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1

Turning a blind eye to dying and eroticism: some remarks on contemporary cinema

100%

Jakubowska M., Michałowska M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 21

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issue 30

EN

Since the beginning of the cinematographic industry there has been a visible interest in exploring two themes: death and sex, whereas the motif of dying and sexuality/eroticism seem to be mutually exclusive in mainstream movies to such extent that they rarely appear together on the screen. To shed some light on this cinema tendency of separating eroticism from dying we investigate some of the factors of the phenomenon as well as the ones that could have contributed to the shift we have noticed. The majority of films devoted to the subject of dying and eroticism concentrate on a very limited range of visual and narrative schemes. In our paper we present the main clichés, plot and visual schemes, motifs and narrative techniques in contemporary cinema. Although the unique power of the cinema is “matter of making images seen”, it could be argued that the cinema uses not only the command ‘open your eyes to’, but also the command ‘close your eyes to’. In this way, audiovisual culture closes its eye to the entwinement of the motif of dying with the themes of eroticism.

2

Clichés and pragmatemes

84%

Mel’čuk I.

Neophilologica

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2020

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vol. 32

9-20

FR

In order to properly classify the phraseme (that is, a constrained, or non-free, expression) No parking, a universal typology of lexical phrasemes is proposed. It is based on the following two parameters:• The nature of constraints- Lexemic phrasemes: the expression is constrained with respect to freely constructed meaning.- Semantic-lexemic phrasemes: the expression is constrained/non-constrained with respect to the meaning constrained by the conceptual representation.- Pragmatemes: the expression is constrained with respect to pragmatic conditions, that is, to the extralinguistic situation of its use (in a letter, on a street sign, on a package of perishable food).• The compositionalityThe expression can/cannot be represented as regular “sum” of its components.As a result, we have, firstly, the following major classes of lexical phrasemes:1) Non-compositional lexemic phrasemes: idioms (˹cold feet˺, ˹shoot the breeze˺)2) Compositional lexemic phrasemes: collocations (rain heavily, pay a visit)3) Non-compositional semantic-lexemic phrasemes: nominemes (Big Dipper, New South Wales)4) Compositional semantic-lexemic phrasemes: clichés (See you tomorrow! | Absence makes the heart grow fonder.)For clichés, the least-studied class of phrasemes, a more detailed classification is proposed (as a function of the type of their denotation). Secondly, each phraseme (except a nomineme) and each lexemes can be pragmatically constrained, i.e. a pragmateme: ˹Fall out!˺ (idiom; a military command) | Take aim! (collocation; a military command) | Emphasis mine/added (cliché; in a printed text) | Rest! (lexeme; a military command).

3

Transformacje translatorskie w przekładzie bułgarskiej bajki magicznej "Trzej bracia i złote jabłko" (kod estetyczny)

67%

Mleczko J.

Przekłady Literatur Słowiańskich

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2009

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vol. 1

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issue 1

58-68

BG

Обект на внимание в статията са трансформациите, извършени в полския превод на приказката "Тримата братя, ябълката и ламята", публикувана в сборника "Złota moneta za słowo. Bułgarskie bajki i legendy ludowe" (избор и увод Георги Минчев, Лодз 2006). Анализът се съсредоточава върху естетическия код на превода — начините, по които прeводачът предава в процеса на транслацията такива стилистични особености на устния стил като: повторителност, формулност и клишираност на езика. Особено внимание е посветено на преводните трансформации на ниво синтаксис: разискват се извършените при транслацията преобразувания в изреченските структури, промени в словореда, във вида на синтактичните връзки и в сегментирането на текста. Oт полския текст личи, че преводачът няма усет за превеждания жанр, в следствие на което преводът му е лишен от най‑важните присъстващи в оригинала черти, характерни за фолклорните текстове изобщо, както и за вълшебната приказка в частност.

EN

The article discusses translation transformations in Polish version of the Bulgarian fairy tale "Trzej bracia i złote jabłko" (Three Brothers and the Golden Apple). The fairy tale has been published in the collection "Złota moneta za słowo. Bułgarskie bajki i legendy ludowe" (Golden Coin for a Word. Bulgarian Fairy Tales and Legends — selection and introduction by Georgi Minczew, Lodz 2006). The main subject of the analysis is aesthetic code of the translation — the ways the translator has shown specific features of the oral text such as repetitions, forms and clichés. The author of the article is particulary focused on traformations on syntactic level (transformations in statements structures, changes in words order and text segmentation). The choices made by the translator prove that he wasn’t fully aware what literature genre he is translating. As the result, the translation is lacking essential for folk texts, and for fairy tale in particular, stylistic features which appear in the original.

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1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Neophilologica

1 Przekłady Literatur Słowiańskich

1 Jakubowska M.

1 Mel’čuk I.

1 Michałowska M.

1 Mleczko J.

1 2020

1 2017

1 2009

Turning a blind eye to dying and eroticism: some remarks on contemporary cinema

Clichés and pragmatemes

Transformacje translatorskie w przekładzie bułgarskiej bajki magicznej "Trzej bracia i złote jabłko" (kod estetyczny)