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1

Prosoodiast meloodiani – eestikeelse Piibli proosatekstil pohineva uhehaalse a cappella kirikulaulu ehk eesti puhalaulu metodoloogia

100%
Joks E.
Mäetagused
|
2017
|
vol. 68
53-82
EN
The most widespread Estonian Christian chant is Lutheran chorale, which is based on a text of strophic verses, in which all verses can be sung with the same tune. The roots of the written tradition of the Western Christian chant (9th–10th cc.), however, are in the prose text of the Latin Bible. Nowadays a chanted vernacular prose text from the Bible or vernacular plainchant has found its way to the Lutheran repertoire. The article demonstrates how consideration of the parameters of Estonian prosody can contribute to the creation and practice of Estonian plainchant. In other words, the article describes a system of principles following which the stylistically versatile Estonian plainchant is created. The styles of vernacular plainchant are: (1) contemplative, (2) declarative, and (3) free style. The Estonian or vernacular plainchant can be defined either through the categories of linguistics or those of Christian piety. In terms of linguistics, the vernacular plainchant follows the three parameters of prosody: (1) the temporal parameter, (2) the dynamic parameter, and (3) the intonation parameter, while pronouncing the texts of the Holy Scriptures and realising as well as considering these three parameters in shaping the melodic information and bearing it in mind in performance. In terms of Christian piety, the vernacular plainchant is a monodic musical a cappella pronunciation of the unaltered prose texts of the Holy Scriptures, which is based on prayerful concentration and/or sacred conviction, and is trying to follow in every point the authority of the Word of God and consider the prosodic peculiarities of a particular language. The contemplative style is based on “switching off” the personal prosodic intonations of the text. To a certain extent the result resembles a phenomenon that is known in music performance as “recitation”. However, it differs from recitation, because there is no intention of a performer to express him- or herself through music. The result that is similar to recitation happens simply because the performer begins to say the syllables at the same height without any intention to sing. Melodic formulas are then applied to this recitation-like contemplative talking. There are two kinds of melodic formulas in Western plainchant: (1) formulas with accentual cadences, and (2) formulas with cursive cadences. Accentual cadence takes into consideration the prosodic principles of Latin as well as other Indo-European languages in which an accented syllable is usually perceived as the longest syllable of a word. This means that the accented syllables are always marked with dominant notes of a cadence. Cursive cadence, on the other hand, always applies the same amount of syllables in the cadences without any accentual considerations. Estonian prosody differs significantly from Indo-European prosody, as the accented syllable is not always the longest syllable of the word. Therefore, in Estonian formula-based plainchant a cursive principle should be preferred. While the contemplative style stands on “switching off” personal prosodic interpretation, the declarative style attempts to achieve the opposite: personal conviction in pronouncing the text should be enhanced and extracted as a melody. The free style is a further development of the declarative style, in which the composer decorates the melody according to his or her personal creativity and taste. Describing the contemplative, declarative, and free styles of Estonian plainchant showed that we are dealing with a genre of extensive possibilities, which appreciates our mother tongue, recognises the tradition from which our musical culture springs, and gives a dignified position to the core text of the Estonian language and culture – the Bible.
2

Paradoksaalsed igapäevakujut(l)used? Narratiivsed persoonid, pärisustamine ja “Halvale teele”

100%
Sorokin S.
Mäetagused
|
2019
|
vol. 73
121-146
EN
The present article elucidates and elaborates on the key theoretical and analytical positions developed in my doctoral dissertation on character engagement, based on the microanalysis of digital storytelling in the online reception of Breaking Bad (Sorokin 2018a). The article (1) gives a general synopsis of the American television series Breaking Bad; (2) provides an analysis of the empirical material in order to illustrate the validity of the theoretical conceptualization; and (3) further teases out the underlying theoretical implications. By design, the theoretical discussion builds on the empirical analysis and focuses, for the purposes of this article, specifically on three core notions and concepts in the previously developed theoretical framework. I use the concept of narrative person to counter the mechanistic, internalist approach to the “fictional character”. Under my treatment, a narrative person is a sovereign agency by whom the audience is gradually absorbed, as opposed to being absorbed in it. Naturally, such assumptions undermine the universal applicability of internalist models of narrative, in general, and experiential character engagement, in particular. Hence, realitization is envisioned to highlight the discursive practice of “realmaking” in the articulative process of character engagement for the sake of communal discussion. Finally, the concept of co-elaborative creative vernacular indicates communally developed and communicated other-directed distributed sense-making, which is commonsensical and narratively co-elaborated and grounded in everyday language and conceptual thinking which is materialist in character.
3

The demotic tongue of mateship in Australian Great War literature: The vernacular humourist

100%
Sheridan D. P. G.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2018
|
issue 15/4
27-45
EN
This paper looks at the demotic tongue of mateship in Australian Great War Literature as a theme of cognition and understanding in the literary texts and texts of culture. The language, like the Australian, was filled with character and a sense of the larrikin. It seemed irreverent at times, even rude in some circles, but it was much more than its immediate sound or inference; it was the natural verbal essence of the Australian mind – honest, loyal, dutiful and humorous. These characteristics are cornerstones of Australian mateship, a type of friendship that would be there beyond the bitter end, rival the love of a woman and even the protection of one’s own life. For some Australians, poetry was merely an extension of this language, as language was merely an extension of friendship. The aim of this paper is to demonstrate the Australian use of humour and language in the setting of Great War poetry. It looks at the demotic tongue of mateship, specifically what is known as the Great Australian Adjective (bloody), along with several other examples of vernacular language, in Australian Great War Literature, and considers this by referring to the common language of the Australian poet from the time. It will consider the notion that Australian writers of the Great War era may have been misunderstood as a result of their language, leading to critical mistakes about a poem’s literary worth, a poet’s seriousness as a poet and a nation’s literary value.
PL
W niniejszym artykule poruszany jest aspekt języka potocznego australijskiej literatury I wojny światowej. W niektórych kręgach język potoczny w tym okresie sprawiał wrażenie braku taktu i uprzejmości, a jednak był przy tym naturalną ekspresją istoty australijskiego umysłu – była to mowa szczera i pełna humoru. Te szlachetne cechy, do których dołożyć należy jeszcze lojalność, są najważniejszymi elementami australijskiego „mateship”, tego rodzaju przyjaźni, która istnieje ponad wszystko, rywalizuje z miłością kobiety, a nawet żąda poświęcenia własnego życia. Dla Australijczyków poezja była emanacją tego języka, i co się z tym wiąże, tak rozumianej przyjaźni. Celem tego artykułu jest ukazanie kolorytu mowy potocznej australijskiej poezji I Wojny Światowej. Jednym z przykładów jest tutaj użycie „wielkiego australijskiego przymiotnika „bloody”, który do czasów obecnych jest powszechnie nadużywanym przymiotnikiem w Australii. Brak zrozumienia dla sensu użycia języka potocznego w poezji tamtego okresu, prowadziło nierzadko do krytycznych błędów dotyczących oceny wartości literackiej wiersza, powagi twórcy jako poety i wartości społecznej utworu.
4
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Części zmienne Mszy św. w przekładzie: wybrane kolekty w dwóch angielskich wersjach Novus Ordo Missae

99%
Pskit W.
Poznańskie Spotkania Językoznawcze
|
2017
|
issue 34
125-140
EN
The paper is concerned with the translation of Roman Catholic liturgical texts. It presents the historical background of the post-conciliar liturgical reform involving a significant change in the language of liturgy: the shift from Latin to the vernacular. It also discusses Church documents that guided the translation of Paul VI’s Missal into vernaculars. The main part of the paper is devoted to a comparison of the two English translations of the reformed Roman Missal, i.e. the 1973 and 2010 versions, with a particular focus on the selected collects. It is demonstrated that while the earlier translation moves away from the hieratic nature of liturgical language, the more recent version attempts to return to the sacral style. In conclusion, it also reflects on whether the relevant translations truly implement what the Second Vatican Council postulates with respect to liturgy.
PL
Artykuł dotyczy przekładu tekstów liturgii rzymskokatolickiej. Przedstawia tło historyczne posoborowej reformy liturgicznej, której istotnym elementem była zmiana języka celebracji z łaciny na języki narodowe. Omawia również dokumenty Kościoła, które stanowiły podstawę dla dokonywanych przekładów mszału Pawła VI. Główną część artykułu stanowi porównanie dwóch różnych wersji mszału rzymskiego w przekładzie na język angielski, tj. wersji z 1973 roku oraz 2010 roku, ze szczególnym uwzględnieniem wybranych kolekt. Opracowanie wskazuje, że o ile wcześniejsze tłumaczenie angielskie odchodzi od hieratycznej natury języka liturgii, nowszy przekład stanowi próbę powrotu do stylu sakralnego. Wnioski zawierają też krótką refleksję na temat realizacji postanowień Soboru Watykańskiego II w odniesieniu do liturgii w kontekście omówionych w artykule angielskich wersji tekstów mszalnych.
5
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K vyjadřování posesivity v dialektech češtiny a v běžném úzu mládeže z oblasti západočeského pohraničí

80%
Nová J.
Naše řeč (Our Speech)
|
2016
|
vol. 99
|
issue 3
132-146
EN
The aim of this paper is to present the regional distribution of the possessive genitive (the type bratra syn / syn bratra) in Czech and compare this type with possessive adjectives. The possessive genitive appears to be the only way to express complex possessive phrases in Czech, with the exception of southwest Bohemian dialects, which have a special invariable type of possessive adjective (bratrovo syn) with similar usability. A survey carried out in the west Bohemian border region showed the type bratrovo syn to be highly dominant over the genitive type bratra syn.
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