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EN
For a long time, Thematic roles have received much attention, raising many disputes and controversies, but they still remain a ‘murky construct’ (Newmeyer, 2010, Rissman and Majid, 2019). Dowty’s words of 1986 that “the perennial vexing problem is the lack of agreement among linguists as to which thematic roles exist, and the absence of any obvious way to decide this question” still hold true. Departing from the traditional ‘intuitive semantic’ approach, I provided evidence that Thematic roles are indispensable components of image schemas, and constitute a scaffolding for language structures (2022, forthcoming). A natural question arose then, where they come from in the image schemas. Fillmore (1968) proposed that they may be, “presumably, innate concepts”, while Langacker (1991) alluded to their “nonlinguistic” origin. The present paper argues that Thematic roles come from “nonlinguistic” sources, i.e., human interpretation and categorization of reality, completing the Thematic roles embodiment process.
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Film Novelization as Multimodal Translation

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EN
Novelization, i.e. a literary adaptation of a film, despite its widespread presence on the book market, was treated as a merely commercial phenomenon, and until the late 1990s, it did not inspire any academics research. The main objective of this paper is to show that the phenomenon of novelization can offer new opportunities for linguistics and to reconsider the place of novelization in adaptation and translation studies. It is claimed that the process of film-to-book transformation can be called a translation process. The term multimodal translation is adopted since transforming a multimodal text (film) into a monomodal one (book) involves a change of modalities and their density. What follows is an attempt to propose tools that can be used for the effective analysis of multimodal translation, which involve the classical Aristotelian view of the three-part plot of verbal texts and Elżbieta Tabakowska’s theory of cognitive translation. In order to illustrate the film–book translation process, an Interstellar film segment and its book counterpart are analyzed and the conclusion has been drawn that both the film and the book units use the same orientational image schemata. These findings prove that the extension of Tabakowska’s theory to multimodal texts is an adequate framework for the comparison of a film and its novelization.
EN
In the field of comics studies, which evolved from a mere topic area into a burgeoning field of inquiry at the turn of 1980s and 1990s, the dialogue about meaning in comics was initiated by practicing cartoonists, who proposed new lines of research and introduced serviceable terminology which remains in use even today. These early contributions may have provided a solid basis for the investigation of meaning in comics, but they were repeatedly criticized for their lack of an academic orientation prerequisite for serious-minded comics scholarship. With the onset of the new millennium, it was linguistic theory that came to be called upon with increasing frequency to provide the missing orientation. Recent observers point out that for over a decade linguistics in general, and cognitive linguistics in particular, has informed much of the most insightful comics research. This paper is an attempt to contribute to the intersection of cognitive linguistics and comics scholarship by demonstrating that a number of conceptual metaphors whose linguistic manifestations have been studied in considerable detail facilitate, either separately or jointly, the conceptualization of the main formal unit of comics: the so-called panel. It appears that depending on what individual panels are taken to refer to (events, states, periods of time, visual fields, portions of the world of the story), they are metaphorized in different ways (as objects, containers, windows onto the world of the story), in accordance with a central tenet of conceptual metaphor theory whereby metaphors highlight some aspects of the metaphorized concept and simultaneously hide others. On the one hand, this paper adds to the growing body of research demonstrating that metaphor is a conceptual mechanism which transcends language; on the other, it adds to the dialogue about how comics achieve meaning by discussing the metaphorical underpinnings of the panel, and by framing this discussion in terms of cognitive linguistics, a scholarly tradition with which comics studies have successfully intersected.
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PL
Celem artykułu jest omówienie koncepcji schematów mimetycznych (mimetic schema), zaproponowanych przez Jordana Zlateva, i jej zastosowanie w opisie semantyki gestów ikonicznych. Schematy mimetyczne cechuje większa szczegółowość, a więc i mniejszy stopień abstrakcji niż schematy wyobrażeniowe (image schema), dotychczas najczęściej stosowane w badaniach semantyki metafor i gestów. W artykule zostaną omówione właściwości schematów mimetycznych oraz ich porównanie ze schematami wyobrażeniowymi. W części analitycznej zostaną zaprezentowane wyniki badań mających na celu wydobycie tych schematów na podstawie obserwacji gestykulacji i wypowiedzi uczestników podczas trzech sesji zadaniowych.
EN
The aim of the article is to discuss the concept of mimetic schemas, proposed by Jordan Zlatev, and its application in the description of the semantics of iconic gestures. The mimetic schemas are characterized by greater details, and therefore a smaller degree of abstraction than the image schemas, which are most frequently used in the study of metaphors and gestures. The article will discuss the properties of mimetic schemes and their comparison with image schemas. The analytical part will present the results of research aimed at extracting these schemas based on the observation of gestures and statements of participants during three task sessions.
PL
Autor wykorzystuje pojęcie wyidealizowanego modelu kognitywnego (WMK), który mieści w sobie pojęcia konotacji i znaczenia „emotywnego” oraz całość ludzkiego doświadczenia. Celem jego badania jest dotarcie do podstaw doświadczeniowych wartości, które mają korzenie w zmodyfikowanej wersji przedpojęciowych schematów wyobrażeniowych, wcześniej opisanych przez Johnsona i Lakoffa. Wyróżniają oni dwa rodzaje struktur opisujących doświadczenia przedpojęciowe: struktury poziomu podstawowego i kinestetycznych schematów wyobrażeniowych. Znaczenie jest ucieleśnione, wyabstrahowane z kontekstu ludzkich doświadczeń. Struktura poziomu podstawowego jest związana z kategoriami poziomu podstawowego, które definiuje się za pomocą pojęć takich, jak percepcyjne gestalty, zdolność poruszania się i zdolność tworzenia „pełnych obrazów mentalnych”. Ze struktury kinestetycznych schematów wyobrażeniowych pojęcia metaforyczne wyrastają poprzez projekcje metaforyczne z dziedzin materialnych do dziedzin abstrakcyjnych. Wśród tych schematów można wyróżnić: POJEMNIKI, ŚCIEŻKI, POŁĄCZENIA, SIŁY i RÓWNOWAGĘ oraz takie orientacje i relacje, jak: GÓRA – DÓŁ, PRZÓD – TYŁ, CZĘŚĆ – CAŁOŚĆ, CENTRUM – PERYFERIE i inne. Autor dowodzi tezy, że każdy schemat wyobrażeniowy zaproponowany przez Lakoffa i Johnsona musi mieć dodatkowy parametr PLUS – MINUS. Ów parametr ulega aktywizacji w konwencjonalnych i niekonwencjonalnych wyrażeniach językowych, mających swoją podstawę w odpowiednim schemacie. Parametr ów ujawnia się w odpowiednich projekcjach metaforycznych.
EN
The author uses the notion of the Idealized Cognitive Model (ICM), which comprises the notions of connotations and emotive meaning as well as the entirety of human experience. The aim of his study is to arrive at the bases of experiential values which are rooted in a modified pre-notional image schemas that were previously described by Johnson and Lakoff. They distinguish two types of structures depicting pre-notional experience: basic level structures and kinaesthetic image schemas. Meaning is embodied, distilled from the context of human experience. The structure of the basic level is related to the basic level categories, which are defined by such notions as perceptual Gestalts, the ability to move and create ‘full mental images’. Metaphorical concepts arise from the structure of kinaesthetic image schemas through metaphorical projections from the realm of the concrete to the realm of the abstract. Among these schemas, one may distinguish the following: CONTAINERS, PATHS, CONNECTIONS, FORCES and BALANCE, as well as spatial dimensions/orientations and relations such as: UP – DOWN, FRONT – BACK, PART – WHOLE, CENTRE – PERIPHERY, and so on. The author proves that every image schema proposed by Lakoff and Johnson has to have an additional parameter PLUS – MINUS. The said parameter is activated in conventional and unconventional linguistic expressions that are rooted in a particular schema. The said parameter manifests itself in relevant metaphorical projections.
PL
Celem prezentowanego artykułu było zbadanie, jakie pojęcia i schematy wyobrażeniowe służą użytkownikom polszczyzny do rozumienia gniewu i mówienia o nim. Materiał badań stanowiły polskie nazwy gniewu i różnych jego odcieni oraz zachowań z nim związanych (przede wszystkim związki frazeologiczne). W analizie wykorzystano pojęcia i metody zaproponowane przez Lakoffa w rozdziale na temat struktury angielskiego pojęcia ANGER (G. Lakoff, Women, Fire and Dangerous Things. What Categories Reveal About the Mind, Chicago 1987). W głównej części artykułu – dzięki deleksykalizacji utrwalonych jednostek językowych – można było przedstawić objawy fizjologiczne gniewu, zastygłe w języku, oraz odtworzyć metonimie i metafory pojęciowe, które wspomagają nasze myślenie o gniewie i mówienie o nim. Efektem końcowym pracy było wskazanie trzech grup czynników, współtworzących kognitywny obraz gniewu w polszczyźnie. Należą do nich: (1) proste schematy wyobrażeniowe: RÓWNOWAGA, POJEMNIK, RUCH (W GÓRĘ / W DÓŁ), (2) pojęcia stanowiące klucz do rozumienia gniewu (źródło metafor): BÓL FIZYCZNY, CIĘŻAR, CHOROBA CIAŁA, WŚCIEKLIZNA, SZALEŃSTWA, ZATRUCIE, BURZOWA POGODA, NIEBEZPIECZNE ZWIERZĘ, PRZECIWNIK, DIABEŁ, PUŁAPKA, WIĘZIENIE, MORZE, OGIEŃ, GORĄCA CIECZ, (3) różne aspekty pojęcia GNIEWU: przyczyna, sprawca i obiekt uczucia, subiekt, uczucie i jego ocena, intensywność, głębokość i trwałość uczucia oraz możliwość kontrolowania go, a także objawy uczucia.
EN
The aim of the paper is to establish what concepts and image schemata are utilized by speakers of Polish to understand and talk about anger. The study is based on the material of Polish terms of anger in its various shades (mainly phraseological expressions) as well as patterns of behaviour connected with it. We make use of the concepts and methods proposed by Lakoff (G. Lakoff, 1987, Women, Fire and Dangerous Things. What Categories Reveal About the Mind, Chicago: Chicago Press) in the chapter on the structure of the English concept of ANGER. In the main body of the paper, owing to the delexicalization of some fixed expressions, it has been possible to present the physiological symptoms of anger, “frozen” in language. It has also been possible to reconstruct the metonymies and conceptual metaphors which aid our thinking and talking about anger. The final result of the analysis is the designation of three groups of factors which constitute the cognitive portrait of anger in Polish. These are: 1. Simple image schemata: EQUILIBB.IUM, A CONTAINER, MOVEMENT (UP/ DOWN). 2. Concepts which serve as the key to understanding anger (the source of metaphors): PHYSICAL PAIN, WEIGIIT (7BURDEN?), BODILY ILLNESS, RABIES, MADNESS, POISONING, STOR.MY WEATHER, DANGEROUS ANIMAL, ENEMY, DEVIL, TRAP, PRISON, SEA, FIRE, HOT LIQUID. 3. Various aspects of the concept of anger: the cause, the causer and the object of the emotion, the recipient, the subject, the emotion itself and its evaluation, the degree of its intensiveness, its depth and permanence, the possibilty of bringing it under control, and its symptoms.
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