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EN
The article studies the scope and the content of the concept of periphrasis on the basis of a modern Russian novel Sonechka written by Ludmila Ulickaya, in which the phenomenon is often used. The basic and the secondary criteria of periphrasis were revealed by general analysis of dictionary definitions and by comparing them with other stylistic devices of language and speech.
PL
The focal issue of the present paper is the conventional periphrasis as an object of contrastive research. Such expressions may have different cross-linguistic equivalents, including full, partial, parallel and zero counterparts. The present paper aims to discuss Polish periphrastic expressions and their Croatian equivalents in order to determine and analyze the relations between the units in question. The Polish units (165) are lexicographically attested, while their Croatian counterparts have been determined on the basis of dictionaries, corpora and interviews with native speakers of the Croatian language. The conventional periphrasis have not been researched from this perspective and the results may be useful for Polish-Croatian lexicography. The study shows that zero equivalents constitute the biggest group (91), followed by full equivalents (61) with significantly less numerous groups of partial and parallel counterparts (respectively: 5 and 8).
EN
This article portrays the matter of the proper names in the French periphrasis, e.g. anthroponymy: le mot de Cambronne, toponymy: la Venise du Nord, mythological name: l’oiseau de Vénus, biblical name: la fille d’Ève, eponymy: les colonnes vespasiennes, historical proper name: la Grande Guerre. The first part includes an analysis of periphrastic structures with proper names as components of an expression. The second part presents the use of proper names in metonymical and metaphorical constructions. Our analysis considers the following problems: the frame of reference, figurative meaning, connotation of the proper names in periphrasis. We also show the role of the knowledge of the world and stereotypes in the understanding and interpreting of this kind of expressions. The conclusion indicates what type of periphrasis can become a proper name.
EN
The paper outlines a research perspective in reference to literary grammar. A philological analysis of literary texts allows an insight into several peculiar manifestations of grammatical dynamic assuming that texts have linguistic potentiality determined by various factors. These factors include syntagmaticity, specificity of situational language use in reference to repeatable textual elements, categorization mechanisms or – in a slightly different conceptualization – textual fluidity. Examples discussed in this paper are an introduction to basic elements significant in grammar-oriented analyses. Ambiguity and redundancy are identified as two most significant issues.
PL
Artykuł stanowi próbę nakreślenia perspektywy badawczej w odniesieniu do gramatyki literatury. Filologiczny sposób analizy tekstów literackich skłania autora do przyjrzenia się kilku swoistym przejawom dynamiki gramatycznej przy założeniu, że tekstom przynależna jest językowa potencjalność determinowana przez różne czynniki. Wśród nich wymienia się przestrzenność struktury wiersza (syntagmatyczność), specyfikę sytuacyjnego użycia języka z odniesieniem do powtarzalnych elementów tekstotwórczych, mechanizmy kategoryzacji czy – w nieco innym ujęciu – płynność tekstu. Omówione przykłady tekstów literackich stanowią wprowadzenie podstawowych elementów istotnych w podejmowaniu prób analitycznych skoncentrowanych na zjawiskach gramatycznych. Wśród problemów najistotniejszych wskazuje się niejednokształtność i redundancję.
EN
One of the most striking features of Lucifer's style is his frequent usage of a periphrastic structure. The paper proposes that there is a clear semantic distinction between this construction and synthetic verbal forms. Stylistic and interpretive consequences of Lucifer's usage follow from a comparison with other authors and transtextual gestures which determine a proper contextualization of such structures.
EN
This paper deals with auxiliary verb constructions in Romance, in particular with those that exhibit two auxiliary verbs ‘have’ and ‘be’ which alternate, in many Italo-Romance varieties, within one and the same paradigm. It is argued that such an intra-paradigmatic distribution represents a special kind of grammaticalization, traditionally referred to as morphologization. Two aspects are discussed. First, a morphological approach to such ‘mixed paradigms’ is advocated, the main claim being that in order to explain the distribution of the two auxiliaries within the paradigm, one has to make essential reference to paradigmatic structure rather than to the intrinsic featural composition of the auxiliaries (along the lines of paradigmatic approaches reviewed in Blevins 2016). Second, it is shown that these mixed systems, although they often represent “delicate transitional stages” (Loporcaro 2014: 56, n. 8), also display interesting diachronic convergence typical of various stem alternation patterns, famously referred to as morphomes (cf. Maiden 2018). The paper draws on a dataset that is currently being put together in order to become, in the future, a large database of mixed perfective auxiliation systems. Some space is thus devoted to the description of the main parameters of this project, called ‘MIXPAR’.
EN
The aim of this paper is twofold: firstly it provides a detailed overview of the canonical approach to inflection (following Corbett 2007; 2009; 2015); secondly it attempts to analyze, within this approach, a typologically interesting phenomenon of mixed perfective auxiliation systems attested in a wide array of Italo-Romance dialects. First, the paper introduces the key notions of Canonical Typology (cf. Bond 2019) applied to inflectional morphology, along with a proposed working Czech terminology of basic terms such as requirements of form etc. Second, the paper proceeds to show that mixed systems, where two auxiliary verbs (corresponding to the derivatives of the Latin verbs habere/ esse) alternate within one and the same paradigm, representing a further way in which periphrastic exponence “splits” the inflectional realization of a lexeme. These systems thus constitute yet another interesting non-canonical inflectional phenomenon worth exploring from the perspective of Canonical Typology.
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EN
The author discusses Tomasz Korpysz's book Definicje poetyckie Norwida (Norwid's poetical definitions). He first of all pays attention to a great cognitive value of the work that is the result of both reliable theoretical elaboration of the category of “poetical definition”, and a convincing analysis of this phenomenon in selected areas of Norwid's poetry.
EN
The article concerns the specificity of the language in early prose works by Magdalena Tulli. The phenomena of literary grammar (a specific manner of operating abundance in the narrative, a particular type of arranging syntax and a creative use of colloquialism) allow one to consider this prose as an entropic story. Predominantly thanks to a characteristic dispersion of narrative energy, as well as chaotic moments, contrasting with readers’ expectations. Thanks to quoted examples and references to selected linguistic research concepts, yet another perspective on interpreting textual features in the works of the author of “Skaza”, which will in turn allow asking new questions about the exceptionality of stories included in this original poetic prose.
PL
Artykuł dotyczy specyfiki języka wczesnych utworów prozatorskich Magdaleny Tulli. Zjawiska z obszaru gramatyki literackiej – specyficznego operowania nadmiarem w narracji, osobliwym typem składni aranżującej, a także twórczym wykorzystaniem potoczności – pozwalają przyjrzeć się tej prozie jako opowieści entropicznej. Przede wszystkim ze względu na charakterystyczne rozproszenie energii narracyjnej, jak również kontrastujące z czytelniczymi oczekiwaniami nieuporządkowanie. Dzięki przytoczonym przykładom i odniesieniom do wybranych koncepcji badawczych z obszaru językoznawstwa uruchomić można kolejną perspektywę namysłu nad cechami tekstów autorki „Skazy”, a dzięki temu – zadać nowe pytania o wyjątkowość opowieści zawartych w tej oryginalnie poetyckiej prozie.
Pamiętnik Literacki
|
2022
|
vol. 113
|
issue 2
115-133
PL
Artykuł stanowi omówienie kategorii ozdobności retorycznej (ornatus) w podręcznikach wymowy autorstwa trzech jezuitów z XVII wieku: Macieja Kazimierza Sarbiewskiego, Zygmunta Lauksmina i Jana Kwiatkiewicza. Antyczni nauczyciele retoryki najczęściej łączyli ją z rozmaitymi przekształceniami językowymi, znanymi pod nazwą tropów czy figur słów i myśli. Jej głównym wyznacznikiem stała się szeroko rozumiana figuratywność. Porównanie sposobów opisania tej kategorii w podręcznikach trzech autorów czerpiących inspiracje z dzieł Cycerona i Kwintyliana pozwala ukazać zmiany w myśleniu o ozdobności i przeobrażenia, jakim podlegał cyceronianizm we wczesnonowożytnej teorii i praktyce retorycznej. Otwarciu na nowe inspiracje stylistyczne towarzyszyła troska o błyskotliwość wypowiedzi. Wśród najczęściej stosowanych schematów wysłowienia znalazły się wówczas alegoria, metafora, peryfraza i antonomazja.
EN
The paper attempts at describing the category of rhetorical ornamentation (ornatus) in the textbooks of eloquence by three 17th c. Jesuits: Maciej Kazimierz Sarbiewski (1595–1640), Zygmunt Lauksmin (1596–1670), and Jan Kwiatkiewicz (1629–1703). Ancient rhetoric teachers linked it with many linguistic forms known under the names of various tropes and figures. Broadly understood figuration became its main determinant. A comparison of the modes of describing this category in the three textbooks, the authors of which were inspired by Aristotle, Cicero, and Quintilian, allows to expound the changes in thinking about ornamentation and transformations that Ciceronianism unterwent in early-modern theory and oratorical practice. Opening to new stylistic inspiration was accompanied by concern for brilliance of expression. The most commonly used rhetorical devices were allegory, metaphor, antithesis, periphrasis, and antonomasia.
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