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Verbal Silence as Figure: Its Contribution to Linguistic Theory*

100%
Ephratt M.
Poznań Studies in Contemporary Linguistics
|
2016
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vol. 52
|
issue 1
43-76
EN
Speech is Homo sapiens’ form of communication par excellence. It has attracted the interest of ancient as well as contemporary scholars investigating human lore (e.g. linguists, philosophers, scholars studying communication, culture or literature). The sparse studies on silence perceived silence as the antonym of all sounds (including speech: non-voluntary: stillness external to communication; symptoms such as muteness as breaks in communication; or silencing) or as background (voluntary paralinguistic pauses demarcating speech as figure).The current article is based on linguistic studies which, having differentiated between the above silences and verbal silence (VS) – unarticulated verbal signifiers chosen by the speaker to signify meaningful content alongside speech – incorporated VS in the linguistic inventory. This article focuses on the contributions to linguistics made by the integration of VS in the linguistic inventory. Insights are offered by the identification, understanding and refinement of linguistic concepts in light of the analyses of VS examples (the zero-sign, ellipsis as signifiers, asyndeton, etc.) drawn from literature, advertisements and spoken language. The major contribution is that the particularity of VSs, as unarticulated verbal signifiers, calls for the re-examination of key linguistic issues, such as figure and ground organizations, universalism, and linearity of the verbal code.
2

The Actor, the Pilgrim and the Fieldpath

100%
Copeliovitch A.
Human and Social Studies
|
2015
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vol. 4
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issue 3
123-136
EN
This article aims to cast a glance on some questions relevant for theatre, with an emphasis on the actor’s point of view, not in order to investigate the acting practice but to develop a reflection. Theatre is a marginal art; an actor’s action is a displacement action, out of the centre, searching, moving. Also, the actor is always a foreigner, a strange stranger. We follow these questions while going through the fieldpath, with direct reference to Martin Heidegger’s text “Der Feldweg” (1949). As an actress, I try to understand it by walking my own path.
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Schweigen zwischen Eltern und Kindern. Zu generativen Distanz(ierungs) merkmalen in Erzähltexten von Zoë Jenny, Alexa Hennig von Lange und Katja Oskamp

72%
Nogal G.
Germanica Wratislaviensia
|
2017
|
vol. 142
75-88
DE
In den untersuchten Erzähltexten von Zoë Jenny, Alexa Hennig von Lange und Katja Oskamp wer­den die weiblichen Hauptfiguren in der Adoleszenzphase angetroffen. Im Zentrum der Analyse ste­hen ihre Autonomie- und Ablösungsprozesse, die im Kontext des Elternhauses aufgefasst werden. Entsprechend unterliegt die figürliche Ausrichtung auf die Elternligatur einer Entwicklung und Re­organisierung. Das Augenmerk ruht primär auf den Kennzeichen der Distanz und Distanzierung im Verhältnis Eltern-Kind, bei denen dem Motiv des Schweigens eine repräsentative bzw. symbolische Signifikanz zukommt. Ausgegangen wird davon, dass der Einschluss von dem Merkmal des Nicht-Gesagten bzw. Nicht-Artikulierten – und dies sowohl aufseiten der weiblichen Haupt- als auch ihrer Elternfiguren – zur besseren Erkenntnis der frühen Familienverhältnisse und späteren Ablösungs­prozesse der Hauptfiguren beitragen kann.
EN
In stories by Zoë Jenny, Alexa Hennig von Lange und Katja Oskamp the main characters are ado­lescent females. The analysis centers around the problem of autonomy and loosening of family ties seen as a bid for independence with regard to family house. The above processes shape and change the concept of parenthood depending both on the age of the protagonists and how advanced is the level of adolescent identity. The focus of attention is primarily paid to the recognition of the distance in the relationship between parents and children in which the motif of silence is of utmost impor­tance. It is stated that the inexpressible from the point of view of parents and their offspring alike should lead to a better recognition of mutual relationship, especially how much previous relationship can impact the development of adolescent identity.
4
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Salvatore Sciarrino. The Sicilian alchemist composer

72%
Misuraca P.
Interdisciplinary Studies in Musicology
|
2013
|
issue 12
73-90
PL
Salvatore Sciarrino (Palermo, 1947) began his career in the fervent climate of the six Settimane Internazionali Nuova Musica. Still very young he attracted the attention of the musical world, with his sonorous invention full of startling innovation that was to make him one of the protagonists of the contemporary musical panorama. Sciarrino is today the best-known and most performed Italian composer. His catalogue is a prodigiously large one, and his career is dotted with prestigious prizes and awards. Alchemically transmuting sound, finding new virginity in it has for fifty years been the objective of his music. Timbric experimentation is the goal of his virtuosity. The prevailing use of harmonic sounds and other subversive emission techniques make his sonorous material elusive, incorporeal, particularly close to noise: hence not sounds in the traditional sense, but ghosts and shades of sounds, systematically deprived of the attack and situated in a border zone between the being of the material and its not-being. The sound comes out changed by the osmotic relationship with silence: it is a mysterious epiphany, a “presence” that strives to appear on the surface, living and pulsating almost according to a physiology of its own. Hence it is a music of silences furrowed by minimal sound phenomena, for an “ecology of listening” - an antidote to the noise pollution of consumer society - able to clear perception, to sharpen auditory sensibility and to free the mind of stereotyped stimuli. His music is not concretized in intervallic relations and in harmonic-contrapuntal constructive logics, but in complex articulatory blocks which Sciarrino calls figures. Even though the structural use of timbre becomes a disruptive fact, which brings an upheaval to the perception of pitches and seems to burn up every linguistic residue, in thefigural articulation and in its perceptibility the composer finds a new logic and a new, infallible sense of form. Musical discourse proceeding through complex wholes is mirrored in Sciarrino’s peculiar composition method. For him the layout of a score in traditional notation is preceded by a graphic-visual project (which he calls “flow chart”) allowing synthetic control of the form and highlighting the relationship between construction and space. “Window form” had become a characteristic feature of his composition technique. With this term, borrowed from computer terminology, the composer indicates a formal procedure that mimics the intermittence of the human mind and that he considers typical of the modem and technological era. The gradual recovery of a new singing style is a central problem in his most recent production: psychotic and gasping utterance, messa di voce, glissandos, portamenti, slipping syllabification, incantatory and alienating reiterations avoid all danger of stylistic regression, shaping a new and personal monody, artificial and hallucinatory. The working-out of a personal singing style is Sciarrino’s main conquest in the last years. Hence his fundamental contribution to experiments in contemporary musical theatre and a particular flowering of vocal works that characterizes his most recent creative phase.
5
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Streszczenia w języku angielskim / Summaries in English

58%
Er(r)go R.
ER(R)GO: Teoria – Literatura – Kultura
|
2016
|
issue 33
EN
Brief English summaries of feature articles of the issue.
PL
Krótkie streszczenia w języku angielskim tekstów zawartych w niniejszym numerze.
6
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Liberackie ciało i jego „Oka-leczenie”

58%
Matuszyk Ł.
ER(R)GO: Teoria – Literatura – Kultura
|
2016
|
issue 32
EN
Focusing on Zenon Fajfer and Katarzyna Bazarnik’s “model” liberary piece entitled Oka-leczenie ((v)eye/olation, first published in 2000), the article argues that the widely-understood physical shape of a liberary work is inevitable for its proper reading and comprehending. In this paper liberature is discussed as a total literature because of the fact that not only the text and additional visual elements are essential for the reading process, but also because the physical aspects of a work, e.g. empty or cut places, convey the message and express certain senses by means of their silent presence. The liberary body is described as one which may be hurt, destroyed, or even dead. Moreover, liberature is presented as a literature which not only records and conveys a certain content but also shows it through its very specific body and the content that was inscribed in it.
PL
Niniejszy artykuł skupia się na modelowym tekście liberackim, Oka-leczenie autorstwa Zenona Fajfera i Katarzyny Bazarnik, opublikowanym w 2000 roku i pokazuje, iż szeroko rozumiana fizyczność dzieła liberackiego jest niezbywalnym elementem czytania i rozumienia go. Tym samym, liberatura jest tu opisywana jako literatura totalna, nie tylko dlatego, że zarówno tekst, jak i elementy wizualne są kluczowe dla procesu czytelniczego, ale także  dlatego, że fizyczne aspekty dzieła, np. puste lub wycięte miejsca, są nośnikami znaczenia i wyrażają określone sensy za pomocą swojej cichej obecności. Ciało liberackie to ciało, które może być zranione, zniszczone, czy nawet martwe. Co więcej, liberatura pokazana zostaje jako literatura, które nie tylko przechowuje i komunikuje określoną treść, ale także dosłownie pokazuje ją za pomocą nośnika - ciała - na którą treść została naniesiona.
7
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XIX-wieczna tęsknota za oralnością. Przypadek Norwida

58%
Abriszewska P.
Studia Norwidiana
|
2014
|
vol. 32
25-40
EN
My interest is in the relations among orality, literacy and printing as a subject of Norwid’s reflection, which keeps on appearing in his various texts. The oral tradition is a subject of reflection on what is lost, yet it is something unequivocally positive. Being ambivalent towards writing as he is, Norwid unequivocally negatively views printing. In spite of interesting technical efforts to incorporate oral elements into his texts, he belongs to the culture of the printed press, and he is a literary mind. It is this very tension that often evokes the feeling of being torn apart, and the trouble of being a poet.
8

XIX-wieczna tęsknota za oralnością. Przypadek Norwida

58%
Arbiszewska P.
Studia Norwidiana
|
2014
|
vol. 32
25-40
EN
My interest is in the relations among orality, literacy and printing as a subject of Norwid’s reflection, which keeps on appearing in his various texts. The oral tradition is a subject of reflection on what is lost, yet it is something unequivocally positive. Being ambivalent towards writing as he is, Norwid unequivocally negatively views printing. In spite of interesting technical efforts to incorporate oral elements into his texts, he belongs to the culture of the printed press, and he is a literary mind. It is this very tension that often evokes the feeling of being torn apart, and the trouble of being a poet.
9
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Od Baudelaire’a do Mallarmégo. W poszukiwaniu ideału muzyczności

58%
Opiela-Mrozik A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2019
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vol. 52
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issue 1
275-289
EN
This article undertakes the topic of the evolution in perceiving the ideal of literary musicality among representatives of French symbolism, taking into account Baudelaire and Mallarmé. The former, who is considered to be the precursor of symbolism, used prosody and combined the arts and music to convey the metaphor of painting and poetry. On the other hand, in Mallarmé’s oeuvre, it is poetry that moves closer to music on the level of form. Next, the utilization of the acoustic aspect of text, which is characteristic of Verlaine, is degraded in René Ghil’s artificial system of verbal instrumentation. The work of Villiers de l’Isle Adam and Jules Laforgue shows that music-related topics are gradually set aside and the music theme is softened and gives way to silence. Silence itself is the best way that presents Mallarmé’s ideal of musicality as a silent concert that resonates in the reader’s mind.
PL
Artykuł podejmuje temat ewolucji w postrzeganiu ideału literackiej muzyczności wśród przedstawicieli francuskiego symbolizmu koncentrując uwagę zwłaszcza twórczość Baudelaire’a i Mallarmégo. Pierwszy z nich, uważany za prekursora symbolizmu, stosował prozodię, co można zaobserwować w jego twórczości łączącej różne sztuki i wykorzystującej tematy muzyczne do budowania metaforycznych ujęć malarstwa i poezji. Natomiast poezja Mallarmégo zbliża się do muzyki na poziomie formy. Wykorzystanie akustycznego aspektu tekstu, charakterystyczne dla poezji Verlaine, przechodzi przez sztuczny system instrumentacji słownej René Ghila. Z kolei, utwory Villiers de l’Isle Adama i Jules Laforgue’a pokazują, że tematy muzyczne są stopniowo marginalizowane, co otwiera drogę do milczenia. To zupełna cisza, która w najlepszy sposób przedstawia ideał muzyczności Mallarmégo jako cichy koncert, rozbrzmiewający w umyśle czytelnika.
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