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THE COGNITIVE METAPHOR AS THE WAY OF THE CONCEPT 'FEAR' EXPLICATION IN M. KOTSUBINSKY'S WORKS (Kognityvna metafora yak zasib ob'jektyvatsyi kontseptu 'strakh' u tvorakh M. Kotsjubyns'kogo

100%
Kolyadenko O. O.
Ukrayinska mova (Ukrainian Language)
|
2009
|
issue 3(32)
39-46
EN
The present article deals with the concept of 'fear' as one of the fragments of the emotional concept-sphere verbal representation in M.Kotsjubinsky's works. Different types of metaphoric model and their components used by the writer are presented. The stable socio-cultural and authoress' individual approach to the metaphorisation process of the concept of 'fear' are analyzed.
2

MATCHING FRAMENET FRAMES WITH POLISH SENSE DIVISIONS: THE CASE OF 'JECHAC'.

100%
Kopcinska D., Linde-Usiekniewicz J.
Cognitive Studies
|
2009
|
issue 9
151-159
EN
The paper presents a proposal of a novel sense division for the Polish lexeme 'jechac', arising from an attempt to match the dictionary sense with an appropriate FrameNet frame. Polish lexicography proposes a single sense for all cases of humans going on land by some means of transportation, in order to contrast the verb 'jechac' with the verb 'isc' (to go on foot). However, all factual examples of use of the verb 'jechac' can easily be matched with one of three relevant frames: 'Operate_vehicle', 'Ride_vehicle' and 'Travel', at least from the wider context. The paper shows how a parallel sense division can be established using purely linguistic, i.e. syntactic and semantic, criteria.
3

SITUATIONAL AND INFORMATION STRUCTURES OF DISCOURSE (Les structures situationnelles et intormationnelles de discours)

75%
Miczka E.
Cognitive Studies
|
2009
|
issue 9
233-241
EN
The article regards relations between situational and information structures of discourse. Analyzing the possible configurations between these two types of structures, the authoress aims to present their role in discourse comprehension - the process which implicates creation of discourse representation. The situational structures are defined as a sequence of frames (Goffman, 1991). Each frame permits to conceptualize one event forming a part of information introduced in discourse. The authoress proposes to apply the notion of cognitive event and their typology introduced by R. Langacker to describe the variations of situational structures of discourse. The information structures are defined as hierarchically organized thematic-rhematic structures. She distinguishes three levels in their thematic part represented by: global theme, theme of group of sentences and theme of sentence. The rhematic part is divided in two levels: the first one contains rhematic groups, the second rhemes of sentences. The authoress focuses her attention on the highest level of information structure and describes the relations between the units of situational structures - frames and cognitive events - and choices regarding the global theme of discourse.
4

DECONSTRUCTING THE FRAME : THE USES OF PHOTOGRAPHY

75%
Lubiak J.
Rocznik Historii Sztuki
|
2006
|
vol. 31
67-76
EN
The concept of iconoclash proposed by Bruno Latour aims at critical recognition of reciprocal interconnection between iconolatry and iconoclasm as a basic factor in the image wars. This recognition allows him to formulate a project of transcending beyond the permanent iconoclash that has determined the run of history. Transgression is possible, according to Latour, only through radical redefinition of the image, through absolute prohibition of freeze-framing the image. Thanks to that an icon, idol or fetish - crucial factors in any iconoclash - are replaced by unlimited flow of images. It raises the question of photography that, as Christian Metz shows, shares many features with fetish and fetishism. It seems, however, that amnesia of unlimited flows is not a correct reply to melancholic or nostalgic cathexis of photography as fetish. Referring to Jacques Derrida's notion of parergon, logic of supplement, concept of spectrality one may say that deconstruction of the frame (that is deconstruction of the opposition between the fetish and unlimited flow) is what may turn fetishism of photography into affirmative anamnesis, creative 'work of memory'.
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