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Logopedia
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2018
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vol. 47 EN
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issue 2
43-59
EN
Studying the comprehension of a word is one of the basic stages of the speech therapy diagnostic procedure. Hence, the procedure itself, is to check whether an examined person knows what given words mean. The methods used, however, allow to register only a limited range of semantic structure. The article demonstrates possibilities of describing words’ meaning applied by the scholarly disciplines that actually deal with those units i.e. psychology and linguistics. Thus while introducing ongoing alterations of scholars’ views on the formation of the semantic structure of words in speech development, the author urges the need to instigate a study on the meaning of the basic unit - word in both the research on speech development and disorders, and speech therapy procedures.
EN
The article attempts to present the impact of the co-existence of the Slavic and Germanic world on the formation of Slavic loanwords in German. The study focuses chiefly on the Russian loanwords in German. It presents and describes cultural, historical, political, and economic reasons for the transfer of the lexical elements of Russian origin to German. The aforementioned factors include: the impact of the hanseatic trade, political alliances, and conflicts. The work refers to loanwords of Russian origin that entered German throughout the ages. The article provides examples of words that describe typical Russian phenomena (e.g. Tundra), which counterparts had not existed in German before.
Pamiętnik Literacki
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2019
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vol. 110
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issue 4
117-128
PL
Słowa pełnią doniosłą rolę w procesach wpływu społecznego. Niniejszy artykuł jest przeglądem technik wywierania wpływu na ludzi, opartych na mechanizmach językowych. Jedna z takich technik to „liczy się każdy gorsz”. Bardzo często, odmawiając datku na cel charytatywny, tłumaczymy sami sobie tę decyzje tym, że nie jesteśmy wystarczająco bogaci, by wspierać wszelkie takie akcje. Jeśli jednak prośbie o datek towarzyszy fraza w rodzaju „liczy się każdy grosz”, takie samousprawiedliwiające myślenie zostaje zablokowane. Inna technika omawiana w tym artykule bazuje na założeniu, że jeśli ludzie zostaną bezpośrednio zachęceni do tego, by wyjaśniali powody odmowy, często wolą spełnić prośbę, niż owe powody wyjaśniać. Jeszcze inna z przykładowych technik tu omawianych to „etykietkowanie” – nazywanie ludzi w specyficzny sposób powoduje w pewnych warunkach, że zaczynają się oni zachowywać zgodnie z treścią owej etykiety.
EN
Words play a significant role in social influence processes. This article provides an analysis of social influence techniques based on language mechanisms. One of such techniques exploiting the power of the word is “even a penny will help.” We often refuse various requests to support charity, justifying the decision by saying that we are not rich enough to support every worthy initiative. However, if the phrase “even a penny will help” appears following a standard request for donation, this mode of thinking is blocked. Another technique discussed in this article is based on the assumption that when people are directly asked to explain why they have refused to help out, their desire to avoid becoming ensnared in embarrassing justifications boosts the chances that they act on the request. Labelling is further technique of social influence: defining people using dispositional traits often leads to their behaving in a manner consistent with the content of those label.
EN
The article analyses Miloslav Kabeláč’s op. 50 (1965), the first of the series of his most mature works In some way, words play an essential role in all these works by introducing great humanistic and philosophical subjects. Words represent substance sui generis, and enter the composition as an autonomous form (contact with such substance matures the long thought compositional concepts, together with Kabeláč’s tectonically combinatory thinking). The analysis of op. 50 focuses in detail on the key relationship between music and words. It seems that the space, in which both components meet is in the form of a litany. In its juxtaposition with bi-polar format conception (based on two contrasting sound platforms – drama and reconciliation), and with regards to the title of the composition Eufemias Mysterion (The Mystery of Silence), it could be seen as a specific type of expression, a ritual and an initiation of space.
EN
An emptiness after one’s child death seems to be impossible to describe. In her novel Tom is dead, Marie Darrieussecq explores mother’s forbidden thoughts. She reconstructs her grieving process ten years after an accidental death of her four years old son. She starts to write a journal to finally deal with her trauma. Darrieussecq challenges the taboo or writing about things that words are almost impossible to express. The significant thing is that the boy’s name “Tom”, is the anagram of “mot” which stands for “a word” in French. For that reason the death of Tom becomes the death of word. The analysis of the novel in the optic of psychoanalysis results in interesting conclusions, just likewise Marie Darrieussecq’s study in meta-literary context.
EN
The original experience, traditionally regarded as the beginning of philosophy, is analysed here in terms of certainty, based on the two thinkers from different eras: René Descartes and Ferdinand Ebner. Descartes, as we know, sees absolute certainty in the experience of cogito, while Ebner sees it in the current experience of speech, especially in the expression “I am”, taken in the personal actuality of it being spoken. However, it seems that the experience of Descartes is also based on the specific current experience of speech, interpreted, however, as a thought, and the actually experienced “I”is transformed to ego, to a “thinking substance”. The purpose of this discussion is to show that cogito is to be regarded as secondary relative to the “word in its actuality”. The consequence of this fact is the need for a new, “not Cartesian” rationality that could be called dialogical.
EN
An article entitled Words Mean. Words Look. Words Sell (Themselves) focuses on three issues: dominance of the use of English loanwords over attempts to create their Polish equivalents (as a result of which a product, a process, an event, or an artefact promoted by the English-speaking culture is adopted together with its name), a trend whereby words (and titles composed of words) become images (through a choice of font, a non-standard use of lowercase and uppercase letters, or an inclusion of non-letter characters, e.g. parentheses), and ascribing to words present in micro-acts a promotional function, advertising the entire product – a text. The trends discussed in the article are not new, but it is their intensity level that is new.
EN
George Orwell writes that „if thought corrupts language, language can also corrupt thought‟ (Orwell, 1946:8). This remark only leads to a vicious circle where those who control language are in fact in charge of our thoughts, of what we think and in charge of the manner on how we have to react to our reality. This paper aims to analyze the procedures that are used to control and undermine people‟s freedom and also the importance of the meaning of the words that were used for such an endeavor. If the destruction of words is „a beautiful thing‟ (Orwell, 2015:65) and if every aspect of our life and common memory can be altered, we‟ll have to ask ourselves what exactly is considered to be real and what is fiction. The answer to this question is not only philosophical but also scary for a fragile immature human intellect: reality only exists in one‟s mind and nowhere else, meaning that all we can see, feel, touch, smell and hear is somehow part of our imagination and our experimentation of what we perceive as being real. By exploring this Orwellian labyrinth of changing words and meanings, we can find out what consequences we can expect when we change past events and coin new meanings for the same old words.
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88%
EN
So-called “codes” were intended to be tools regulating social positions but they do not meet general expectations in the current form. They contain lots of semantic and construction defects, and they are, above all, strongly relativised. It gives their commentators plenty of possibilities to manipulate the regulations existing in codes in a decidedly arbitrary way. The formal parts of the code do not display their subjective character, which negatively impinges on their social reception itself. The future editing of codes has to go in the direction of “homo-hominis”, but not in their excessive formalisation. The herewith draft has made up only modest illustration of a considerably wider phenomenon culturally called “an excessive formalisation of social life, simultaneously with tendentiousness of its reception”.
EN
This article presents German loanwords in the Polish language. Its aim is twofold: to discuss words of German origin in Polish, as well as to stress Polish-German language contacts and their influences on vocabulary (a significant number of German loanwords refer to the building industry). The analysis will not only deal with the meaning and etymology of particular words, but will also scrutinize their description in the dictionaries of Polish edited by Doroszewski and Sobol.
11
88%
EN
So-called “codes” were intended to be tools regulating social positions but they do not meet general expectations in the current form. They contain lots of semantic and construction defects, and they are, above all, strongly relativised. It gives their commentators plenty of possibilities to manipulate the regulations existing in codes in a decidedly arbitrary way. The formal parts of the code do not display their subjective character, which negatively impinges on their social reception itself. The future editing of codes has to go in the direction of “homo-hominis”, but not in their excessive formalisation. The herewith draft has made up only modest illustration of a considerably wider phenomenon culturally called “an excessive formalisation of social life, simultaneously with tendentiousness of its reception”.
EN
The sartrean autobiographical text The Words may be read as a testament that paradoxically establishes the silence through the excessive word. Sartre says when he does not utter, silences when he speaks and, through the dialectal articulation that he establishes between uttering and silencing, offers us a truly original autobiographical form.
EN
“The city of the dead where everyone is alive”: Contextual synonymy of “life” and “death” in the prose of Mikhail Shishkin One of the main characteristic features of Mikhail Shishkin’s prose is the tendency to elim­inate the opposition of complementary antonyms, as life/death, or light/darkness. In the present paper analysis is offered of Shishkin’s artistic reality which determines the mutual permeability of semantic boundaries between the components of this antithesis and the appearance of such nar­rative formulae as “the city of the dead where everyone is alive” or “your son has fallen in action, but he is alive and healthy”. With M. Shishkin, being born, dying and being brought back to life, acquire a chance to happen again and again within the life span of one and the same personage. The antithetic nature of life and death is weakened or altogether annihilated by pragmatic validity of such statements, by the plot as well as by the author’s conscious intention. The substitution of syntagmatic ties between the elements of the narrative with paradigmatic ones and the introduc­tion of pseudo-alogisms into the plot of the text allow the reader to accept them as true statements which is not inconsistent with the laws of artistic reality.
CS
„Město mrtvých, kde jsou všichni naživu”: kontextuální synonyma „života” a „smrti” v próze Michaila Šiškina V próze Michaila Šiškina se jasně projevuje tendence k zrušení protikladů ve významu komplementárních antonym (život/smrt, světlo/tma). Ve studii prozkoumáváme právě tyto zákony, je­jichž důsledkem bude propustnost sémantické hranice mezi prvky protikladů, a vznik narativních vzorců jako například „město mrtvých, kde jsou všichni naživu” anebo „váš syn zemřel, ale ten je živ a zdráv”. Narození, umírání, vzkříšení u Michaila Šiškina nabývá schopnost k opakování stejné postavy v příběhu. Slovní antonymie živé a mrtvé se oslabí anebo dokonce odstraní pomo­cí pragmatického odůvodnění těchto spojení, jejich podmínění situačním kontextem, úmyslným stvořením epizody. Výměna lineárních, syntagmatických vztahů mezi narativními prvky za para­digmatické, přenos imaginárních alogismů na úroveň námětu umožňují tyto prvky považovat za pravdivá prohlášení, která zákonům stvoření umělecké reality neodporují.
14
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СТИЛЬ И СЛОВО

87%
EN
The reorientation of linguistics to the study of the regularities of its functioning in stylistics, manifested in the fact that functional style has been regarded as a type of language in any sphere of human activity, regards language in the aspect of differentiation and modification in the basic speech varieties. It is not by chance that text samples from different areas of communication are used in frequency dictionaries. Understanding style as a way to integrate speech performance first put forward the questions of the compositional-semantic organization of the text, the realization of its categories, constructive principles, and techniques. In functional stylistics studies the two main areas – the use of language and the organization of a speech performance – are analyzed as complementary, but cohesion requires understanding the regularities of the functioning of language units in a text with many objectives, updated in texts of the given sphere. To resolve this problem, it is reasonable to rely on the notion of speech genres, each of which is a sequence of standard cognitive-communicative actions – structural elements acting as an object in the text of spiritual socio-cultural activities. The analysis of these actions has revealed and systematized lexical units in communicative composition of language material (Gasparov 2010). This text-centered study of functioning of lexical and other means is of interest not only for the theory of style (and, more broadly, in speech study), but also to practice learning the language in its functional varieties.
EN
The  article’s  main  subject  refers  to  some  magical  aspects  of  the  literary  communication which might  be  observed  in  the  selected  examples  of Polish  fairy  tale,  composed  in  the nineteenth century and at the beginning of the twentieth one. The crucial issue of the article concerns  a  certain relationship between  the  magic  words’  and  the  silence’s  forms  and  the folk world outlook which reveals itself as a realm, constituted on a structure of opposition. Moreover,  in  the  paper  one  may also  encounter  with  a  characteristics  of  the  functions  of spells, whispers and scenes of silence that appear in the folk tales. 
EN
This article is devoted to the apothegm understood as a literary genre. The aim of the article is to present the etymology of the very word as well as gather and organize the distinctive features of the genre by referring to the Greek, Roman and early modern tradition in order to highlight those aspects that indicate its evolution. What is more, the article also points out the differences between the apothegm and other cognate genres, such as proverbs, maxims, gnomes, dicta, anecdotes and aphorisms. The apothegm is presented as an exceptional genre since, by emphasizing the conciseness and wit of “speech activities”, it enhances sensitivity to current circumstances. Aptly, the apothegm strengthens a singular, wittily articulated and highly individual verbal reaction to a situation that occurred at an exceptional moment. The article especially points to the philosophical aspect of the apothegm, that is, its anthropological dimension. The apothegm is the form of the word, capable of expressing all intricacies of human nature, becoming an equivalent to history or biography. Thus approaching apothegm, that is, as a literary genre, allows it to be considered as an adequate reflection of one’s personality, combining the constant with the singular and the changeable in human nature. Therefore, the genre borders on rhetoric, history, biography and philosophy.
EN
In the first part of my paper, I present language data which show that the use of words and the use of gestures are perceived as separate activities, which can be reported, among others, with the Polish verbs powiedzieć coś komuś and pokazać coś komuś czymś. In the second part, I compare the natural language users' perception of the use of words and gestures with other theoretical approaches. Finally, I come to the conclusion that the natural language users perceive the use of words and gestures differently than the researchers who extend the scope of the natural terms describing the use of words to include the use of gesture.
18
75%
EN
In this article we find lexicographical reflections on the German (and Polish) dictionaries primarily in the context of the amount and structure of the contained therein lexemes. The author weaves considerations about the type of dictionary entries and how they can be lemmatised, eg. putting in dictionaries often only parts of compound words (eg. Affen-, Hunde-, -frei, -hungrig) to productively contribute to the development of vocabulary (eg. Affenschnell, Hundehitze, sozialversicherungsfrei, sexhungrig). The article also touched upon the issue of online dictionaries (digitized) and the increasingly important issue of foreign words, particularly English. The object of the considerations are mainly the Duden dictionaries, and also Wordbooks from Adelung, Klappenbach / Steinitz, Doroszewski, Zgółkowa, Żmigrodzki et al.
PL
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EN
The article deals with the features of self-development and the mutual influence of the Kazakh and Russian languages, competing in the communicative medium of modern Kazakhstan. Theoretical basis of the study are the works devoted to the problems of linguistic dynamics and interaction of languages, and to sociolinguistic issues. Factual material made up units of Kazakh and Russian languages, illustrate the active processes in the vocabulary of both languages. The basic methods are descriptive and comparative. The analysis shows that in the Kazakh literary language preference is given to hidden forms of cooperation with the Russian language: if there are many calques then there will not be new direct borrowings from the Russian language, the influence of the Russian language is reduced to the role of an inter¬mediary language. On the contrary, kazakhizms are actively engaged in all styles of Russian language which are functioning in Kazakhstan. Some deviations caused by the influence of the Kazakh language are found in Russian texts.
EN
This article presents Slavic loanwords in the Austrian variant of the German language. Its aim is twofold: it discusses words of Polish, Slovakian, Czech, Serbo­-Croatian, and Slovenian origin in the Austrian variant of German, as well as stressing the multicultural history of Austria and its influence on vocabulary (a significant number of Slavic loanwords refer to culinary lexis denoting the names of Slavic meals). The analysis will not only deal with the meaning and etymology of particular words, but will also scrutinize their description in the “Duden” dictionaries: “Deutsches Universalwörterbuch” and “Duden. Wie sagt man in Österreich?”.
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