performance of humorous tales, called toli in Ghana, reveals that the final phase, which we refer to as ‘post-climax’, involves the attention of all players, not to the telling of the tale, but to the incongruity and humour which underlie the very identity of the humorous tale. The post-climax discussion is, thus, an analytical reaction to various points of the tale, which has become an integral part of the performance of the tale as a conversational act, and which contributes extensively to the total manifestation of humour and laughter. Based on incongruity and comic-climax perspectives, the paper discusses the nature and strategies of post-climax, including the association of tale audience and setting, hypothetical extension of tale, incongruity and forced congruity discussions, dramatization and evaluations of realness, through which laughter, the main tenet of the genre, extensively manifests.
More...A cross-cultural perspective on surprise and humour in multimodal advertising
Today’s infotainment clutter puts pressure on advertisers to come up with more surprising and more memorable ads. This need for novelty, creativity, and astonishment does set the expectation bar high, steering ads towards various means of eliciting surprise, including humour, shock, and taboo. In this paper, the author will try to investigate a set of multimodal advertising messages which use (debatable) humour and surprise, with a view to finding trans-cultural similarities and differences in terms of ad appreciation. The primary objective of this paper is to explore attitudinal responses of Taiwanese informants to controversial humorous advertisements in English; to this end, an online survey was conducted to ask them about their interpretations of and feelings towards a selection of ads. Its results will be compared with those obtained from Polish respondents, described in the author’s previous study (Stwora 2020).
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This article analyses humour as a part of carnival aesthetics in urban social movements. It regards humour’s place in street protests as an aesthetic experience that brings forth an interplay of joy, imagination and freedom. Drawing from social movement theory regarding collective identity and collectivism, aesthetic theory and Mikhail Bakhtin’s theory of carnivalesque, this paper examines the link between humour and carnival aesthetics in recent social movements. It argues that carnival laughter initiates a process of symbiosis that opens relationships with others and allows recognition of democratic diversity, aesthetic sensibility and political dignity—essential for the reconstruction of a new space that is resistant to the politically imposed world crisis. It asks: could humour be one of the social catalysts we need during the authoritarian turn in a political Ice Age instigated by conservative populism? Drawing on examples from the Gezi Movement in Turkey in 2013, the article demonstrates how humour is not just a tool to consolidate solidarities but a definitive aesthetic experience that, in the context of the street protests, becomes the antidote to hegemonic-sense-making mechanisms and the greyness of our collective thinking.
More...Jonathan Waterlow (2018). It’s Only a Joke, Comrade! Humour, Trust and Everyday Life Under Stalin (1928-1941). Oxford: CreateSpace Independent Publishing Platform.
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Autobiography is often writing about how a “self” forms over time as it is affected by the conditions it encounters. This definition can be problematic for Holocaust autobiography, because hiding one’s self from others and repressing one’s desires and impulses became crucial to survival. This essay traces the processes by which a “self” emerges for one Holocaust writer and survivor, Helen S., through archival documents, testimonies and memoirs over time. Helen S.’s example demonstrates how an effaced self can have a textual presence before the writer can allow herself to fully inhabit a traumatic personal history.
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After the Holocaust, Jewish survivors in Poland relied on external help, including that of the American Jewish Joint Distribution Committee (the Joint, JDC). They wrote letters to JDC both to request and to thank the American-based Jewish organization for i.a. food, clothes, medicine, and assistance with emigration from Poland. Many of those letters also contain autobiographical information about the authors, themselves Holocaust survivors and their families. The descriptions of wartime experiences and survival strategies as well as of immediate postwar life (1945–1949) entail details and snippets of historical and genealogical value. Therefore, the letters examined in this article offer both individual histories and a collective portrait of the Jewish population in postwar Poland. The epistolary material also captures JDC’s activities and their importance for reviving and sustaining Jewish life after the Holocaust.
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This article offers a close reading of personal memoirs about coming of age in Żółkiew in Eastern Galicia and about transitions on the way to immigration to Mandatory Palestine before WWII. It focuses on gaps in the fragmentary autobiographical texts written by Shimon Samet, a native of the town, who became an accomplished professional journalist in Israel, and reconstructs missing pieces of narrative about Samet’s brother and about the Zionist micro universe of transition and training sites in Galicia of the early 1920’s. It points to significant explanatory possibilities gained by identifying such gaps in personal and commemorative narratives.
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The article advances an approach to studying 20th century Jewish experience in the former Pale of Jewish Settlement that foregrounds individual biographies and places them in a larger cultural and historical context. Drawing on interviews and various other sources, this approach reveals, among others, how individuals challenge familiar categories of identification and thereby appeal to flexible research agendas.
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The article focuses on the self-creation dimension of the autobiographic narrative by Jan Tomasz Gross contained in his book …Long, Long Time Ago, More or Less Last Friday… (an example of talk literature). In his analysis, Kopczyk brings out the biographic models into which the authorprotagonist inscribes his life, paying attention to their relation with the Polish patriotic tradition, and romantic tradition in particular. In the fate of the protagonist, he perceives elements of “a typical romantic biography,” including the motif of mission and pilgrimage (for one’s homeland). The conclusion of the article suggests a relationship between Gross’s self-creation project and his work as a historian revealing the truth about the fates of Polish Jews during World War 2 and afterwards. Inscribing his own biography into “good models” alleviates what Gross perceives as personal consequences of disturbing the social taboo related to Polish people’s participation in the extermination of the Jewish minority.
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The subject of the paper is a unique autobiographical text written in interwar Poland by a Jewish anarchist. A small booklet in Yiddish, Memuarn oder shpliters fun a lebn fun Leybn (also known as Memuarn fun Leybn) was published in 1933 in Łódź; the Polish translation appeared in 2017 under the title Memuary albo okruchy z życia Lejba. In the first part of the paper the author of the text, Leyb Berkenvald, known as “Leyb the Anarchist,” is identified and described, with a focus on the social milieu to which he belonged, and his position on the map of interwar anarchism. In the second part, Leyb’s autobiography is analyzed from the perspective of the microhistory of affects to reveal an alternative form of male subjectivity emerging from the text, which countered the dominant, heteronormative model of masculinity. This specific form of subjectivity is interpreted – both in its hopes and disappointments – in the context of an unattainable messianic community which Leyb strove to conceive.
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The subject of this article is a case study based on analysis of Sofia Dubnow-Erlich’s autobiography fragments concerning the interwar period. A closer look at the autobiographical texts written by the activist and writer associated with the Bund allows to trace her approach to her own life plans. It also gives a broader look at the Jewish history of activism, and intellectual and political activity in the Second Polish Republic. Reading the memoirs allows us to capture the gender perspective and shows whether and to what extent the gender influenced the actions taken by the author.
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