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EN
Classwork based on dictionary definitions has not been fully appreciated in the methodology of teaching a foreign language, perhaps due to the fact that the potential such definitions offer for a variety of classroom activities has not been as yet recognized. Additionally, one has to note a very strong belief among teachers that incorporating definitions into one’s teaching methods can only produce beneficial effects to advanced students. The present article attempts to demonstrate a full range of possibilities opened by the use of definitions as a teaching technique, not only in lexical learning but also in developing the student’s communicative and compensatory competence, or as an introduction to monolingual dictionary based classroom activities.
EN
The development of the Internet gave life to Internet memes. Their diversity and rapid growth contributed to the formation of the memosphere, the development of which is accompanied by the emergence of lexical innovations. These include language memes and the names of meme genres. All of them are the result of linguistic creativity, which in relation to the names of meme genres, covers several stages: English loanwords for the name of the meme genre, their adaptation in Russian, changes in semantics, and preference for specific neologisms. The concept of lexical innovation was apprehended on the foundation of Markovsky’s concept. The study of lexical innovations was carried out within the framework of the structural-semantic direction, as well as on the basis of the theory of Kotelova and the concepts of Rakhmanova and Suzdaltseva. Studies have shown that semantic changes in the names of meme genres are associated with a denotation change. Changes in the semantics of word loaning are very dynamic as English loanwords enable the swift naming of new realities. This tendency towards the internationalization of vocabulary is related to the Internet and the memosphere. The obtained results fill the gap in the study of vocabulary related to the memosphere. A few studies of meme genres relate to their description and analysis, yet do not focus on the semantic and graphic modification of loanwords. This work presents the unprecedented mechanisms and stages of the formation of meme genres names.
PL
W artykule chcemy zwrócić uwagę na językowe, kulturowe i historyczne aspekty dwóch rodzajów wierszy: poezji konkretnej i tzw. Elfchen, ich różnych postaci, jak również na ich użyteczność w nauczaniu języka obcego (tu: niemieckiego). Poezja konkretna ma swe źródło w literaturze, i choć nie była z założenia przeznaczona do zastosowania w nauczaniu języka obcego, dobrze się w nim sprawdza. Wymaga od uczących się kreatywnej interpretacji tylko pozornie prostych tekstów, co łączy się każdorazowo z refleksją nad zazębianiem się konstytutywnej dla wiersza strony graficznej z jego całościowym przesłaniem. Elfchen, określane także Elf-Worte-Gedicht, to forma wywodząca się z pedagogiki wczesnoszkolnej jako metoda stosowana w krajach niemieckojęzycznych od końca lat osiemdziesiątych ubiegłego wieku, pomyślnie przetransponowana do dydaktyki języka obcego. Jej głównym celem jest motywowanie do kreatywnego pisania i interpretowania krótkich utworów lirycznych. Przytoczone przykłady pokazują, że te różniące się od siebie formy liryczne mogą wzbogacać treści nauczania na różnych poziomach zaawansowania językowego
EN
In this paper, we intend to draw attention to the linguistic, cultural and historical aspects of two types of poems popular in German, the so-called Konkrete Poesie and Elfchen, their different forms, as well as their application to teaching a foreign language (here German). Konkrete Poesie (i.e. concrete or visual poetry) has its own literary tradition, and although it was not originally designed for foreign language teaching, it proves effective in this respect. It requires learners to interpret apparently simple texts creatively, which is always linked to the reflection on the interplay between the poem’s visual layout and its overall message. Elfchen, otherwise Elf-Worte-Gedicht (i.e. eleven-word poem), is a type of poetry derived from early childhood education. Applied in German-speaking countries since the late 1980s, it has been successfully transferred to foreign language teaching. Its main purpose is to encourage creative writing and interpretation of short lyrical pieces. The examples discussed show that these distinct lyrical forms can enrich foreign language teaching at different levels of proficiency
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EN
The paper addresses the variability of Czech phrasemes, i.e. semantically non-compositional multiword units, in current use represented by corpora, the variability being the result of linguistic creativity on the part of text authors. It also asks what, in fact, identifies a phraseme. A basic, original phraseme has a certain meaning that cannot be inferred from the meaning of its components, and if it is modified, made more topical and up-to-date, either the original meaning is entirely or partially preserved, or the modified phraseme acquires a totally new meaning. Some phrasemes allow for multiple modifications, while others are more rigid. The article examines different types of lexical/syntactic/morphological/semantic alteration of basic phrasemes. In addition to lexical variations, the focus is mainly on syntactic and morphological changes, and on the question as to whether the chosen syntactic means of expressing semantic shifts have an impact on the potential for a creative treatment of the phraseme. In order to identify the variants of a phraseme with the phraseme itself, we introduce the term phraseme nucleus and outline a partial solution to the phraseme variability problem — designing a lexical database of multiword units (including phrasemes) containing entries sufficiently flexible to at least partially capture the variability of phrasemes.
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