Modernism is a literary movement which appeared around 1914. New technologies and the horrible effect of World War I, made many authors question the future of this modern machine (human being) who declined any kind of tradition for the sake of the new sentiment. Modernist fiction used two significant tools: one is the stream of consciousness to reveal the inner self of the characters, and the other one is employing the symbol to reflect hidden reality through the life of the characters. Virginia Woolf is considered as one of the most prominent modernist authors who employ the various modern techniques in her fictions such as To the Lighthouse. The aim of this article is followed in two different steps: first, the discussion of the roles of different symbols and signs through the whole work to reflect how these symbols function in the novel as a web of signs; and second, the exploration of the centripetal movement of various symbols and colors to show an unattainable concept of reality in modern life.
{"title":"TO THE SELFHOUSE: THE CENTRIPETAL MOVEMENT OF SYMBOLS IN VIRGINIA WOOLF'S TO THE LIGHTHOUSE","authors":"Susan Poursanati, Yasaman Taheri","doi":"10.31902/fll.39.2022.3","DOIUrl":"https://doi.org/10.31902/fll.39.2022.3","url":null,"abstract":"Modernism is a literary movement which appeared around 1914. New technologies and the horrible effect of World War I, made many authors question the future of this modern machine (human being) who declined any kind of tradition for the sake of the new sentiment. Modernist fiction used two significant tools: one is the stream of consciousness to reveal the inner self of the characters, and the other one is employing the symbol to reflect hidden reality through the life of the characters. Virginia Woolf is considered as one of the most prominent modernist authors who employ the various modern techniques in her fictions such as To the Lighthouse. The aim of this article is followed in two different steps: first, the discussion of the roles of different symbols and signs through the whole work to reflect how these symbols function in the novel as a web of signs; and second, the exploration of the centripetal movement of various symbols and colors to show an unattainable concept of reality in modern life.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41495235","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 Emperor's New Clothes (1837) by Hans Christian Andersen is a classic of children's literature, but also holds an emblematic position in the sphere of world literature and culture in general – it is one of the most translated stories/fairy tales, published in numerous languages all around the world and transposed into various media, but it is also a story with a rich semantic potential which allows for diverse and stratified interpretations. The focus of this paper is the comparative analysis of the famous Andersen story, and the eponymous feature film by the Croatian and Yugoslav director Ante Babaja, filmed in 1961. The screenplay was written by Božidar Violić, who adapted Andersen's story for film. The Emperor's New Clothes is the first feature film by this renowned director, and also the first Croatian feature film in colour. The unusual adaptation by Babaja is interesting on several levels and for several reasons – both strictly poetic reasons (the approach is atypical, where the standard scenography is absent, and white surfaces take its place along with the so-called high-key film photography, done by Oktavijan Miletić), and reasons of a wider scope, related to reception. Babaja's film enables different readings than the ones based on Andersen's template by intervening into the motif and narrative dimensions of the original story, but also through transgressions at the stylistic level (intermedial contact with stage acting), and, especially, the socio-political context in which the film originated (socialist Yugoslavia). More precisely, Babaja's The Emperor's New Clothes reinterprets Andersen's story by adding to it a concrete socio-political allegory of (not only) former Yugoslavia, while at the same time not discarding the central space of Andersen's story – the relation between collective conventions and individual consciousness, cowardice and courage, submission and freedom, as the archetypical spaces of human communities.
{"title":"THE EMPEROR'S NEW CLOTHES, A STORY BY HANS CHRISTIAN ANDERSEN AND A FILM BY ANTE BABAJA: INTERMEDIAL STORYTELLING AS AN OBSTACLE COURSE FOR POLITICAL ALLEGORY","authors":"Andrijana Kos-Lajtman, Damir Radić","doi":"10.31902/fll.39.2022.8","DOIUrl":"https://doi.org/10.31902/fll.39.2022.8","url":null,"abstract":"The Emperor's New Clothes (1837) by Hans Christian Andersen is a classic of children's literature, but also holds an emblematic position in the sphere of world literature and culture in general – it is one of the most translated stories/fairy tales, published in numerous languages all around the world and transposed into various media, but it is also a story with a rich semantic potential which allows for diverse and stratified interpretations. The focus of this paper is the comparative analysis of the famous Andersen story, and the eponymous feature film by the Croatian and Yugoslav director Ante Babaja, filmed in 1961. The screenplay was written by Božidar Violić, who adapted Andersen's story for film. The Emperor's New Clothes is the first feature film by this renowned director, and also the first Croatian feature film in colour. The unusual adaptation by Babaja is interesting on several levels and for several reasons – both strictly poetic reasons (the approach is atypical, where the standard scenography is absent, and white surfaces take its place along with the so-called high-key film photography, done by Oktavijan Miletić), and reasons of a wider scope, related to reception. Babaja's film enables different readings than the ones based on Andersen's template by intervening into the motif and narrative dimensions of the original story, but also through transgressions at the stylistic level (intermedial contact with stage acting), and, especially, the socio-political context in which the film originated (socialist Yugoslavia). More precisely, Babaja's The Emperor's New Clothes reinterprets Andersen's story by adding to it a concrete socio-political allegory of (not only) former Yugoslavia, while at the same time not discarding the central space of Andersen's story – the relation between collective conventions and individual consciousness, cowardice and courage, submission and freedom, as the archetypical spaces of human communities.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44209255","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 hegemony of English has been explored in several studies since the wake of the twentieth century. Drawing on works of leading linguists, we have drawn our attention to the status of English as a dominating world language that exerts its influence on peripheral literatures of the world. This paper seeks to examine the hegemony of the English language in literary studies, more significantly, in the circulation of world literary pieces. The article discusses how English, at the center of literary production and circulation, distorts the real essence and concept of ‘borderless world literature.’ The author begins with a brief discussion about the Gramscian concept of hegemony and its implications and consequences on the world circulation of literary pieces. It proceeds to interrogate the existing model of translation flow in the international book market and proposes an alternative approach to resist English hegemony, followed by the conclusion.
{"title":"THE HEGEMONY OF ENGLISH AND WORLD LITERATURE: A STUDY OF TRANSLATION FLOW AND LITERARY CIRCULATION","authors":"Sonali Ganguly, Lipika Das, Tanutrushna Panigrahi","doi":"10.31902/fll.39.2022.9","DOIUrl":"https://doi.org/10.31902/fll.39.2022.9","url":null,"abstract":"The hegemony of English has been explored in several studies since the wake of the twentieth century. Drawing on works of leading linguists, we have drawn our attention to the status of English as a dominating world language that exerts its influence on peripheral literatures of the world. This paper seeks to examine the hegemony of the English language in literary studies, more significantly, in the circulation of world literary pieces. The article discusses how English, at the center of literary production and circulation, distorts the real essence and concept of ‘borderless world literature.’ The author begins with a brief discussion about the Gramscian concept of hegemony and its implications and consequences on the world circulation of literary pieces. It proceeds to interrogate the existing model of translation flow in the international book market and proposes an alternative approach to resist English hegemony, followed by the conclusion.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42574329","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 circumstances of the Covid-19 pandemic have brought about drastic changes in all aspects of human activities, including education. The challenges faced by educators worldwide have been to arrange online classes and provide an effective and motivating learning environment. The research presented in this paper analyzes student motivation for learning English in the setting of online classes, compared to traditional (face-to-face) classes. The main aim of this paper is to identify the factors of both online and traditional classes that positively affect student motivation in order to integrate them into an effective learning environment in the future. The focus is on factors of motivation that have been significantly affected by the pandemic, including the factors of physical conditions, methods of teaching and affective and interpersonal factors. This research was conducted at the Faculty of Technology and Faculty of Agriculture, University of Novi Sad, and included 120 engineering students who attended online English language courses. A questionnaire, used as a research instrument, consisted of statements related to the impact of online vs. traditional classes on student motivation to learn English, graded on a 6-point Likert scale. The obtained results indicated that students find the use of modern technology and applications quite motivating for learning English and that a certain flexibility, referring to the physical factors, could also be integrated into traditional classes. Interpersonal factors, such as face-to-face interaction with the teacher and peers, proved to be very important for student motivation. The research also showed that online classes reduce students’ speaking anxiety, but that the issue of anxiety in both types of classes requires closer attention and should be addressed by raising student awareness of this issue and employing methods that would encourage students to participate in the classes more actively.
{"title":"THE EFFECTS OF ONLINE ENGLISH CLASSES ON STUDENTS’ MOTIVATION TO LEARN ENGLISH LANGUAGE","authors":"J. Jerković, B. Komaromi, Dušan Rakić","doi":"10.31902/fll.39.2022.17","DOIUrl":"https://doi.org/10.31902/fll.39.2022.17","url":null,"abstract":"The circumstances of the Covid-19 pandemic have brought about drastic changes in all aspects of human activities, including education. The challenges faced by educators worldwide have been to arrange online classes and provide an effective and motivating learning environment. The research presented in this paper analyzes student motivation for learning English in the setting of online classes, compared to traditional (face-to-face) classes. The main aim of this paper is to identify the factors of both online and traditional classes that positively affect student motivation in order to integrate them into an effective learning environment in the future. The focus is on factors of motivation that have been significantly affected by the pandemic, including the factors of physical conditions, methods of teaching and affective and interpersonal factors. This research was conducted at the Faculty of Technology and Faculty of Agriculture, University of Novi Sad, and included 120 engineering students who attended online English language courses. A questionnaire, used as a research instrument, consisted of statements related to the impact of online vs. traditional classes on student motivation to learn English, graded on a 6-point Likert scale. The obtained results indicated that students find the use of modern technology and applications quite motivating for learning English and that a certain flexibility, referring to the physical factors, could also be integrated into traditional classes. Interpersonal factors, such as face-to-face interaction with the teacher and peers, proved to be very important for student motivation. The research also showed that online classes reduce students’ speaking anxiety, but that the issue of anxiety in both types of classes requires closer attention and should be addressed by raising student awareness of this issue and employing methods that would encourage students to participate in the classes more actively.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47358193","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 paper focuses on means of the expression containing a chromatic element in their structure. These kinds of expressions are both figurative and denominative names (including occasional names) occurring in the language of politicians themselves or, in general, in the language related to politics in any political context. The aim is to find out, which colours are the most used in political discourse in Spain and Spanish-speaking countries, and how they are used; what the individual colours express and in what connections they occur (collocations, comparisons, metaphorical constructions, terms, etc.). The naming units are excerpted from the web corpora Araneum and CREA so that in the research sample, only one meaning from each usage is included. The lexical units with a chromatic element are analysed throughout lexical-semantic analysis – their use in context, their meanings, and connotations are studied. The study reveals the most and the least used colours in the political context, as well as the most frequent types of naming units in which they appear.
{"title":"COLOURS IN POLITICS IN SPANISH SPEAKING COUNTRIES","authors":"Mária Spišiaková, Nina Mocková","doi":"10.31902/fll.39.2022.14","DOIUrl":"https://doi.org/10.31902/fll.39.2022.14","url":null,"abstract":"The paper focuses on means of the expression containing a chromatic element in their structure. These kinds of expressions are both figurative and denominative names (including occasional names) occurring in the language of politicians themselves or, in general, in the language related to politics in any political context. The aim is to find out, which colours are the most used in political discourse in Spain and Spanish-speaking countries, and how they are used; what the individual colours express and in what connections they occur (collocations, comparisons, metaphorical constructions, terms, etc.). The naming units are excerpted from the web corpora Araneum and CREA so that in the research sample, only one meaning from each usage is included. The lexical units with a chromatic element are analysed throughout lexical-semantic analysis – their use in context, their meanings, and connotations are studied. The study reveals the most and the least used colours in the political context, as well as the most frequent types of naming units in which they appear.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43720518","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}
Kevin Barry’s City of Bohane is one of the most celebrated recent works of Irish fiction. It is set in 2053, and tells the story of a people living in an environment of constant conflict where senseless acts of violence and bigotry are prevalent. This surprisingly negative imagining of Ireland in the future cannot be ignored considering the modern history of the country. The contemporary history of Ireland is fraught with a long and desperate struggle against the English Empire and its colonial forces as they tried for centuries to take over their neighboring island and completely colonize Ireland and its people. The English used two main weapons to further their goals in this matter: brutal military force and cultural sabotage. The cultural sabotage that the English brought to Ireland was mainly done by replacing Gaelic with English as the language of the Irish, and portraying them as culturally inferior and uncivilized in comparison to their English neighbors. Irish literature of the past few centuries has struggled to come to terms with this history of violence and dehumanization perpetuated by the English. Surprisingly, Kevin Barry in his novel callously repeats and escalates most of these negative stereotypes that have plagued Irish literature for years. The following study takes a closer look at the history of colonial violence and negative Irish stereotypes, and argues that City of Bohane is regressive in its depiction of Ireland as culturally ignorant and violent. That is to say, while the story is set four decades into the future, the author inexplicably insists on moving back in time to unearth and repurpose major colonial stereotypes that portray the Irish as uncivilized and backwards, to the great detriment of his innovative style and creative use of language in this novel.
{"title":"VIOLENCE AND BIGOTRY: REGRESSIVE INNOVATION IN KEVIN BARRY’S CITY OF BOHANE","authors":"Hooman Keivanshokuh, A. Vafa","doi":"10.31902/fll.39.2022.4","DOIUrl":"https://doi.org/10.31902/fll.39.2022.4","url":null,"abstract":"Kevin Barry’s City of Bohane is one of the most celebrated recent works of Irish fiction. It is set in 2053, and tells the story of a people living in an environment of constant conflict where senseless acts of violence and bigotry are prevalent. This surprisingly negative imagining of Ireland in the future cannot be ignored considering the modern history of the country. The contemporary history of Ireland is fraught with a long and desperate struggle against the English Empire and its colonial forces as they tried for centuries to take over their neighboring island and completely colonize Ireland and its people. The English used two main weapons to further their goals in this matter: brutal military force and cultural sabotage. The cultural sabotage that the English brought to Ireland was mainly done by replacing Gaelic with English as the language of the Irish, and portraying them as culturally inferior and uncivilized in comparison to their English neighbors. Irish literature of the past few centuries has struggled to come to terms with this history of violence and dehumanization perpetuated by the English. Surprisingly, Kevin Barry in his novel callously repeats and escalates most of these negative stereotypes that have plagued Irish literature for years. The following study takes a closer look at the history of colonial violence and negative Irish stereotypes, and argues that City of Bohane is regressive in its depiction of Ireland as culturally ignorant and violent. That is to say, while the story is set four decades into the future, the author inexplicably insists on moving back in time to unearth and repurpose major colonial stereotypes that portray the Irish as uncivilized and backwards, to the great detriment of his innovative style and creative use of language in this novel.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49102356","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 paper delves into how Kathrin Röggla, an Austrian author, approaches the problem of tackling the topic of catastrophe in her book die alarmbereiten published in 2010. Röggla, nowadays considered one of the most socially committed and engage authors in Germany’s contemporary literature domain, deals relentlessly with such issues as crisis, catastrophe, alarmism and fear in modern-day society. The media occupies one of the most pivotal roles in this process. What all three chapters of the book have in common is that each of them deals with a different problem: potential natural disasters that do not occur, death due to fire or panic fear caused by climate change, and the great economic crisis. All these topics, as well as a number of others, which are discussed in other chapters, are anticipated by the prophetic words from the beginning of the first chapter. From the aspect of the way of narration in the analyzed chapters, consistent writing in lower case is noticeable, the use of conjunctives, narrative self, but narrative self which never narrates in its own name, i.e., it is never directly announced, but his words are transposed through someone else's perspective, or through the perspective of a friend or through the perspective of a student. Also, a different media aspect was applied in all three chapters: in the first they were sessions, in the second a telephone conversation, and in the third a seminar / class. What all the figures have in common is that they are not typical figures, they do not have any personal identity, but are actually voices that indicate certain problems in society. A small number of voices appear, usually two, so the author simulates a speech situation, which is actually absent because that speech situation is reduced to a monologue of one of the voices. The texts are also characterized by the disappearance of figures, which is noticeable in all three texts. Together with all the analyzed chapters, a tragic end was realized or hinted at, in the second explicitly a fatal outcome. In all three scenarios, the figures are both / or observers and / or victims, as the author pointed out in her poetic texts. In this way, it points to the image of the society in which we live.
{"title":"DISASTER SCENARIOS IN KATHRIN RÖGGLA'S DIE ALARMBEREITEN","authors":"Ljiljana Aćimović","doi":"10.31902//fll.39.2022.6","DOIUrl":"https://doi.org/10.31902//fll.39.2022.6","url":null,"abstract":"The paper delves into how Kathrin Röggla, an Austrian author, approaches the problem of tackling the topic of catastrophe in her book die alarmbereiten published in 2010. Röggla, nowadays considered one of the most socially committed and engage authors in Germany’s contemporary literature domain, deals relentlessly with such issues as crisis, catastrophe, alarmism and fear in modern-day society. The media occupies one of the most pivotal roles in this process. What all three chapters of the book have in common is that each of them deals with a different problem: potential natural disasters that do not occur, death due to fire or panic fear caused by climate change, and the great economic crisis. All these topics, as well as a number of others, which are discussed in other chapters, are anticipated by the prophetic words from the beginning of the first chapter. From the aspect of the way of narration in the analyzed chapters, consistent writing in lower case is noticeable, the use of conjunctives, narrative self, but narrative self which never narrates in its own name, i.e., it is never directly announced, but his words are transposed through someone else's perspective, or through the perspective of a friend or through the perspective of a student. Also, a different media aspect was applied in all three chapters: in the first they were sessions, in the second a telephone conversation, and in the third a seminar / class. What all the figures have in common is that they are not typical figures, they do not have any personal identity, but are actually voices that indicate certain problems in society. A small number of voices appear, usually two, so the author simulates a speech situation, which is actually absent because that speech situation is reduced to a monologue of one of the voices. The texts are also characterized by the disappearance of figures, which is noticeable in all three texts. Together with all the analyzed chapters, a tragic end was realized or hinted at, in the second explicitly a fatal outcome. In all three scenarios, the figures are both / or observers and / or victims, as the author pointed out in her poetic texts. In this way, it points to the image of the society in which we live.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69784906","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}
Günter Grass (1926–2015), in his Danzig Trilogy (The Tin Drum – Cat and Mouse – Dog Years), depicted exceptional existences, who are not like most of the Germans before, during and after World War II, resulting in their isolation and the absence of guidance and support from the adults around them. The small-statured Oskar Matzerath critically observes and challenges the world from a frog’s perspective and uses his tin drum as a means of provoking the people around him. Joachim Mahlke, tortured by an inferiority complex, is not able to stand the pressure of social isolation. The half-Jew Eduard Amsel establishes his own underground world, in order to flee the dangers of the aggressive real world. They all experience a deep identity crisis and struggle to strike the right path in their lives, with a greater or lesser degree of success. The subjects of the analysis in this paper are these main figures, their common features and differences, their identity crises and their struggle to deal with these crises. The concept of an identity crisis is discussed here from two aspects: as identity deficit and identity conflict. An identity deficit (crisis of motivation) is the lack of a guiding commitment and struggle to establish personal goals and values. When going through an identity conflict (legitimation crisis), a person has several commitments, and in some situations at least one of them has to be betrayed. The examples of Oskar and Eduard show that art is and remains the only successful means to overcome the discord between the agreement with oneself and with society, and to overcome the identity crisis, which is the result of loss and/or inadequate choice of guiding commitments and values. However, Grass was of the opinion that it is the duty of artists to use their creative potential and talent with a responsibility towards society, to bring enlightenment with their criticism, and therefore help the people to become aware of the reality as it is.
{"title":"THE IDENTITY CRISIS OF AN OUTSIDER: EXCEPTION AND RULE IN GÜNTER GRASS´ DANZIG TRILOGY","authors":"N. Zobenica","doi":"10.31902/fll.41.2022.2","DOIUrl":"https://doi.org/10.31902/fll.41.2022.2","url":null,"abstract":"Günter Grass (1926–2015), in his Danzig Trilogy (The Tin Drum – Cat and Mouse – Dog Years), depicted exceptional existences, who are not like most of the Germans before, during and after World War II, resulting in their isolation and the absence of guidance and support from the adults around them. The small-statured Oskar Matzerath critically observes and challenges the world from a frog’s perspective and uses his tin drum as a means of provoking the people around him. Joachim Mahlke, tortured by an inferiority complex, is not able to stand the pressure of social isolation. The half-Jew Eduard Amsel establishes his own underground world, in order to flee the dangers of the aggressive real world. They all experience a deep identity crisis and struggle to strike the right path in their lives, with a greater or lesser degree of success. The subjects of the analysis in this paper are these main figures, their common features and differences, their identity crises and their struggle to deal with these crises. The concept of an identity crisis is discussed here from two aspects: as identity deficit and identity conflict. An identity deficit (crisis of motivation) is the lack of a guiding commitment and struggle to establish personal goals and values. When going through an identity conflict (legitimation crisis), a person has several commitments, and in some situations at least one of them has to be betrayed. The examples of Oskar and Eduard show that art is and remains the only successful means to overcome the discord between the agreement with oneself and with society, and to overcome the identity crisis, which is the result of loss and/or inadequate choice of guiding commitments and values. However, Grass was of the opinion that it is the duty of artists to use their creative potential and talent with a responsibility towards society, to bring enlightenment with their criticism, and therefore help the people to become aware of the reality as it is.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69785240","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 article identifies kinds of variation in functions of narrative in military discourse and conditions that determine their realization. It proves that the function of narrative proper is observed only in certain types of military didactic discourse, when the speaker’s goal is confined to providing accurate information (teaching how to use weapons, self-defense techniques, etc.). In other types of didactic discourse, the narrative function is supplemented with the functions of educating and affirming society’s value priorities. The types of variation are determined by discourse conditions: the social context of communication and the speaker’s illocutionary goal. In instructive speeches, the function of conveying information can be supplemented with that of affirming society’s value priorities. In informative speeches, the narrative function is often accompanied by the functions of evaluation and refutation of rumors, myths, or someone’s statements. Special occasion speeches are characterized by the rearrangement of functions: the narrative function becomes supplementary, and the functions of evaluation, worldview formation, and value priorities affirmation become the main ones. Inspirational speeches are most often built on the syncretism of narrative and persuasion. In all speech genres of military discourse, the function of a grand narrative is the formation of military personnel’s positive image.
{"title":"VARIATION IN FUNCTIONS OF NARRATIVE IN MILITARY DISCOURSE","authors":"L. Pelepeichenko, Tetiana Podufalova, S. Revutska","doi":"10.31902/fll.40.2022.11","DOIUrl":"https://doi.org/10.31902/fll.40.2022.11","url":null,"abstract":"This article identifies kinds of variation in functions of narrative in military discourse and conditions that determine their realization. It proves that the function of narrative proper is observed only in certain types of military didactic discourse, when the speaker’s goal is confined to providing accurate information (teaching how to use weapons, self-defense techniques, etc.). In other types of didactic discourse, the narrative function is supplemented with the functions of educating and affirming society’s value priorities. The types of variation are determined by discourse conditions: the social context of communication and the speaker’s illocutionary goal. In instructive speeches, the function of conveying information can be supplemented with that of affirming society’s value priorities. In informative speeches, the narrative function is often accompanied by the functions of evaluation and refutation of rumors, myths, or someone’s statements. Special occasion speeches are characterized by the rearrangement of functions: the narrative function becomes supplementary, and the functions of evaluation, worldview formation, and value priorities affirmation become the main ones. Inspirational speeches are most often built on the syncretism of narrative and persuasion. In all speech genres of military discourse, the function of a grand narrative is the formation of military personnel’s positive image.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69785523","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}
O. Slipushko, Olena Zadorozhna, O. Gayevska, O. Lisovska, A. Katyuzhynska
This study explores the peculiar features of the conceptual worldview of Ukrainian writers active during the Renaissance (late 15th-16th centuries). Its ultimate goal resides in analyzing the most common interpretations of the concepts of history, state, freedom, ruler, and war by authors working on the territory of Ukraine during the Renaissance period and defining the conceptual ideas represented by these concepts. The relevance of this research is explained by the fact that the Renaissance authors appeal to the concepts significant for any epoch. The specifics of the interpretation of history and its representation in the artistic perceptions of the authors of this period are based on an authentic tradition, the European Renaissance trends, and the revival of ancient heritage. In general, the study is grounded on the semantic-cognitive analysis of the works of Renaissance representatives working on the that-time territory of Ukraine (Adam Chagrovsky, Mikolaj Hussowski, Martin Pashkovsky, Sebastian Klonowic, Szymon Pekala, Maciej Stryjkowski, and Stanislaw Orikhovsky). The conceptual fields of each concept selected for analysis were developed in accordance with the individuality of the notions by which Renaissance authors described them. In sum, this paper argues that the worldview of Ukrainian Renaissance litterateurs is characterized by the awareness of the sociopolitical and cultural-literary need to write about history, its role, and place in the context of world processes. No less critical here is their understanding of the mission of personality in history and the analysis of the activities of historical figures and the reality of that time. Thus, the work of Renaissance authors is predominantly characterized by an expressive anthropocentric, humanistic, and patriotic direction. The practical significance of this research lies in the possibility of applying the semantic-cognitive approach to the analysis of leading concepts in Renaissance creativity.
本研究探讨了活跃在文艺复兴时期(15 -16世纪后期)的乌克兰作家的概念世界观的独特特征。它的最终目的在于分析文艺复兴时期研究乌克兰领土的作者对历史、国家、自由、统治者和战争等概念的最常见解释，并定义这些概念所代表的概念。这一研究的相关性可以用文艺复兴时期的作者对任何时代都有意义的概念的吸引力这一事实来解释。历史的具体解释及其在这一时期作者的艺术观念中的表现是基于一个真实的传统，欧洲文艺复兴的趋势，以及古代遗产的复兴。总的来说，这项研究是基于对文艺复兴时期代表人物在当时乌克兰领土上工作的作品的语义认知分析(Adam Chagrovsky, Mikolaj Hussowski, Martin Pashkovsky, Sebastian Klonowic, Szymon Pekala, Maciej Stryjkowski和Stanislaw Orikhovsky)。选择用于分析的每个概念的概念领域都是根据文艺复兴时期作者描述它们的概念的个性发展起来的。总之，本文认为乌克兰文艺复兴时期文学家的世界观的特点是意识到社会政治和文化文学需要写历史，它的角色，以及在世界进程的背景下的位置。同样重要的是他们对人格在历史中的使命的理解，以及对历史人物活动和当时现实的分析。因此，文艺复兴时期作家的作品主要以表达人类中心主义、人文主义和爱国主义为特征。本研究的现实意义在于将语义-认知方法应用于文艺复兴时期创作的主要概念分析的可能性。
{"title":"CONCEPTUAL WORLDVIEW IN THE WORKS OF UKRAINIAN WRITERS: THE RENAISSANCE CREATIVITY","authors":"O. Slipushko, Olena Zadorozhna, O. Gayevska, O. Lisovska, A. Katyuzhynska","doi":"10.31902/fll.40.2022.1","DOIUrl":"https://doi.org/10.31902/fll.40.2022.1","url":null,"abstract":"This study explores the peculiar features of the conceptual worldview of Ukrainian writers active during the Renaissance (late 15th-16th centuries). Its ultimate goal resides in analyzing the most common interpretations of the concepts of history, state, freedom, ruler, and war by authors working on the territory of Ukraine during the Renaissance period and defining the conceptual ideas represented by these concepts. The relevance of this research is explained by the fact that the Renaissance authors appeal to the concepts significant for any epoch. The specifics of the interpretation of history and its representation in the artistic perceptions of the authors of this period are based on an authentic tradition, the European Renaissance trends, and the revival of ancient heritage. In general, the study is grounded on the semantic-cognitive analysis of the works of Renaissance representatives working on the that-time territory of Ukraine (Adam Chagrovsky, Mikolaj Hussowski, Martin Pashkovsky, Sebastian Klonowic, Szymon Pekala, Maciej Stryjkowski, and Stanislaw Orikhovsky). The conceptual fields of each concept selected for analysis were developed in accordance with the individuality of the notions by which Renaissance authors described them. In sum, this paper argues that the worldview of Ukrainian Renaissance litterateurs is characterized by the awareness of the sociopolitical and cultural-literary need to write about history, its role, and place in the context of world processes. No less critical here is their understanding of the mission of personality in history and the analysis of the activities of historical figures and the reality of that time. Thus, the work of Renaissance authors is predominantly characterized by an expressive anthropocentric, humanistic, and patriotic direction. The practical significance of this research lies in the possibility of applying the semantic-cognitive approach to the analysis of leading concepts in Renaissance creativity.","PeriodicalId":40358,"journal":{"name":"Folia Linguistica et Litteraria","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69785475","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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