Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285574
O. S. Yaner, I. G. Kulina
The article is about the formation of orthographic norm in German language since the XVII century up to the present time. The stages of the formation of German orthographic norm are examined with the description of the main characteristics of each of them. On the basis of the research works of prominent Ukrainian and foreign linguists and conference documents related to the formation and codification of a definite orthographic norm in German (Standarddeutsch) from the XVII century up to the present day, a certain simplification of certain spelling rules in modern German and more consistent adherence to the etymological principle of spelling have been revealed. The aim of this paper is to describe the processes of orthographic norm formation in the German language. The object of the research is orthographic peculiarities of the German written language in XVII–XIX centuries. The subject of the research is orthographic changes in the German language in the XVII–XIX centuries. The research is based on the works of prominent Ukrainian and foreign linguists and conference documents related to the formation and codification of a universally accepted orthographic norm in the German language. The conducted research has revealed the ways in which the orthographic norm in the German language has developed. Undoubtedly, all the authors of the various orthographic reforms were motivated to improve German spelling in order to meet the cultural objectives of the German language at every stage of its development. However, only time will show how much the new rules will ease the task of using the German language in writing. In our opinion, the authors of the latest reform avoided radical reforms, which explains, for example, the preservation of capitalization of nouns in German. The results of the study can be useful in lectures on the History of the German Language, Historical Phonetics of the German Language, as well as in teaching and learning a practical course of German.
{"title":"THE FORMATION OF ORTHOGRAPHIC NORM IN GERMAN LANGUAGE","authors":"O. S. Yaner, I. G. Kulina","doi":"10.18524/2307-4604.2023.1(50).285574","DOIUrl":"https://doi.org/10.18524/2307-4604.2023.1(50).285574","url":null,"abstract":"The article is about the formation of orthographic norm in German language since the XVII century up to the present time. The stages of the formation of German orthographic norm are examined with the description of the main characteristics of each of them. On the basis of the research works of prominent Ukrainian and foreign linguists and conference documents related to the formation and codification of a definite orthographic norm in German (Standarddeutsch) from the XVII century up to the present day, a certain simplification of certain spelling rules in modern German and more consistent adherence to the etymological principle of spelling have been revealed. The aim of this paper is to describe the processes of orthographic norm formation in the German language. The object of the research is orthographic peculiarities of the German written language in XVII–XIX centuries. The subject of the research is orthographic changes in the German language in the XVII–XIX centuries. The research is based on the works of prominent Ukrainian and foreign linguists and conference documents related to the formation and codification of a universally accepted orthographic norm in the German language. The conducted research has revealed the ways in which the orthographic norm in the German language has developed. Undoubtedly, all the authors of the various orthographic reforms were motivated to improve German spelling in order to meet the cultural objectives of the German language at every stage of its development. However, only time will show how much the new rules will ease the task of using the German language in writing. In our opinion, the authors of the latest reform avoided radical reforms, which explains, for example, the preservation of capitalization of nouns in German. The results of the study can be useful in lectures on the History of the German Language, Historical Phonetics of the German Language, as well as in teaching and learning a practical course of German.","PeriodicalId":34053,"journal":{"name":"Zapiski z romanogermans''koyi filologiyi","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135923339","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}
Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285558
V. V. Lanova
The present paper investigates the stylistic and philosophical-aesthetic features in the works written by Y. Tawada, a contemporary Japanese-German author. The unique position occupied by the author in the literary space leads us to consider her works in the context of multicultural and postcolonial theories. Being stuck between two opposite cultural paradigms and literary traditions — Eastern and Western European — the writer does not fit into either of them. Such a unique position impacts on the author’s view on the problems typical for multicultural literature, such as search for identity, creation of one’s own self in a polyphonic globalized world, cultural dislocation and homelessness experience. In our article particular attention is paid to studying the image of a multicultural writer who is situated at a cultural crossroads and is a nomad in a broadest sense. As a result of the research, it has been found out that development of a new identity takes place in the so-called third or “interstitial space”, where two opposing worldviews meet. Linguistic experiments and unique attitude to universal language codes as a means of intercultural communication are dominant in the author’s writing style. The author is in search of her lost identity. These searches are associated with the searches of the protagonists who suffer from a traumatic experience and go through the loss of their own roots. In the works under analysis the influence of the Japanese literary tradition can be traced. Y. Tawada turns to the genre of monogatari, typical for Eastern literature. In general, the poetic features of the author’s prose are illustrated through examples from the works “Where Europe Begins”, “Suspects on the Night Train” and “Memoirs of a Polar Bear”.
{"title":"Y. TAWADA’S WORKS IN MULTICULTURAL CONTEXT","authors":"V. V. Lanova","doi":"10.18524/2307-4604.2023.1(50).285558","DOIUrl":"https://doi.org/10.18524/2307-4604.2023.1(50).285558","url":null,"abstract":"The present paper investigates the stylistic and philosophical-aesthetic features in the works written by Y. Tawada, a contemporary Japanese-German author. The unique position occupied by the author in the literary space leads us to consider her works in the context of multicultural and postcolonial theories. Being stuck between two opposite cultural paradigms and literary traditions — Eastern and Western European — the writer does not fit into either of them. Such a unique position impacts on the author’s view on the problems typical for multicultural literature, such as search for identity, creation of one’s own self in a polyphonic globalized world, cultural dislocation and homelessness experience. In our article particular attention is paid to studying the image of a multicultural writer who is situated at a cultural crossroads and is a nomad in a broadest sense. As a result of the research, it has been found out that development of a new identity takes place in the so-called third or “interstitial space”, where two opposing worldviews meet. Linguistic experiments and unique attitude to universal language codes as a means of intercultural communication are dominant in the author’s writing style. The author is in search of her lost identity. These searches are associated with the searches of the protagonists who suffer from a traumatic experience and go through the loss of their own roots. In the works under analysis the influence of the Japanese literary tradition can be traced. Y. Tawada turns to the genre of monogatari, typical for Eastern literature. In general, the poetic features of the author’s prose are illustrated through examples from the works “Where Europe Begins”, “Suspects on the Night Train” and “Memoirs of a Polar Bear”.","PeriodicalId":34053,"journal":{"name":"Zapiski z romanogermans''koyi filologiyi","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135923048","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}
Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285561
I. Nykyforenko
The article is devoted to means of prosodic design in modern German interaction. Prosodic devices can be defined from a phonological point of view as abstract quantities or described as articulatory, acoustic, and auditory parameters. Discourse particles are the optimal sound material for researching the general functions of prosody, also considering the ability of foreign language communication. In this work, based on perceptual and productive analysis, it is considered whether general prosodic parameters can be identified on the basis of discourse particles, and what functions and forms they have. An attempt was made to determine the inventory of the most common German discourse particles, to describe them phonetically, and finally to compare them. In addition, it is studied how and to what extent the arrangement of discourse particles is regulated by prosodic data. Participles with the appropriate linguistic means under existing conditions clarify the function of the speech act, express the speaker’s ideas, assessments or expectations regarding the reaction of the communication partner, given the interaction. When teaching German as a foreign language, it should be noted that such words as particles create the greatest difficulties for learners of this language. It should be emphasized that the main meaning of discourse particles always depends on the factors of the given speech situation. Discourse particles create a certain functional group because they express categories of interaction and co-textual information and attitudes, etc., in an undefined and especially economic way. Prosodic marking is typical of German discourse particles. Our study of the current state of prosodic design in modern German interaction using the example of discourse particles also showed that numerical issues have not yet been resolved or require further study.
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Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285560
A. O. Meshkurova
The article is dedicated to the analysis of depicted foreign communication in the novel “The Lord of the Rings” by renowned writer J. R. R. Tolkien. It highlights that character speech is a key element that helps the author to create “lifelike” and compelling characters in Tolkien’s fantasy world. The role of characters’ speech in revealing their personalities, thoughts, emotions, and interactions with the surrounding environment is examined. Special attention is given to the use of Tolkien’s artificially created Elvish language, which adds unique color and depth to the fantasy world. This study reveals that the analyzed linguistic elements contribute to immersing the reader in the characters’ world and aid in understanding their mental characteristics. Tolkien’s Elvish language is one of the most developed constructed languages in the realm of fantasy literature, complete with its own grammar, vocabulary, and script. The semantics of the Elvish language is also intertwined with its cultural and historical context. By meticulously crafting the semantics, Tolkien not only conveys lexical meanings but also provides deeper insights into the Elven world. Overall, the semantic richness of Tolkien’s Elvish language serves as more than just an embellishment in the fantasy novel; it acts as a crucial element that enhances readers’ comprehension and emotional engagement. This scientific article contributes to the study of foreign language communication in literature and sheds light on important aspects of the novel “The Lord of the Rings” from a linguistic analysis perspective. The findings of this research hold significant potential for further scholarly investigations in the fields of philology and literary studies.
{"title":"REPRODUCED FOREIGN LANGUAGE COMMUNICATION AS AN ELEMENT OF REALISTIC DEPICTION OF J. R. R. TOLKIEN’S FANTASTIC WORLD","authors":"A. O. Meshkurova","doi":"10.18524/2307-4604.2023.1(50).285560","DOIUrl":"https://doi.org/10.18524/2307-4604.2023.1(50).285560","url":null,"abstract":"The article is dedicated to the analysis of depicted foreign communication in the novel “The Lord of the Rings” by renowned writer J. R. R. Tolkien. It highlights that character speech is a key element that helps the author to create “lifelike” and compelling characters in Tolkien’s fantasy world. The role of characters’ speech in revealing their personalities, thoughts, emotions, and interactions with the surrounding environment is examined. Special attention is given to the use of Tolkien’s artificially created Elvish language, which adds unique color and depth to the fantasy world. This study reveals that the analyzed linguistic elements contribute to immersing the reader in the characters’ world and aid in understanding their mental characteristics. Tolkien’s Elvish language is one of the most developed constructed languages in the realm of fantasy literature, complete with its own grammar, vocabulary, and script. The semantics of the Elvish language is also intertwined with its cultural and historical context. By meticulously crafting the semantics, Tolkien not only conveys lexical meanings but also provides deeper insights into the Elven world. Overall, the semantic richness of Tolkien’s Elvish language serves as more than just an embellishment in the fantasy novel; it acts as a crucial element that enhances readers’ comprehension and emotional engagement. This scientific article contributes to the study of foreign language communication in literature and sheds light on important aspects of the novel “The Lord of the Rings” from a linguistic analysis perspective. The findings of this research hold significant potential for further scholarly investigations in the fields of philology and literary studies.","PeriodicalId":34053,"journal":{"name":"Zapiski z romanogermans''koyi filologiyi","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135923206","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}
Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285566
V. M. Romanets, N. T. Podkovyroff
The study presented here examines the problems of composition and architectonics of a work of fiction. The author analyses the correlation of these notions. A close examination of the types of compositional organization of a work of fiction has been carried out. It is noted that the problem of the composition of a work of fiction has a fairly long tradition. At the time, the problem was considered by Aristotle (4th century BC), who focused on the fact that the perfection of a work could be achieved by motivated selection and combination of separate elements into a single whole, which forms complete harmony. A study has been made of the theoretical aspects of the notion of «composition», as well as a demarcation with similar values such as «structure» and «architectonics», and a description of compositional techniques that clarify the functions of composition in a work of fiction. The article discusses the features of the composition and architectonics of «Canterbury Tales», a work by Geoffrey Chaucer, which was written at the end of the 14th century in Middle English, but remained unfinished. Chaucer’s literary skill is manifested in the fact that the stories reflect the individual traits and individual manner of narrating of the characters. The author depicts a wide canvas of English reality of his contemporary era. The book consists of a «Prologue», 22 verse and two prose stories, which are interconnected by interludes. The framing story reports on the development of the action. Borrowing the themes from numerous stories by other authors, Chaucer complicates the plot, saturates it with realistic details. At the same time, he connects the dynamics of action with psychological analysis. It is emphasized that the composition of a work of fiction is structured from the following main elements: plot — a series of events that are depicted in the work of fiction; conflict is a clash of characters and circumstances, views and principles of being, which are the basis of action. The conflict may arise between the individual and society or between characters. And in the mind of the hero, it can be explicit, hidden or imaginary. Plot elements reflect the stages of development of the conflict; prologue — a kind of introduction to the work, which tells about the events of the past and it emotionally sets the reader to perceive the work; exposition — an introduction to the main action, an description of the conditions and circumstances that preceded the beginning of the action (it can be expanded, non-deployed, integral and «torn», located at the beginning, in the middle or at the end of the work); familiarization with the characters of the work, the circumstances and chronology against which the action takes place; starting point of the plot — the beginning of the plot movement (the event from which the conflict begins, further events develop); development of action — a system of events that are the result of the starting point of the plot; the conflict esca
{"title":"COMPOSITION AND ARCHITECTONICS OF A WORK OF FICTION AS A CHARACTERISTIC OF THE AUTHOR’S STYLE. J. CHAUCER «THE CANTERBURY TALES»","authors":"V. M. Romanets, N. T. Podkovyroff","doi":"10.18524/2307-4604.2023.1(50).285566","DOIUrl":"https://doi.org/10.18524/2307-4604.2023.1(50).285566","url":null,"abstract":"The study presented here examines the problems of composition and architectonics of a work of fiction. The author analyses the correlation of these notions. A close examination of the types of compositional organization of a work of fiction has been carried out. It is noted that the problem of the composition of a work of fiction has a fairly long tradition. At the time, the problem was considered by Aristotle (4th century BC), who focused on the fact that the perfection of a work could be achieved by motivated selection and combination of separate elements into a single whole, which forms complete harmony. A study has been made of the theoretical aspects of the notion of «composition», as well as a demarcation with similar values such as «structure» and «architectonics», and a description of compositional techniques that clarify the functions of composition in a work of fiction. The article discusses the features of the composition and architectonics of «Canterbury Tales», a work by Geoffrey Chaucer, which was written at the end of the 14th century in Middle English, but remained unfinished. Chaucer’s literary skill is manifested in the fact that the stories reflect the individual traits and individual manner of narrating of the characters. The author depicts a wide canvas of English reality of his contemporary era. The book consists of a «Prologue», 22 verse and two prose stories, which are interconnected by interludes. The framing story reports on the development of the action. Borrowing the themes from numerous stories by other authors, Chaucer complicates the plot, saturates it with realistic details. At the same time, he connects the dynamics of action with psychological analysis. It is emphasized that the composition of a work of fiction is structured from the following main elements: plot — a series of events that are depicted in the work of fiction; conflict is a clash of characters and circumstances, views and principles of being, which are the basis of action. The conflict may arise between the individual and society or between characters. And in the mind of the hero, it can be explicit, hidden or imaginary. Plot elements reflect the stages of development of the conflict; prologue — a kind of introduction to the work, which tells about the events of the past and it emotionally sets the reader to perceive the work; exposition — an introduction to the main action, an description of the conditions and circumstances that preceded the beginning of the action (it can be expanded, non-deployed, integral and «torn», located at the beginning, in the middle or at the end of the work); familiarization with the characters of the work, the circumstances and chronology against which the action takes place; starting point of the plot — the beginning of the plot movement (the event from which the conflict begins, further events develop); development of action — a system of events that are the result of the starting point of the plot; the conflict esca","PeriodicalId":34053,"journal":{"name":"Zapiski z romanogermans''koyi filologiyi","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135923337","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}
Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285548
L. I. Voitenko, M. O. Kniazian
The article analyzes Solodchuk’s play «Where We Were Eight Years,» which was included in the electronic version of Anthology-24, published this year. The play is analyzed from the perspective of the French theater of the absurd, through the identification of common features in the play and in the plays written by S. Beckett and Ionesco, namely: a similar worldview, which is influenced by specific historical events, loss of the meaning of life, life without purpose and faith. The kaleidoscopic form of narrative organization, the absurdity and paradox of events, and the grotesque characters whose dialogues are reduced to a limited monologue, they do not understand each other. The form and style of the antidrama are subordinated to the effect of the evidence itself — the grotesque, the farce, brought to the point of excess, which reveals the monotony and meaninglessness of life. The desire to comprehend the universals of existence, the recurring patterns in human life are introduced into the text through the genre of parable, myth, symbol, and metaphor. The word loses its logical and grammatical connections, becomes grotesque, which leads to the loss of its meaning. The absurdist principle is also realized at the level of the figurative system of Solodchuk’s play, where the character appears as a multi-voiced entity. In the texts of the representatives of the theater of the absurd, attention is focused on material objects that replace the Other, so the role of things, objects, scenery increases, and to some extent they replace the object of communication for the characters. In Solodchuk’s play, the object is the Backpack, which is empowered with extraordinary abilities to take away aggression from the outside world. The open ending overcomes, even denies, the technique of ’exhaustiveness’ of dialogue in absurdist texts and appeals to the conceptual creation of the future.
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Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285564
G. I. Prihodko
The article deals with issues related to the role of evaluation in the processes of nomination. In the process of perception f the surrounding world and during communication, a person can not but express his attitude towards it. He lives in an environment of values and operates in a clearly delineated value environment, which increasingly becomes the property of his creative activities. Each of the classes of values combines the main meaning of it — material, objective, psychological and social. By recognizing the natural properties of objects and reproducing their value, a person reveals certain aspects of social relations, since the significance of a thing or phenomenon is determined primarily by the social attitude towards them. There exist universal values (universal, inherent to individual communities) and individual ones. As a concentrated expression of the experience of the vital activity of a specific social community, values form a certain system, to which the individual, as a member of this society, adheres in the process of his own evaluation. In each culture there is a system of values according to which the evaluation is carried out, and in different cultures these systems may not coincide, that is, the value is ethno- and culturally determined in both synchronic and diachronic categorization of the world. Evaluation is anthropocentric by its nature,. To evaluate an object or object, a person must “pass through” his signs through his consciousness. The content of the evaluation reflects the nature of the person. Evaluation is everywhere, where any collision of the subject of knowledge with the objective world takes place. So, we adhere to the point of view on evaluation as a category with its own clearly delineated cobnitive and pragmasemantic potential.
{"title":"EVALUATION FUNCTION IN THE PROCESSES OF NOMINATION","authors":"G. I. Prihodko","doi":"10.18524/2307-4604.2023.1(50).285564","DOIUrl":"https://doi.org/10.18524/2307-4604.2023.1(50).285564","url":null,"abstract":"The article deals with issues related to the role of evaluation in the processes of nomination. In the process of perception f the surrounding world and during communication, a person can not but express his attitude towards it. He lives in an environment of values and operates in a clearly delineated value environment, which increasingly becomes the property of his creative activities. Each of the classes of values combines the main meaning of it — material, objective, psychological and social. By recognizing the natural properties of objects and reproducing their value, a person reveals certain aspects of social relations, since the significance of a thing or phenomenon is determined primarily by the social attitude towards them. There exist universal values (universal, inherent to individual communities) and individual ones. As a concentrated expression of the experience of the vital activity of a specific social community, values form a certain system, to which the individual, as a member of this society, adheres in the process of his own evaluation. In each culture there is a system of values according to which the evaluation is carried out, and in different cultures these systems may not coincide, that is, the value is ethno- and culturally determined in both synchronic and diachronic categorization of the world. Evaluation is anthropocentric by its nature,. To evaluate an object or object, a person must “pass through” his signs through his consciousness. The content of the evaluation reflects the nature of the person. Evaluation is everywhere, where any collision of the subject of knowledge with the objective world takes place. So, we adhere to the point of view on evaluation as a category with its own clearly delineated cobnitive and pragmasemantic potential.","PeriodicalId":34053,"journal":{"name":"Zapiski z romanogermans''koyi filologiyi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135923053","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}
Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285559
O. P. Matuzkova, O. V. Kovalenko
The article focuses on dynamic language-culture correlation in the context of modern linguoculturology. This linguocultural research is a version of cultural studies which places language at its heart. At an everyday, human and scientific level linguocultural interests, pursuits and problems have never been more important. The subject matter of this article is therefore crucially topical and reflects the current demand of modern linguistics for new and profound research in this sphere. The topicality is also determined by the linguoculturology evolution into integrative interdisciplinary field of modern humanitarian knowledge in which perspectives from different disciplines can be selectively drawn on to examine the relations of culture, mind and language. The research focuses on dynamic, synergetic mutual interaction of language, culture and mentality reflected in the academic concept and viewed in theoretical aspect. It also defines linguoculture as a key concept of XXI century linguoculturology. Our study relies substantially on the application of linguistic descriptive methodology and devices. The main aim of the work is to describe the complex mechanism of two fundamental categories synergy. The objective determined the tasks of the research: to clarify and describe continuous dynamic complex process of language and culture correlation through linguoculturilogy perspective and define the much disputed key terms –“linguoculturology”,’linguoculture” and “the language of culture”. The research claims that language and culture realationship is characterized by two-sided parity, mutual influence and dependence, inseparable integrity and coherence.
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Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285546
N. O. Bigunova, L. V. Savilova
The article focuses on intonation characteristics of compliment and flattery speech acts in English-language film discourse. Since the intonation-prosodic arrangement of the discourse is determined by its pragmatic intention, the article dwells on the illocutionary aims of the addressees of compliment and flattery speech acts. The main illocutionary aims of compliment speech act are seen as the intention to please, or encourage the addressee, the intention to release one’s emotions, the intention to express gratitude to the addressee for certain actions of his, and the intention to calm down and encourage the addressee, to save his “face”. The main illocutionary aims perceived by flatterers are the desire to disguise flattery as a sincere praise or compliment; the intention to gain benefit and the intention to force the addressee into taking actions, seen as beneficial for the speaker. The carried out auditory and electroacoustic analyses of the intonation of compliments and flattery enabled the author to identify certain common tendences in terms of melodical contour: both speech acts are characterized by the predominant use of falling nuclear tone and falling tone movement. Compliments are framed with The Descending Stepping Head or The Ascending Head, while flattery is characterized by a greater variability of pre-nuclear patterns than compliments: apart from The Descending Stepping Head, The Ascending Head, The Level Head and The Sliding Head are used. Compliments are also characterized by a high pitch level. The pitch of flattering utterances is more varied: it is qualified as high in half of the phrases, medium or low in the rest of the phrases. The pitch level of compliment phrases is medium in male speech and narrow in female speech. Phrases of flattery are pronounced on a high pitch level. The voice range of flattering phrases is medium, which makes the speaker sound smarmy and wheedling. The loudness of both compliment and flattery is increased, and the pace is slowed down, except for women who utter compliments: they speak faster.
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Pub Date : 2023-10-13DOI: 10.18524/2307-4604.2023.1(50).285553
M. S. Zavarynska
In the article there is grounded the notion of diffusive and labyrinth narrative uncertainty in English postmodern short-short stories. In our investigation, there is proved that the emergence of narrative uncertainty is caused by specific narrative techniques such as diffusion and labyrinth which we identify manifestations of the narrative-rhizomatic principle of text form. Thus, the basis of narrative uncertainty creation is the mixture of a narrative technique (diffusion or labyrinth), compositional modifications and linguo-stylistic devices (irony, lexical repetition, personification). Uncertainty as a transversal postmodern idea is traced in experimental texts through unconventional text building, modified text compositional structure. Narrator of a short-short story creates a narrative with the purpose of establishing a permanent hesitation in the interpreting at each level of text compositional structure. Thus, the emergence of compositional modifications can be observed at content level, formal level, and formal-content level which create a specific symbol at figurative-symbolic level. Compositional modifications at one of the abovementioned levels serve as the principal agent of the specific type of narrative uncertainty creation — diffusive or labyrinth narrative uncertainty. A preliminary analysis of English postmodern short-short stories has shown that compositional modifications at the formal and formal-content levels function as a key forming agent for diffusive narrative uncertainty. As to labyrinth narrative uncertainty, compositional modifications at content level, formal level, and formal-content are dominant. The leading role in the uncertainty formation belongs to narrator. Narrator builds a narrative in such a manner that it becomes complicated to interpret. That fact characterize narrator as unreliable storyteller. Diffusive narrative uncertainty is actualized by means of multiple narrator, whereas labyrinth narrative uncertainty through heterodiegetic narrator in extradiegetic situation. Perception of English postmodern short-short stories with the expressions of narrative uncertainty demands from narratator (reader) flexible mindset, openness to different interpretations and readiness for active usage of cognitive skills.
{"title":"DIFFUSIVE AND LABYRINTH NARRATIVE UNCERTAINTY IN ENGLISH POSTMODERN SHORT-SHORT STORIES","authors":"M. S. Zavarynska","doi":"10.18524/2307-4604.2023.1(50).285553","DOIUrl":"https://doi.org/10.18524/2307-4604.2023.1(50).285553","url":null,"abstract":"In the article there is grounded the notion of diffusive and labyrinth narrative uncertainty in English postmodern short-short stories. In our investigation, there is proved that the emergence of narrative uncertainty is caused by specific narrative techniques such as diffusion and labyrinth which we identify manifestations of the narrative-rhizomatic principle of text form. Thus, the basis of narrative uncertainty creation is the mixture of a narrative technique (diffusion or labyrinth), compositional modifications and linguo-stylistic devices (irony, lexical repetition, personification). Uncertainty as a transversal postmodern idea is traced in experimental texts through unconventional text building, modified text compositional structure. Narrator of a short-short story creates a narrative with the purpose of establishing a permanent hesitation in the interpreting at each level of text compositional structure. Thus, the emergence of compositional modifications can be observed at content level, formal level, and formal-content level which create a specific symbol at figurative-symbolic level. Compositional modifications at one of the abovementioned levels serve as the principal agent of the specific type of narrative uncertainty creation — diffusive or labyrinth narrative uncertainty. A preliminary analysis of English postmodern short-short stories has shown that compositional modifications at the formal and formal-content levels function as a key forming agent for diffusive narrative uncertainty. As to labyrinth narrative uncertainty, compositional modifications at content level, formal level, and formal-content are dominant. The leading role in the uncertainty formation belongs to narrator. Narrator builds a narrative in such a manner that it becomes complicated to interpret. That fact characterize narrator as unreliable storyteller. Diffusive narrative uncertainty is actualized by means of multiple narrator, whereas labyrinth narrative uncertainty through heterodiegetic narrator in extradiegetic situation. Perception of English postmodern short-short stories with the expressions of narrative uncertainty demands from narratator (reader) flexible mindset, openness to different interpretations and readiness for active usage of cognitive skills.","PeriodicalId":34053,"journal":{"name":"Zapiski z romanogermans''koyi filologiyi","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135923054","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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