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PL
This article revolves around research into the language of the media with special emphasis placed on a description of the fundamental mechanisms of condensing content in printed and audio and visual media. Condensation is among the basic tools of content accumulation; it is related to simplifying the message, generalization and stylistic deformations. Mechanisms applied to summarize have been identified within various areas, including construing messages and releasing to media as well as modes of organizing the content. Of importance here is the trend of replacing verbal messages with visual messages (tables, photos, information graphics, charts, coverage). While condensation is reflected in media as a communication-related activity strictly functionalized within a message, in its structure (cf. the summarizing role of titles, leads, visualizations), it is also conditioned by genre-related issues (cf. news, previews etc.) and most times results from the broadcaster’s strategic efforts.
EN
The article focuses on the classic Franco‑Belgian comic book series Thorgal created by Jean Van Hamme and the Polish graphic artist Grzegorz Rosiński, which enjoys a special status in Polish culture. Combining elements of fantasy, science‑fiction and Norse mythology, thirty years after its creation, it belongs to one of the most popular titles on the Polish comic book market. The focus of the present study is on the opening album of the series, La magicienne trahie [The sorceress betrayed], which was translated into Polish at three different moments in time, i.e. in 1978, 1988, and 2004. The aim of the article is to establish the nature of the discrepancies between the three translations with regard to their accuracy and the translators’ treatment of cultural specificity.
3
87%
Stylistyka
|
2016
|
vol. 25
467-474
EN
The article is oriented towards the presentation of some specific aspects of Czech spoken syntax, namely condensation. The material upon which the features of the syntactic structures and the manner of dividing the dialogue into various units are demonstrated consists of authentic informal conversations.
EN
The article concerns textual phenomena in the poetry of Urszula Kozioł, which constitute a part of a linguistic method for examining relations between elements of poetic language. The examples discussed concern free verse – they reveal elaborate structures and linguistic processes focused on syntactic condensation, poetic accommodation, elliptic verse or phraseological trace. In the poetry of Kozioł, especially phraseology is original, which makes the receptive perspective adopted at describing linguistic phenomena representative of complicated formal-semantic processes. The draft is an attempt to read the Poet’s texts with the use of linguistic tools, so it not only gives a complete picture of an individualised poet but helps to point out peculiarities, the examination of which requires a reflection on language perception in poetic structures.
PL
The rules of opinion journalism, presented in numerous source materials, indicate that an opinion article is constructed in line with the argumentative order: the right selection of arguments is to result in proving a thesis put forward in the text. However, more and more frequently opinion journalists offer the readers an attempt at finding out about the meanderings of politics or the economy single-handedly: temporal narration ordering fragments of texts allows to trace events “frame by frame”. Short sentences, nominal statements, verbs impersonal forms, in the present tense: the reader has no problem with following them. The reader learns about the answers to basic questions important in construing journalism information. Creation of some sort of a report is a transformation stage in an opinion journalist’s work; to a reader this is an extra and superfluous element. The phenomenon of temporality is also related to the fact that the analysed texts are about themselves: by resorting to the first person singular/plural, the author or authors describe their journalist activities, meetings with specific individuals (sources of information), problems with data verification, sometimes with obtaining data. In the course of analyses, the following relation emerges: redundancy – condensation necessitating a more in-depth analysis with respect to the rules underlying contemporary opinion journalism genres.
EN
The paper outlines a research perspective in reference to literary grammar. A philological analysis of literary texts allows an insight into several peculiar manifestations of grammatical dynamic assuming that texts have linguistic potentiality determined by various factors. These factors include syntagmaticity, specificity of situational language use in reference to repeatable textual elements, categorization mechanisms or – in a slightly different conceptualization – textual fluidity. Examples discussed in this paper are an introduction to basic elements significant in grammar-oriented analyses. Ambiguity and redundancy are identified as two most significant issues.
PL
Artykuł stanowi próbę nakreślenia perspektywy badawczej w odniesieniu do gramatyki literatury. Filologiczny sposób analizy tekstów literackich skłania autora do przyjrzenia się kilku swoistym przejawom dynamiki gramatycznej przy założeniu, że tekstom przynależna jest językowa potencjalność determinowana przez różne czynniki. Wśród nich wymienia się przestrzenność struktury wiersza (syntagmatyczność), specyfikę sytuacyjnego użycia języka z odniesieniem do powtarzalnych elementów tekstotwórczych, mechanizmy kategoryzacji czy – w nieco innym ujęciu – płynność tekstu. Omówione przykłady tekstów literackich stanowią wprowadzenie podstawowych elementów istotnych w podejmowaniu prób analitycznych skoncentrowanych na zjawiskach gramatycznych. Wśród problemów najistotniejszych wskazuje się niejednokształtność i redundancję.
EN
It is extremely difficult to defie the concept of interpreting strategies from a theoretical (description of interpreting process), practical (performing interpreting task) or didactic point of view (teaching how to solve interpreting problems). We are as yet unable to explicitly distinguish the features of such strategies that are characteristic of interpreting. In many studies strategies are commonly referred to as methods, tactics, competences or norms in interpreting. The aim of the article is to present different classifications and taxonomies of interpreting strategies and to propose three strategies specific in interpreting, i.e. anticipation strategy which allows the interpreter to achieve simultaneous listening and speaking, condensation strategy which facilitates working under time pressure, while conveying complete information, and notation strategy which supports the interpreter's short-term memory.
EN
This paper focuses on the acquisition of the second language (L2) and the development of syntactic competence in communication. The topic is discusses in relation to syntactic structure of narratives produced by Polish learners of French L2. The author observes in detail how language learners build simple and complex sentences (coordinating/subordinating conjunctions, complex/simple sentences ratio, para- and hypotactic sentence structures) at the three different moment of SLA: 6th, 12th and 35th month of their classroom learning/teaching (developmental and comparative approach).
EN
Parabola is the essence of the short film Two Men and a Wardrobe (and likewise Mammals and The Fat and the Lean). Parabola is dominant of the genre, not merely an occasional and distinguishing attribute. In its interior, we find traces of other genres. These include noir comedy, slapstick burlesque, existential drama, the thriller, and drama of the absurd, grotesque and macabre. The poetic dimension of Polanski’s short film, in which reality confronts and permeates the skilfully constructed and captivating fantasy presented by the artist, allowing all the elements of the genre to be combined into a common whole.
PL
Parabola is the essence of the short film Two Men and a Wardrobe (and likewise Mammals and The Fat and the Lean). Parabola is dominant of the genre, not merely an occasional and distinguishing attribute. In its interior, we find traces of other genres. These include noir comedy, slapstick burlesque, existential drama, the thriller, and drama of the absurd, grotesque and macabre. The poetic dimension of Polanski’s short film, in which reality confronts and permeates the skilfully constructed and captivating fantasy presented by the artist, allowing all the elements of the genre to be combined into a common whole.
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