The focus of the paper is on the semantics of English phrasal verbs whose constituent verb is related to the concept of plants. The investigated set of verbs includes twenty-two phrasal verbs featuring the particles out, off, up, through, in and away. The analysis is conducted in the framework of cognitive semantics, which states that the meaning of phrasal verbs can be analysed in view of their constituent particles and the interplay between the verb meaning and the particle senses. It is concluded that the general meaning of the examined phrasal verbs is a result of different spatial configurations underlying the conceptual-semantic structure of the constituent particles, while their specific meanings are motivated by different conceptual metonymies stemming from the constituent verb. Numerous abstract meanings are additionally derived via various submetaphors of the basic metaphor complex abstract systems are plants embedded in the conceptual framework of the constituent verbs.
{"title":"A COGNITIVE-LINGUISTIC INVESTIGATION OF ENGLISH PHRASAL VERBS RELATED TO PLANTS","authors":"I. Milošević, T. V. Pavlović","doi":"10.22190/FULL1702219M","DOIUrl":"https://doi.org/10.22190/FULL1702219M","url":null,"abstract":"The focus of the paper is on the semantics of English phrasal verbs whose constituent verb is related to the concept of plants. The investigated set of verbs includes twenty-two phrasal verbs featuring the particles out, off, up, through, in and away. The analysis is conducted in the framework of cognitive semantics, which states that the meaning of phrasal verbs can be analysed in view of their constituent particles and the interplay between the verb meaning and the particle senses. It is concluded that the general meaning of the examined phrasal verbs is a result of different spatial configurations underlying the conceptual-semantic structure of the constituent particles, while their specific meanings are motivated by different conceptual metonymies stemming from the constituent verb. Numerous abstract meanings are additionally derived via various submetaphors of the basic metaphor complex abstract systems are plants embedded in the conceptual framework of the constituent verbs.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"1 1","pages":"219-233"},"PeriodicalIF":0.0,"publicationDate":"2018-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48650184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Drawing on the work of Forceville (2005, 2006, 2011), who employed linguistic tools in analysing comics, the paper deals with pictorial runes as a specific type of visual information found in comic books. As Kennedy (1982) proposes, pictorial runes are graphic devices used in pictures to modify the literal depictions of objects, intended to convey certain aspects of those objects that are otherwise difficult to depict literally. In comics, they are usually employed to imply various emotions, such as anger, fear, pain, or surprise, and indicate speed or the direction of a moving object, among other things. Using the research model presented by Forceville (2011), the paper aims at identifying and categorising pictorial runes in a popular Italian comic book series Gea , in an attempt to corroborate the above method and add to the list of already inventoried runes. Furthermore, the new runes found in this comic book series show evidence of being indexical, rather than symbolic, signs. The paper also briefly outlines the distribution of runes across the entire series.
{"title":"EXPLORING PICTORIAL RUNES IN LUCA ENOCH’S COMIC BOOK SERIES GEA","authors":"M. Tasić, Dusan Stamenkovic","doi":"10.22190/FULL1702123T","DOIUrl":"https://doi.org/10.22190/FULL1702123T","url":null,"abstract":"Drawing on the work of Forceville (2005, 2006, 2011), who employed linguistic tools in analysing comics, the paper deals with pictorial runes as a specific type of visual information found in comic books. As Kennedy (1982) proposes, pictorial runes are graphic devices used in pictures to modify the literal depictions of objects, intended to convey certain aspects of those objects that are otherwise difficult to depict literally. In comics, they are usually employed to imply various emotions, such as anger, fear, pain, or surprise, and indicate speed or the direction of a moving object, among other things. Using the research model presented by Forceville (2011), the paper aims at identifying and categorising pictorial runes in a popular Italian comic book series Gea , in an attempt to corroborate the above method and add to the list of already inventoried runes. Furthermore, the new runes found in this comic book series show evidence of being indexical, rather than symbolic, signs. The paper also briefly outlines the distribution of runes across the entire series.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"6 1","pages":"123-141"},"PeriodicalIF":0.0,"publicationDate":"2018-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68291469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The current study attempts to investigate the semantic domain of dynamic modality in English and Serbian by focusing on the dynamic modals in English and their translation equivalents in Serbian. It tends to fill the existing research gap regarding a comprehensive contrastive analysis tackling all dynamic modality subtypes in the investigated languages. Cross-linguistically, modality is expressed by different grammatical categories with a tendency for typologically related languages to convey modal meanings by similar devices. We expect the analysis to show that both English and Serbian have grammatical devices to express dynamic modal meanings and that dynamic modality is expressed in similar ways in the two languages. Two complementary objectives underlie the analysis: to identify and provide an account of the devices used to express dynamic modality in English and Serbian and to compare and contrast the two languages. The unilateral contrastive analysis, guided by the principles set in Đorđevic (1994), used a semantically based tertium comparationis, i.e. the principle of translation equivalence seen in terms of semantic equivalence. The analysis was carried out on the corpus compiled for these purposes comprising the excerpted examples from two novels by Kazuo Ishiguro (Ishiguro 2005, 2016) and their published Serbian translations (Isiguro 2003; Ишигуро 2009).
{"title":"DYNAMIC MODALS – ENGLISH AND SERBIAN CONTRASTED","authors":"Aleksandra M. Radovanović","doi":"10.22190/FULL1702273R","DOIUrl":"https://doi.org/10.22190/FULL1702273R","url":null,"abstract":"The current study attempts to investigate the semantic domain of dynamic modality in English and Serbian by focusing on the dynamic modals in English and their translation equivalents in Serbian. It tends to fill the existing research gap regarding a comprehensive contrastive analysis tackling all dynamic modality subtypes in the investigated languages. Cross-linguistically, modality is expressed by different grammatical categories with a tendency for typologically related languages to convey modal meanings by similar devices. We expect the analysis to show that both English and Serbian have grammatical devices to express dynamic modal meanings and that dynamic modality is expressed in similar ways in the two languages. Two complementary objectives underlie the analysis: to identify and provide an account of the devices used to express dynamic modality in English and Serbian and to compare and contrast the two languages. The unilateral contrastive analysis, guided by the principles set in Đorđevic (1994), used a semantically based tertium comparationis, i.e. the principle of translation equivalence seen in terms of semantic equivalence. The analysis was carried out on the corpus compiled for these purposes comprising the excerpted examples from two novels by Kazuo Ishiguro (Ishiguro 2005, 2016) and their published Serbian translations (Isiguro 2003; Ишигуро 2009).","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"1 1","pages":"273-285"},"PeriodicalIF":0.0,"publicationDate":"2018-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48532762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The placement of the syllable boundary in consonant clusters occurring word-medially is a perennial problem in phonological theory. The comprehension of the syllable as the “smallest binding unit of language” (Pauliny 1979: 101), as the unit necessary for the understanding of the phonological structure of the language, enables us to determine the boundaries of syllables on the basis of contrasts between the neighbouring phonemes in the syllable. The degree of contrast depends on the distinctive features of the given phonemes. To evaluate this approach, distinctive features of phonemes from two different languages – English and Slovak – were delimited according to two distinctive features theories – Feature Geometry and synthetic phonological theory. The sample analysis of the English and the Slovak words with word-medial consonant clusters indicates the validity of this approach for the demarcation of the syllable boundary in polysyllabic words.
{"title":"THE ROLE OF DISTINCTIVE FEATURES IN THE STRUCTURE OF THE SYLLABLE. A COMPARATIVE ANALYSIS OF ENGLISH AND SLOVAK","authors":"R. Gregová, Renáta Panocová","doi":"10.22190/FULL1702111G","DOIUrl":"https://doi.org/10.22190/FULL1702111G","url":null,"abstract":"The placement of the syllable boundary in consonant clusters occurring word-medially is a perennial problem in phonological theory. The comprehension of the syllable as the “smallest binding unit of language” (Pauliny 1979: 101), as the unit necessary for the understanding of the phonological structure of the language, enables us to determine the boundaries of syllables on the basis of contrasts between the neighbouring phonemes in the syllable. The degree of contrast depends on the distinctive features of the given phonemes. To evaluate this approach, distinctive features of phonemes from two different languages – English and Slovak – were delimited according to two distinctive features theories – Feature Geometry and synthetic phonological theory. The sample analysis of the English and the Slovak words with word-medial consonant clusters indicates the validity of this approach for the demarcation of the syllable boundary in polysyllabic words.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"1 1","pages":"111-121"},"PeriodicalIF":0.0,"publicationDate":"2018-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42096128","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Aujourd’hui, la communication est devenue une composante essentielle du travail et les competences communicatives sont recherchees pour la majorite des postes de travail. La qualite des interactions est d’une grande importance pour ameliorer la performance des entreprises. Etant donne que les competences pragmatiques representent l’un des elements indispensables des competences communicatives generales, notre interet est de reveler la manifestation de certaines caracteristiques pragmatiques du discours. Comment une approche pragmatique de l’analyse du discours peut contribuer a la didactique du francais sur objectif specifique (FOS)? La pragmatique vise a comprendre dans quelle mesure les echanges verbaux depassent un simple echange d’information et influencent l’interlocuteur vers une action ou vers un changement de comportement, d’attitude, de la croyance, de la valeur, etc. Alors, une approche pragmatique de l’analyse du discours devrait decrire les elements discursifs dans le discours, tels que l’organisation et la structuration des phrases, l’articulation des propositions dans le texte, l’organisation thematique et logique, la coherence et la cohesion, la construction de l’argumentation etc. A cet effet, nous analyserons un corpus constitue des phrases issues du discours economique et commercial.
{"title":"UNE APPROCHE PRAGMATIQUE DE L’ANALYSE DU DISCOURS ET SON APPLICATION À LA DIDACTIQUE DU FRANÇAIS SUR OBJECTIF SPECIFIQUE","authors":"D. Živković","doi":"10.22190/FULL1702073Z","DOIUrl":"https://doi.org/10.22190/FULL1702073Z","url":null,"abstract":"Aujourd’hui, la communication est devenue une composante essentielle du travail et les competences communicatives sont recherchees pour la majorite des postes de travail. La qualite des interactions est d’une grande importance pour ameliorer la performance des entreprises. Etant donne que les competences pragmatiques representent l’un des elements indispensables des competences communicatives generales, notre interet est de reveler la manifestation de certaines caracteristiques pragmatiques du discours. Comment une approche pragmatique de l’analyse du discours peut contribuer a la didactique du francais sur objectif specifique (FOS)? La pragmatique vise a comprendre dans quelle mesure les echanges verbaux depassent un simple echange d’information et influencent l’interlocuteur vers une action ou vers un changement de comportement, d’attitude, de la croyance, de la valeur, etc. Alors, une approche pragmatique de l’analyse du discours devrait decrire les elements discursifs dans le discours, tels que l’organisation et la structuration des phrases, l’articulation des propositions dans le texte, l’organisation thematique et logique, la coherence et la cohesion, la construction de l’argumentation etc. A cet effet, nous analyserons un corpus constitue des phrases issues du discours economique et commercial.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"1 1","pages":"073-083"},"PeriodicalIF":0.0,"publicationDate":"2017-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43415634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Some of the most influential studies written about Joseph Conrad in the 1950s (by Douglas Hewit, Thomas Moser and Albert Guerard) established a critical paradigm that continued to dominate Conrad studies for decades to come – especially with regard to his later novels, which according to these critics represented a decline after the achievements of his major period. The principal reason for this decline, as Moser argues, was Conrad's altered choice of subject matter from the novel Chance onwards – i.e., his newly-discovered interest in romance and female protagonists. Conrad's failure in representing intimate erotic relationship in his later novels, as Moser maintains, is inseparable from his inclination to create melodramatic and inauthentic heroines, incomparably less complex than the striking male protagonists of his earlier works. More recently, critics such as Robert Hampson and Susan Jones have proposed a different approach to the romances of Conrad's later period. A case in point is Hampson's analysis of Lena's character in Victory. Unlike the earlier critics, who accused Conrad of sentimentality in female characterizations, Hampson argues that it is Lena herself who views her own being and her role in Heyst's life through a prism of sentimental romance. Lena's subjective perception of reality amounts to writing a script for herself (Hampson 2004), which casts her in the role of a sacrificial heroine. By using free indirect style, Conrad allows us to see Lena presented through her own idiom, in a manner comparable to Joyce's treatment of Gerty McDowell in Ulysses. The paper draws on Hampson's contention, exploring Conrad's narrative strategies in Victory, while also referring to the theoretical frameworks such as Genette's Narrative Discourse and Bakhtin's Dialogic Imagination.
{"title":"A SCRIPT FOR HERSELF: CHARACTERIZATION AND FREE INDIRECT STYLE IN CONRAD'S VICTORY","authors":"Nataša Tučev","doi":"10.22190/FULL1702063T","DOIUrl":"https://doi.org/10.22190/FULL1702063T","url":null,"abstract":"Some of the most influential studies written about Joseph Conrad in the 1950s (by Douglas Hewit, Thomas Moser and Albert Guerard) established a critical paradigm that continued to dominate Conrad studies for decades to come – especially with regard to his later novels, which according to these critics represented a decline after the achievements of his major period. The principal reason for this decline, as Moser argues, was Conrad's altered choice of subject matter from the novel Chance onwards – i.e., his newly-discovered interest in romance and female protagonists. Conrad's failure in representing intimate erotic relationship in his later novels, as Moser maintains, is inseparable from his inclination to create melodramatic and inauthentic heroines, incomparably less complex than the striking male protagonists of his earlier works. More recently, critics such as Robert Hampson and Susan Jones have proposed a different approach to the romances of Conrad's later period. A case in point is Hampson's analysis of Lena's character in Victory. Unlike the earlier critics, who accused Conrad of sentimentality in female characterizations, Hampson argues that it is Lena herself who views her own being and her role in Heyst's life through a prism of sentimental romance. Lena's subjective perception of reality amounts to writing a script for herself (Hampson 2004), which casts her in the role of a sacrificial heroine. By using free indirect style, Conrad allows us to see Lena presented through her own idiom, in a manner comparable to Joyce's treatment of Gerty McDowell in Ulysses. The paper draws on Hampson's contention, exploring Conrad's narrative strategies in Victory, while also referring to the theoretical frameworks such as Genette's Narrative Discourse and Bakhtin's Dialogic Imagination.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"15 1","pages":"063-071"},"PeriodicalIF":0.0,"publicationDate":"2017-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48612858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this paper is to describe the process of developing an English-Serbian glossary of risk management terms in banking with an emphasis on the specialized translation procedures utilized therein. Upon completion of the source material content and contrastive analysis (using the Atlas.ti 7 program), a corpus of 513 English terms (ETs) and 859 Serbian (one-to-one and/or one-to-many) translation equivalents (STEs) was collated and ethnographically verified at Vojvođanska Bank (Vojvođanska banka a.d. Novi Sad) in order to achieve a triangulation of the data sources and research methods. The overall prevalence of each translation procedure employed in the glossary was computed individually and in combination with other procedures in the following order: calque (49.64%), borrowing (32.45%), reordering (24.59%), equivalence (22.41%), transposition (14.73%), diffusion (13.46%), expansion (10.52%), literal translation (9.21%), adaptation (7.32%), modulation (4.68%), reduction (3.67%) and condensation (2.19%). The results obtained reflect the underlying trends in the specialized English-Serbian translation of risk management terms in banking, serving as reference guidelines for linguists, lexicographers and translators in their future research and practice. The present glossary is available in entirety and with open access on the self-created web page ESGRMTB.
{"title":"ENGLISH FOR BUSINESS PURPOSES: SPECIALIZED TRANSLATION IN DEVELOPING AN ENGLISH-SERBIAN GLOSSARY OF RISK MANAGEMENT TERMS IN BANKING","authors":"Aleksandar M. Jagrović, Biljana Č. Jagrović","doi":"10.22190/FULL1702097J","DOIUrl":"https://doi.org/10.22190/FULL1702097J","url":null,"abstract":"The purpose of this paper is to describe the process of developing an English-Serbian glossary of risk management terms in banking with an emphasis on the specialized translation procedures utilized therein. Upon completion of the source material content and contrastive analysis (using the Atlas.ti 7 program), a corpus of 513 English terms (ETs) and 859 Serbian (one-to-one and/or one-to-many) translation equivalents (STEs) was collated and ethnographically verified at Vojvođanska Bank (Vojvođanska banka a.d. Novi Sad) in order to achieve a triangulation of the data sources and research methods. The overall prevalence of each translation procedure employed in the glossary was computed individually and in combination with other procedures in the following order: calque (49.64%), borrowing (32.45%), reordering (24.59%), equivalence (22.41%), transposition (14.73%), diffusion (13.46%), expansion (10.52%), literal translation (9.21%), adaptation (7.32%), modulation (4.68%), reduction (3.67%) and condensation (2.19%). The results obtained reflect the underlying trends in the specialized English-Serbian translation of risk management terms in banking, serving as reference guidelines for linguists, lexicographers and translators in their future research and practice. The present glossary is available in entirety and with open access on the self-created web page ESGRMTB.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"1 1","pages":"097-109"},"PeriodicalIF":0.0,"publicationDate":"2017-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45123555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En francais et en serbe, l’expression de l’espace dans l’interrogation partielle directe peut revetir differentes formes, en fonction des concepts spatiaux concernes. Nous nous proposons de comparer les adverbes interrogatifs de lieu exprimant les relations spatiales de type statique (la localisation), ainsi que ceux exprimant les relations spatiales de type dynamique (la destination, le point de depart, le point d’arrivee et l’itineraire). Notre recherche sera fondee sur une analyse contrastive de l’emploi des adverbes interrogatifs exprimant des concepts spatiaux dans plusieurs ouvrages dramatiques ecrits en francais et en serbe et traduits dans une de ces deux langues. A part l’aspect semantique des relations spatiales, notre analyse portera egalement sur les aspects morphosyntaxique et sociolinguistique des formes interrogatives correspondantes.
{"title":"LES ADVERBES INTERROGATIFS DE LIEU EN FRANÇAIS ET EN SERBE","authors":"Nataša Radusin-Bardić","doi":"10.22190/FULL1702023E","DOIUrl":"https://doi.org/10.22190/FULL1702023E","url":null,"abstract":"En francais et en serbe, l’expression de l’espace dans l’interrogation partielle directe peut revetir differentes formes, en fonction des concepts spatiaux concernes. Nous nous proposons de comparer les adverbes interrogatifs de lieu exprimant les relations spatiales de type statique (la localisation), ainsi que ceux exprimant les relations spatiales de type dynamique (la destination, le point de depart, le point d’arrivee et l’itineraire). Notre recherche sera fondee sur une analyse contrastive de l’emploi des adverbes interrogatifs exprimant des concepts spatiaux dans plusieurs ouvrages dramatiques ecrits en francais et en serbe et traduits dans une de ces deux langues. A part l’aspect semantique des relations spatiales, notre analyse portera egalement sur les aspects morphosyntaxique et sociolinguistique des formes interrogatives correspondantes.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"1 1","pages":"023-034"},"PeriodicalIF":0.0,"publicationDate":"2017-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42701112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The main purpose of this paper is to examine the representation of black masculinity in four popular Hollywood movies. In the first part of the paper, the key terms and analytical points are developed, based on the relevant literature from the fields of cultural, film and media studies, African American studies and black feminism. A special emphasis is placed on the transition from a stereotype of the “Black Buck”, a common on-screen representation of a violent, vengeful, highly sexual black male to the “Black Hero”, created in the Blaxploitation movies and further developed in more recent movies. The four movies that are closely analyzed are Sergio Corbucci’s Django from 1966, Gordon Parks’s Shaft from 1971 and their contemporary adaptations, Shaft (2000), directed by John Singleton and Django Unchained (2012), directed by Quentin Tarantino. One of the tasks of the research is to examine how the stereotype of a violent black thug has been deconstructed and modified in more recent movies to usher the “Black Hero” character.
{"title":"From the Violent “Black Buck” Stereotype to the “Black Hero”: Representations of African Americans and Black Masculinity in American Cinema","authors":"A. Kocić","doi":"10.22190/FULL1702085K","DOIUrl":"https://doi.org/10.22190/FULL1702085K","url":null,"abstract":"The main purpose of this paper is to examine the representation of black masculinity in four popular Hollywood movies. In the first part of the paper, the key terms and analytical points are developed, based on the relevant literature from the fields of cultural, film and media studies, African American studies and black feminism. A special emphasis is placed on the transition from a stereotype of the “Black Buck”, a common on-screen representation of a violent, vengeful, highly sexual black male to the “Black Hero”, created in the Blaxploitation movies and further developed in more recent movies. The four movies that are closely analyzed are Sergio Corbucci’s Django from 1966, Gordon Parks’s Shaft from 1971 and their contemporary adaptations, Shaft (2000), directed by John Singleton and Django Unchained (2012), directed by Quentin Tarantino. One of the tasks of the research is to examine how the stereotype of a violent black thug has been deconstructed and modified in more recent movies to usher the “Black Hero” character.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"15 1","pages":"085-096"},"PeriodicalIF":0.0,"publicationDate":"2017-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42219551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores and discusses the synergetic link between language, culture and literature as underscored in John Nkengasong’s Across the Mongolo. Nkengasong, in his novel Across the Mongolo, intertwines Cameroon culture and rhetoric through cultural thought patterns such as the family structure, greeting and salutation, communal life and hospitality, culinary delights, days of the week, as well as linguistic thought patterns such as transliteration of metaphorical expressions and imagery, direct loans, coinage, code-mixing, French discourse, and Cameroon Pidgin English discourse, as index of socio-cultural and linguistic identity. These expressions ornament the write-up of the novel giving it a Cameroonian romantic aesthetic in linguistic texturing . They equally reveal that the language of Across the Mongolo portrays the interconnection between language and culture, and language and socio-cultural identity construction. The paper argues that a good knowledge of the socio-cultural and linguistic context of Cameroon is necessary for a good understanding of the rhetoric of the novel Across the Mongolo.
本文探讨了约翰·恩肯加松的《穿越蒙古》中所强调的语言、文化和文学之间的协同联系。Nkengasong在其小说《穿越蒙古》(Across the Mongolo)中，通过家庭结构、问候和问候语、公共生活和款待、美食、一周中的日子等文化思维模式，以及隐喻表达和意象的音译、直接借词、造词、代码混合、法语话语和喀麦隆皮钦语英语话语等语言思维模式，将喀麦隆文化和修辞交织在一起，作为社会文化和语言身份的指标。这些表达点缀了小说的写作，使其在语言纹理上具有喀麦隆式的浪漫美学。它们同样揭示了《穿越蒙古》的语言描绘了语言与文化、语言与社会文化身份建构之间的相互联系。本文认为，了解喀麦隆的社会文化和语言语境是理解小说《穿越蒙古》修辞学的必要条件。
{"title":"RHETORIC AND CULTURE IN JOHN NKENGASONG’S ACROSS THE MONGOLO","authors":"N. Epoge","doi":"10.22190/FULL1702011E","DOIUrl":"https://doi.org/10.22190/FULL1702011E","url":null,"abstract":"This paper explores and discusses the synergetic link between language, culture and literature as underscored in John Nkengasong’s Across the Mongolo. Nkengasong, in his novel Across the Mongolo, intertwines Cameroon culture and rhetoric through cultural thought patterns such as the family structure, greeting and salutation, communal life and hospitality, culinary delights, days of the week, as well as linguistic thought patterns such as transliteration of metaphorical expressions and imagery, direct loans, coinage, code-mixing, French discourse, and Cameroon Pidgin English discourse, as index of socio-cultural and linguistic identity. These expressions ornament the write-up of the novel giving it a Cameroonian romantic aesthetic in linguistic texturing . They equally reveal that the language of Across the Mongolo portrays the interconnection between language and culture, and language and socio-cultural identity construction. The paper argues that a good knowledge of the socio-cultural and linguistic context of Cameroon is necessary for a good understanding of the rhetoric of the novel Across the Mongolo.","PeriodicalId":30162,"journal":{"name":"Facta Universitatis Series Linguistics and Literature","volume":"1 1","pages":"011-022"},"PeriodicalIF":0.0,"publicationDate":"2017-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48525241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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