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Old English Simile of Equality: The Highest Degree of Similarity

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Oleniak M., Vasyl` Stus Donetsk National University D., maryana@mail.org
Research in Language
|
2018
|
vol. 16
|
issue 4
EN
This paper aims to provide an account of Old English similes of equality marked by the superlative degree of the adjective gelic. It deals with the structure and semantics of similes marked by the (ge)/(on)licost component, which, unlike in Modern English, being subjected to gradation, can show the highest degree of similarity between referents. The article presents the criteria for structural classification of the simile in question describing two major structural types, that employ nouns in the dative or nominative case, as well as its semantic interpretation from macro and micro levels of perspective. The paper examines every simile with the (ge)/(on)licost component found in Old English manuscripts belonging to various textual genres.
2
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Old English Simile of Equality: The Highest Degree of Similarity

100%
Oleniak M.
Research in Language
|
2018
|
vol. 16
|
issue 4
471-493
EN
This paper aims to provide an account of Old English similes of equality marked by the superlative degree of the adjective gelic. It deals with the structure and semantics of similes marked by the (ge)/(on)licost component, which, unlike in Modern English, being subjected to gradation, can show the highest degree of similarity between referents. The article presents the criteria for structural classification of the simile in question describing two major structural types, that employ nouns in the dative or nominative case, as well as its semantic interpretation from macro and micro levels of perspective. The paper examines every simile with the (ge)/(on)licost component found in Old English manuscripts belonging to various textual genres.
3
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Głos jako tworzywo postaci operowej. Historyczny zarys wokalnej typologii głosów

72%
Kicińska H.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2022
|
issue 42
57-76
PL
This study presents the historical range of topics related to the typology of singing voices and how they are linked to the character constituting the building material of an operatic character. This six-part overview presents the subsequent stages of the formation of the status and role of particular voices in the theory and practice of musical performance, with particular emphasis on specific vocal phenomena key to the development of operatic and solo singing: the so-called covering, haute-contre, bass-baritone and boy soprano. The reason behind the diachronic presentation of the vocal terms is to order and systematise the transformations that vocal practice, musical nomenclature and musical performance have undergone over the centuries.
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