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Struktura słowa jako figura

100%
Lewiński P.
Język a Kultura
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2015
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vol. 25
201-213
EN
Some figures are based on a change in the orthography or phonology of a single word and others incorporate the context and visual form of a word. In contrast to the changes made accidentally and treated as vices, figures are considered conscious choices made by the speaker or writer in order to reveal a double meaning, display eloquence or brilliance. Because grammar describes only regular and categorial phenomena in languages, for the sake of describing irregular and occasional processes it is worth taking into account the usefulness of rhetoric terms. In the following paper I discuss figures resulting from the word structure.
2
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Four-Character Idioms and the Rhetoric of Japanese Shakespeare Translation

100%
Gallimore D.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2021
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vol. 23
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issue 38
13-41
EN
Yoji jukugo are idioms comprised of four characters (kanji) that can be used to enhance the textuality of a Japanese Shakespeare translation, whether in response to Shakespeare’s rhetoric or as compensation for the tendency of translation to be carried out at a lower textual register than the source. This article examines their use in two translations each of Julius Caesar by Matsuoka Kazuko (2014) and Fukuda Tsuneari (1960) and of The Merry Wives of Windsor by Matsuoka (2001) and Odashima Yūshi (1983); in both cases Matsuoka uses significantly more yoji jukugo than her predecessors. In the Julius Caesar translations their usage is noticeable in the set speeches by Antony and Brutus in 3.2, and commonly denote baseness or barbarity. In the Merry Wives translations they commonly denote dissolute behaviour, often for comic effect, and can even be used malapropistically in the target language.
3
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Von der Primär- zur Sekundärmotivation. Der semantische Sprung bei Volksetymologie und Verballhornung

100%
Ulrich W.
Linguistische Treffen in Wrocław
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2021
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issue 19
339-355
EN
The historical loss of motivation causes many compound words to become arbitrary like simple words or to become only partly motivated. This situation doesn’t please the language community. People search for a new morphological and semantic integration of the lexemes into the network of the lexicon by having recourse to lexical items with similar sound. The results are explainings of the meaning by additional morphemes, folk etymological changes, corruptions, malapropisms, playings on words. Lost primary motivation is replaced by secondary motivation. The relation between both is investigated in detail. Are both expressions connected with each other only by common phonetic features or is there also a semantic continuation by common semantic features or by the same situational context of use? What is the nature of the „semantic jump“?
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