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1

KORELÁCIA MEDZI TEMPORÁLNYM VÝZNAMOM ANTEPRÉTERITA A TEXTOM V SLOVENČINE

100%
Kesselová J.
Slovenská reč (Slovak Language)
|
2022
|
vol. 87
|
issue 1
37 – 60
EN
The research on the relationship between antepreterite (AnteP) and text focuses on the following questions: (a) To what extent is an antepreterite a living form in Slovak? (b) Does antepreterite function as a grapheme with a temporal function or is it a stylistic variant of the preterite (past tense)? (c) How do the functions of antepreterite correlate with the oral/written realization of the text and its stylistic differentiation (scientific/ journalistic style)? The research is carried out on the extensive material of the corresponding sub-corpora of the Slovak National Corpus and the Slovak Spoken Corpus. The results can be summarized as follows: (a) AnteP is a marginal form, its frequency in the written text has significantly decreased since the mid-1990s; in orally realized communication, its speakers are mainly in the 70-90 age range. At the same time, however, it is a living form in some specific functions: in spoken text, as a means of social and personal deixis, it characterizes a person using what he or she has had. In memoir narrative, it signals the experience of spatial, temporal, and generational distance. In the scientific style, the AnteP of communicative verbs dominates. It specifically functions as a means of intertextuality. In the 1st person singular (as I had told/ako som bol povedal; as I had written/ako som bol napísal) it refers to a communicative act from the quite recent past. From a temporal identifier, it becomes a pragmatic comment. In the journalistic style, the rate of representation of AnteP is the lowest, but the rate of innovation of its form and function is the highest. Antepreterite is most prominent in journalistic texts as a stylistic variant of preterite and a part of the individual personal style of an author.
2

FRANS FLORIS AND DISEGNO. A RETURN TO THE QUESTION

86%
Wouk E. H.
ARS
|
2009
|
vol. 42
|
issue 1
47-63
EN
The article offers an evaluation of the fundaments of Floris's theory of disegno by considering drawings that do not fit comfortably into any of the categories (studies after Ancient or contemporary Italian art, modelli, designs for prints, and designs for the decorative arts), defined by the artist's biographer, Carl Van de Velde. Following his return from Italy, Floris broadened the scope of Lambert Lombard's practice of disegno. The works analyzed here suggest that although Floris remained indebted to Lombard's vision of the creative process of drawing, he also retooled its uses to ensure a degree of uniformity in workshop production and a successful and prolific dissemination of personal style.
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