MAGIC POWER OF WORDS IN RHETORIC AND THEIR LEXICAL AND SEMANTIC FEATURES

2019 ◽  
Vol 19 (3) ◽  
pp. 178-184
Author(s):  
Urkuya Muratalieva ◽  

Тhe article analyzes the magical power of words used in rhetoric, and their lexical and semantic features.It was emphasized that the meaning of the magical power of the word is embodied in life, and not in the sum of the lexical meanings of the components of rhetorical expressions. The idea of these statements is devoted to issues that have an educational orientation, but in fact is full of semantics of bad intentions, such as mutilation, death, destruction. It is not a rhetorical device that has rhetoric, but the fact that after a certain time it passes into real reality, revealing the meaning of such Proverbs as "spoken word, shooter", which still do not lose their meaning in the Kyrgyz people. We are talking about the fact that for a long time is widely used in the oral national oral folk art, as an artistic method, and is also used as a genre painting with a special content, form, identity.

2021 ◽  
pp. 207-221
Author(s):  
L. I. Moskalyuk ◽  

The phraseological fund of German island dialects of the Altai Territory in Russia is signifi-cantly distinctive, containing many phraseological units differing from standard and original dialect variants. These features are revealed when analyzing the Russian-German dialect phraseological system fragment, i. e., phraseological units with time components. The devel-opment of the phraseological fund of the island dialects concerned is defined by the presence of common German phraseological units represented in standard German and modern German dialects, the preservation of old elements of the phraseological system, out of use in the territory of the original language group, and a certain permeability caused by the influence of a foreign language environment. Taken together, these facts explain the phraseological varia-bility and emergence of some distinctive features in the researched fragment of the phraseo-logical system of the dialects under consideration, resulting from originally related dialects being mixed and influenced by the Russian language. Most of the phraseological units of is-land Russian-German dialects under consideration are represented by dialect idioms with time components that differ in their structure and/or semantics from phraseological units of the German literary language. The differences in structure are associated with the presence of dia-lectic phonetic and grammatical features of dialects, which are superimposed by the lexical-semantic features that appeared in the process of the dialect existence in a foreign language environment for a long time. Idioms with time components belong to the active phraseological fund of the language, with their active usage indicating a particular significance in the Russian-German cultural space.


2018 ◽  
Vol 10 (2) ◽  
pp. 74-84
Author(s):  
Elena A Rusinova ◽  
Elizaveta M Khabchuk

The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became distinctive features of the genre of dzidaigaki (costume-historical film), especially loved by the audience. The main vehicle in the sound design of such films was the actor's speech using an ancient language, differing from modern Japanese by the presence of additional endings and pronouns. The mode of stylization of speech, associated with a special attention to detail, brings the audience closer to the time displayed on screen, adding realism in the perception of the screen event. The article presents stylistic, phonetic, semantic features of actor's speech in Japanese films not only in costume and historical genre, but also in fantasy and animation films. In the latter two genres, the onomatopoeia (sound imaging) plays an important role in creating the sound design of the film, which is so common in Japanese colloquial and written speech that can also be attributed to a peculiar Japanese cultural tradition. Analysis of sound designs of the Japanese films, including the use of onomatopoeia, is the novelty of the work presented. The articles topicality is that analyzing another view of the world can broaden the horizon of seeing a specific creative task that is not even related to the Japanese theme, while opening up new creative opportunities. In addition, the material of the article in some extent fills a gap in Russian cinema studies, related to the theme of sound in Japanese cinema.


2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Tingting Zhang

Fairy tales enable children to cruise around a world full of wonder and imagination. As a special group, children readers are different from adults for their unique development phases of language and cognition. Therefore, fairy tale translation should give close attention to children’s special demand. Basically, translation works of fairy tales require their translators to stand on children’s point of view and spark children readers’ interests. For quite a long time, as an acknowledged principle in fairy tale translation, child-orientation puts more emphasis on observing and appreciating the world with the child-like appetite. Translators should take account of children’s language ability as well as their cognitive condition and aesthetic preference. This essay is mainly about child-orientation principle. A comparative study has been made between The Trumpet of the Swan by E·B·White and its Chinese translation version by a famous translator Ren Rongrong. Through several concrete translation  examples and with an analysis of its language style including conciseness, vividness and musicality as well as its rhetorical device such as simile and overstatement, a simple conclusion could be drawn. It is extremely important to follow child-orientation principle in fairy tale translation. Translation works based on this principle will bring an essence of fun and interest for children.


JURNAL RUPA ◽  
2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Rizki Kurniawan

Like other cultures, batik has undergone many developments and changes. Batik Parang in particular has experienced it many times in different periods with a very long time span. From this period, we can see that batik parang have also experienced some ups and downs conditions, which not only caused by outside influences, but also can be caused by various influences from within his own culture. In a due process of change will produce a wide range of output that inevitably will influence directly a form of culture. These conditions also experienced by batik, especially batik parang in the process of developing and adapting to changes. As in batik parang, which evolved from court art, must be degraded into folk art. Batik in order to survive as a cultural form, should be able to adapt changes and sacrificed by decreasing its symbolic meanings to continued its existence in the future.


Ritual ◽  
2017 ◽  
pp. 323-343
Author(s):  
S. J. Tambiah
Keyword(s):  

2019 ◽  
pp. 129-135
Author(s):  
Viktor Tkachenko

In the article the archival materials of the Institute of Art Studies, Folklore Studies and Ethnology named after them are considered, analyzed and published. M. T. Rylsky NAS of Ukraine are connected with the customs and ordinances of spring religious holidays in Podillya. There are a lot of information on Easter eggs in the archival files. The methodological basis is the general scientific principles and methods of research. Among them – problem-chronological, search, analysis and synthesis, generalizations that allowed investigating this issue and identify certain rituals characteristic of this region. The purpose of the article is to analyze the archival collections of documents which cover or provide information on Easter eggs of Podillya, the production of Easter eggs, their use in ritual and to publish the original sources for replenishing the source and historiographical base. Easter ceremonies and the role of Easter eggs in them are usually of great interest. After all, the use of the symbol of the revival and resurrection of eggs-Easter eggs is closely interwoven with magical actions, beliefs and ritual customs. It was these materials that came from the 1920's to the Ethnographic Commission organized by the VUAN. In the informational materials concerning the calendar ritual, we have a lot of information about the celebration of Easter, preparation for it, the making of Easter eggs, their ornamentation and use in rituals. At Easter, children were welcome, mainly boys, mostly native, baptized mothers, midwives, acquaintances, priests and landlords of their villages, carrying «volochylne» as gift, consisting usually of wheat crayfish and a few painted eggs. The children weal believed to be the incarnation of the spirit of grandfathers-great-grandfathers as messengers of the sky world. With childrens bypasses and the custom of the first clerk, stored in ritual part of the annual cycle is connected. Speaking about the circumvention of the fellow villagers or Easter gretings, which did not exist in the circle, the authors write that «on the second day the children go to greet early. Having come to the hut, they greet and say three times “Christ is Risen”, and the owner answers three times “Truly Risen”. The master gives him a handkerchief, and with this he goes from house to hose until it startscalling the church». Interesting information is given about the burial of the deceased during Easter celebrations. One of the authors notes, «those who die on Easter (righteous) go straight to heaven. Theu put for such a dead person in a coffin: a glass of wine, a half glass of vodka and a cherry tree, this is done so that in that world he would have something to eat and drink». The materials of the people's calendar, legends, signs, beliefs, etc., which came to at the Ethnographic Commission from Grigory Judin from Vinnytsia in 1929–1930, are quite diverse and informative. In particular, about Easter, he wrote that «they prepare for the holiday: Easter Breads, pig, or so-called: “A porridge”, or a ram, there are baked noodles (called “woman”), cooked sackcloth (jelly), crayons (called “horns”), Easter eggs». In the use of Easter dishes clearly preach the Christian customs of our ancestors. The owner divides the sacred egg among members of his family, wishes everyone the health, joy, fulfillment of dreams. The ritual of purifying water, like fire, goes from the depths of centuries – so our ancestors recognized the power of water and their actions caused the spring rain. Comparing these spring customs, we can conclude that the basis of the symbolic image of spring nature, with the egg means the sun – water – rain, the very ritual inspired hope for fertility, and in the figurative meaning of people – the strength, health and joy of who poured water. Similarly, vinification with words had to effect on human health. After all, the spoken word sometimes had a strong influence on the person who was addressed. In the answers to the question about the existence and celebration of the Rakhmani Easter, we read: «They tell him that once a long time ago, people called lived rachmani, but they did not believe in God and did not know when Easter was. So, on our Easter, the shells painted eggs of the fell into the water and drove to the ramous, and then they realized that we had Easter. Rahman Easter after four Sundays». Not known by the general public, the reviewed sources indicate the existence of Easter eggs and their use during Easter custom-ritual traditions, in the beliefs of Ukrainians in the 20's of the twentieth century in this ethnographic region.


2020 ◽  
Vol 16 (1) ◽  
pp. 107
Author(s):  
Sri Wahyu Nengsih

This study aims to describe the structure and formula of mantra 'The Oath To Hunt Kuyang Ghosts'. Mantra is an old literary poetry that contains a unique arrangement of words and certain magical power to achieve a goal. This study analyzes the Banjar mantra to exorcize Kuyang ghosts (SSMHK). Mantra SSMHK is usually used by midwives or traditional birth attendants in Banjar a long time ago so that they wouldn't be disturbed by Kuyang ghosts when they are helping people to give birth. Kuyang is believed as a bloodsucking female ghost who uses Kuyang oil to find her prey. Kuyang oil is used as a means to make a woman's face look beautiful. This study uses a structural approach that emphasizes on textual analysis. The results of the analysis provide a brief description of the oral aspects in the form of mantra structures, repetition formulas, parallelism formulas, syntactic formulas, and formulaic expressions on Banjar mantra 'The Oath To Hunt Kuyang Ghost'.


2021 ◽  
pp. 67-80
Author(s):  
А.Ф. КУДЗОЕВА

Предметом настоящего исследования являются сложные глаголы осетинского и персидского языков в сравнительно-сопоставительном плане. Актуальность работы обусловлена несколькими факторами. Во-первых, это все возрастающий интерес отечественных и иранских лингвистов к современному состоянию двух языков разных ветвей иранской группы (осетинский язык является одним из двух живых представителей северо-восточной ветви, а персидский – относится к юго-западной подгруппе), один из которых в течение весьма длительного времени оторван от иранского мира, другой же в современном виде сложился в иранском языковом ареале; во-вторых, результаты сопоставления позволят по-новому подойти к некоторым нерешенным вопросам глагольных систем осетинского и персидского языков; в-третьих, выявление универсальных и уникальных характеристик осетинского и персидского глаголов актуально как для лингвистики данных языков, так и для методики их преподавания. В работе рассматриваются критерии выделения сложных глаголов в осетинском и персидском языках, их общие и уникальные структурно-семантические признаки. Детальному анализу подлежат именные компоненты сложных глаголов осетинского и персидского языков с точки зрения их морфологии, делается попытка уточнить границы осетинских сложных глаголов. В результате проведенного анализа автор пришел к выводу о том, что в осетинском языке именная компонента сложного глагола представлена большим числом частей речи, чем в персидском, хотя в большинстве случаев аналогичные значения выражены одинаковыми по составу конструкциями. В заключении намечаются вопросы, требующие дальнейшего и более тщательного рассмотрения. The subject of this research is complex verbs of the Ossetian and Persian languages in the comparative aspect. The relevance of the work is due to several factors. Firstly, it is the growing interest of domestic and Iranian linguists in the current state of the two languages of different branches of the Iranian group (Ossetian is one of the two living representatives of the northeastern branch, while Persian belongs to the southwestern subgroup), one of which has been for a long time divorced from the Iranian world, while another in its modern form has developed in the Iranian language area; secondly, the results of the comparison will allow to approach some unresolved issues of the verb systems of the Ossetian and Persian languages in a new way; thirdly, the identification of the universal and unique characteristics of the Ossetian and Persian verbs is relevant both for the linguistics of these languages and for the methods of teaching them. The work examines the criteria for identifying complex verbs in the Ossetian and Persian languages, their common and unique structural and semantic features; the nominal components of complex verbs of the Ossetian and Persian languages are the subject of a detailed analysis from the point of view of their morphology, an attempt to clarify the boundaries of the Ossetian complex verbs is also made. As a result of the analysis, it is concluded that in the Ossetian language the nominal component of a complex verb is represented by a larger number of parts of speech than in Persian, although in most cases similar meanings are expressed by structures of the same composition. In the conclusion, issues that require further and more careful consideration are outlined.


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