The reflection presented in this paper focuses on the improvement of student translating/interpreting skills in relation to personal development. No doubt the trainer is a party to both these processes, being more than a mentor in control of the teaching process and evaluator of the student’s performance. The portfolio defined as a record of development of simultaneous interpreter competence is used to illustrate techniques that are intended to assist student in honing the skills of self-assessment, self-control and self-reflection.
Drawing on the concept of discourse competence this paper asks about the possibility of the incorporation of the discourse analysis with the development of the translation skills in the simultaneous interpreting field. The paper sets out to show, how to solve problems arising from the simultaneous interpreting based on lack of knowledge about discourse competence and skills necessary for the discourse analysis.
The aim of the considerations presented in this paper is to determine the specificity of movement in contemporary dance. This specificity is considered at three levels: as the relationship of body parts to each other, as the relation of the body and part of it to the stage space, and as the relation of the body and parts of it to the qualitative parameters of movement such as speed, tension and size. The research data consist of the descriptions of dance performances, which are published in printed or electronic form during the organization of conferences, meetings and dance theatre festivals.
Web 2.0 with its themes: participation, design, remixability or convergence1 and its forms: social networking sites, blogs or wikis is a new quality of the Internet-based communication. The using of websites and the blogosphere changes the role of the network user as a participant of that communication. Therefore, the article discusses how new subjects of research in the Internet-based communication should be defined and included in the current analysis of online discourse. The paper postulates that the interaction in the blogosphere is a subject of research and demonstrates specific research questions to characterize the mechanisms of its functioning.
Celem artykułu jest wykazanie, iż polityczny talk-show stanowi głos w dyskursie na dany temat i jako wydarzenie medialne przyczynia się do jego kontynuacji. Na podstawie analizy fragmentu dyskursu, jaki w Niemczech określony został w mediach ,Fall El Masri’ (przypadek El Masri, tłum. J.P.) lub ,El Masri-Affäre’ (afera El Masri, tłum. J.P.) został przeanalizowany rozwój tego dyskursu, tak by określić regularności, jakie towarzyszą tworzeniu się dyskursu. Punktem wyjścia jest fragment rozmowy z politycznego talkshow Sabiny Christiansen (ARD): „Folter und Entführung – Kampf gegen Terror mit allen Mitteln?“ (Tortury i porwanie – walka z terroryzmem wszystkimi sposobami?, tłum. J.P.) z 11. 12. 2005. Korpus badawczy stawią wybrane teksty/ fragmenty tekstów, jakie ukazały się na stronach internetowych znanej niemieckiej prasy i radia na krótko przed programem Sabiny Christiansen i po jego emisji. Kryterium wyboru tych tekstów stanowiły jednakowe wątki tematyczne, co świadczyło, o przynależności tych tekstów do tego samego dyskursu.
The title of this article points to the progressivity of the didactic process in the area of simultaneous interpreting. The didactic process starts with exercises aimed at increasing the capacity of short-term memory, concentration, multi-tasking and memorising key information. Its last stage constitutes the execution of a project, i.e. a simulated commission that is received by a student acting as a simultaneous interpreter. The project requires the involvement of a team consisting of max. 10 persons, in which each member has a specific role to perform in a dynamic translational chain understood in terms of a communicative chain (cf. J. Żmudzki 2013). The aim of the article is thus to establish a model of teaching and developing translatoric skills (cf. S. Grucza 2008) in the area of simultaneous interpreting. The model consists of four stages: (a) warm-up, (b) source text analysis, (c) interpreting of the source text, (d) evaluation or self-evaluation. Such a model of simultaneous interpreting teaching is influenced by two factors presented in the article: (a) the intended learning outcomes, and (b) the problem catalogue, which is compiled based on students’ responses after their first simultaneous interpreting experience.
Nadrzędnym celem artykułu jest wykazanie ścisłego związku pomiędzy konfliktem zaistniałym w ramach konkretnego dyskursu a dyssensem pojawiającym się w bezpośredniej interakcji, który jest traktowany jako forma tego konfliktu. Korpus stanowią dwie sytuacje noszące cechy dyssensu, które umiejscowione zostały w dyskursie na temat reformy służby zdrowia w Niemczech po utworzeniu Wielkiej Koalicji w 2005r. Dyssens rozegrał się w politycznym talk-show Sabiny Christiansen „Droht jetzt Streit um die Gesundheit?“ (25.11.2005).
The aim of this paper is the identification of verbal, para- and nonverbal forms of manifestation of emotions. The focus builds the communication between contemporary dancers as dance teachers and dance students who take part of the dance workshops. As a mix of the techniques of expressive dance and modern dance as well as against to the classical ballet, the contemporary dance has a great emotional potential. The representation of emotions includes also the identification of the reference objects and the motivation for the expressed emotions in dance workshops. This is the part of thoughts which are presented in this paper.
Body in Motion: On the Figurativity in the Language of Modern Dancers. A Cognitive Perspective. The language used by modern dancers in dance workshops and/or lessons is an understudied research area for several reasons, e.g. lack of developed analysis methodology, insufficiently deep awareness of one’s own body indispensable for understanding of motion descriptions, linguistic diversity of existing dance schools, multimodal nature of the dance itself and lack of conventionalised and objective vocabulary. Thus, considering the two latter points the aim of the paper is to analyse a small corpus of motion descriptions used by the teachers and students of the Lublin Dance Theatre. Drawing on the cognitive linguistic methodology we conclude that the analysed expressions are used figuratively and divide them into three metaphor groups: conceptual metaphors, frame-based metaphors and metaphors pertaining to the prominent role of space in a dance situation.
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Im Fokus der in dem vorliegenden Beitrag präsentierten Überlegungen befinden sich die sprachlichen Mittel, die im Rahmen eines Tanzunterrichts dazu verwendet werden, die auszuführenden Bewegungen zu beschreiben. Die Beschreibung bestimmter Bewegungskonzepte des zeitgenössischen Tanzes erfolgt auf figurative Art und Weise. Die figurativen Beschreibungsstrategien werden im Laufe der Analyse in drei Metapherngruppen klassifiziert, je nachdem welche Elemente der Tanzsituation hervorgehoben werden sollen. Dies erlaubt auch, der Frage nach der Aufteilung der klassischen Sinnesmodalitäten nachzugehen und ihre Relation zur Motorik und Propriozeption zu erörtern.