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RUSSIAN 'CHTO BYLO, TO BYLO', POLISH 'CO BYLO, TO BYLO': ARE THE RULES OF PRAGMATICS LANGUAGE-SPECIFIC?

100%
Zeldovich G.
Studies in Polish Linguistics
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2005
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vol. 2
49-59
EN
It is shown that the actual interpretation of the Russian set phrase 'Chto bylo, to bylo' (what was, was) and its Polish literal equivalent 'Co bylo, to bylo', which seem to be quite different, is determined not by disparity of pragmatic rules operative in each language (as submitted by Bulygina and Shmelev) but by specificity of Polish concept of the world.
2

K PROBLÉMU TAUTOLOGICKOSTI V TEÓRII EVOLÚCIE

100%
Gálik D.
Filozofia (Philosophy)
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2012
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vol. 67
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issue 7
545 – 556
EN
Attributing tautologism to the principle of natural selection is one of the widely used arguments against the scientific status of the evolutionary theory. The paper outlines one of the common versions of this objection and offers a possible answer drawing on the structure of the principle of natural selection.
3
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Lexikografická synonyma, kookurenční profily a ekvivalentace německých abstrakt

88%
Vachková M.
Časopis pro moderní filologii (Journal for Modern Philology)
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2009
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vol. 91
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issue 2
78-90
EN
The German word-formation system is highly organized and systematized. This fact enables the authors of monolingual dictionaries to easily construct formally uniform meaning explications (e. g., Verklärung is explicated by means of the lexicographic synonyms das Verklären, das Verklärtwerden, das Verklärtsein). This strategy represents a scientific standard in German works. However, bilingual lexicographers who work with monolingual German dictionaries as important sources know that this usage makes finding Czech equivalents harder. Functionequivalent translation can be achieved by using new corpus tools (Related Co-occurrence Profiles, Co-occurrence Analysis, Self-Organizing Maps, Semantic Proximity Models) which help to identify clusters and hierarchized German synonyms.
4
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Zbigniew Dłubak. Od sensu ukonstytuowanego do konstytucji sensu

45%
Brogowski L.
Sztuka i Dokumentacja
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2012
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issue 6
55-62
EN
The article is based upon his translation of a French text published in 1994. The text was part of a catalogue featuring an individual exhibition by Zbigniew Dlubak in Maison des expositions de Genas. There were some minimal changes introduced by the author to the original work entitled “Du sens constitué à la constitution du sens.” The text highlighted the originality of the artist's inspirations: on the one hand — similarly to other conceptualists in 1960-1970 — Dłubak was interested in semiotics and linguistics. However he was more captivated by Jakobson and Mukarowsky than Ayer and Wittgenstein. On the other hand, in a similar way to some 20th century painters, he intuitively discovered the procedures of phenomenology. Dlubak's contribution to conceptual art is based on a 'structural-painterly' approach to art, which is reminiscent of Maurice Merleau-Ponty's philosophy. According to this French philosopher, language signs are 'forms in blanco'. For Dlubak, a work of art is an 'empty sign', which will acquire meaning during a process which Dlubak equaled with the work of art itself. The artist suggested an original—phenomenological—concept of aesthetic experience, which was based on the idea of stepping outside 'the world of meaning' in a search for the source where the sense of art is constituted. The discovery of the process in which the sense of art emerges and understanding its mechanisms, stand in opposition to aesthetic concepts, as these aesthetic concepts find the style as the main goal of art creation and assume that for an artist a specific style represents a specific way of thinking. Breaking away from the stylistic focus and from thinking in the categories of style, is one of the most significant elements of creation according to Dlubak; a style is an ossified and fossilised sense. One of his characteristic strategies, which is aimed at overcoming the category of style, is a parallel and concurrent use of painting and photography. He underlined the overlapping of artistic and cognitive processes and by doing so, Dlubak arrived at an original concept—not very new in the history of aesthetic thought—which sees art as ‘principle to the liveliness of one’s mind’.
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