scholarly journals Grammatische Mittel im Vordergrund. Pronomen, die koordinierende Konjunktion und, die Negativpartikel nicht als Vehikel ambiger Poetizität

2017 ◽  
Vol 36 ◽  
pp. 47-65
Author(s):  
Marina Foschi Albert
Keyword(s):  
German Language ◽  
Literary Reading ◽  
Personal Pronouns ◽  
Cognitive Poetics ◽  
Function Words ◽  
Negative Particle ◽  
Complex Process ◽  
Poetic Function ◽  
Automatic Reading

Grammatical means in the foreground. Pronouns, the coordinating conjunction und, the negative particle nicht as a vehicle of ambiguous poeticityIn order to describe how “literary reading” proceeds, cognitive poetics makes a distinction within formal signs between “backgrounding elements”, which act as agents of automatic reading, and “foregrounding elements”, which require a more complex process of text elaboration and comprehension of the text meaning. To the first group of background elements belong all familiar words and signs compatible with normal use and expectation. This article aims to show how function words, i.e. ordinary words with limited meaning which seem to be natural candidates to serve as background elements, can express ambiguous relations, thus fulfilling a „poetic function“. The article deals with grammatical means of the German language: personal pronouns, the coordinating conjunction und, the negative particle nicht.

The Prosodization of Weak Function Words in Kurdish Language (Leilakhi Dialect)

2015 ◽  
Vol 7 (4) ◽  
pp. 42
Author(s):  
Sadegh Mohammadi Bolban Abad ◽  
Batool Alinezhad ◽  
Vali Rezai
Keyword(s):  
Noun Phrase ◽  
Theoretical Framework ◽  
Personal Pronoun ◽  
Prosodic Structure ◽  
Personal Pronouns ◽  
Function Words ◽  
Phonological Process ◽  
Stress Assignment ◽  
Prosodic Phonology

<p>This paper investigates the prosodic structure of simple prepositions and dependent personal pronouns as weak function words in Leilakhi Dialect with the theoretical framework of Prosodic Phonology or Phonology of Domains. Weak function words (fnc) of this dialect are proclitics or enclitics that form Clitic Group (CG) with their host. One such feature of these elements is their combinatorial restriction with their host, <em>i.e. </em>simple prepositions as prosodic proclitics must precede a noun phrase or independent personal pronoun and absolute prepositions as phonological words join the dependent personal pronouns in the role of enclitics which give form to the clitic group. The phonetic process and phonological process used in this research are aspiration and stress assignment pattern respectively. </p>

scholarly journals TECHNIQUES OF A FAIRY TALE LEARNING AT THE LESSONS OF LITERARY READING IN THE PRIMARY SCHOOL

2020 ◽  
Vol 1 (190) ◽  
pp. 156-162
Author(s):  
Svitlana Fedotova ◽  
Keyword(s):  
Primary School ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Main Part ◽  
Reading Skills ◽  
Efficient Technique ◽  
Literary Reading ◽  
Complex Process ◽  
Primary School Pupils ◽  
Book Exhibition

A fairy tale is a piece of folk work (or literary/ author’s fairy tale) with the elements of fantasy, which has its own peculiarities of reading. The formation of the primary school pupils’ expressive reading skills at the lessons of literary reading is a complex process. Contemporary methodologists have introduced a system of methodological techniques of learning a fairy tale, taking into account its genre peculiarities. In the process of work at a fairy tale the «Grandmother-narrator» /picture № 2/ technique is being realized: at the lesson the text of a fairy tale is being expressively read by a teacher, some fragments are being read by the pupils, preserving the peculiarities of folk performing manner. The peculiarities of a fairy tale structure: the presence of the beginning, main part, ending, triple repetitions is caused by the usage of the technique («I, II, III bricks») in picture № 3). Permanent epithets, emotional and evaluative words create the unique atmosphere of magic in fairy tales. While listening to or reading the fairy tales pupils figure out and use these lexical units in order to characterize fairy heroes, this way realizing the technique in picture № 6. Working at characteristics of positive and negative heroes an important role is given to: «pupils’ questions to the text» (What? Who? Where?); «tricky questions» – a technique in picture № 4). In order to express their attitude to the fairy characters the pupils select «tooltips» (picture № 8). A fairy tale has a didactic nature. The characters are punished for being evil and rewarded for the kindness in it. In some fairy tales the moral is formulated, in others the moral of the tale is not formulated. In such case the technique «Make a note of that» /picture № 7/: it is suggested to the pupils either to formulate the tale’s idea by themselves, or to choose the second corresponding name of the fairy tale from the list of some proverbs. There are some elements of fantasy in the structure of a fairy tale. One of the techniques in the process of work at a fairy tale is the pupils’ looking for the elements of fantasy, a teacher’s talk about the fact that the main spell is a human being’s kind heart will also be appropriate here. Working with a book exhibition will help the pupils to differentiate a folk and a literary tale, to understand in what respect they differ, what groups they are divided into /the technique in picture № 1/. In the process of work at the fairy tale an efficient technique will be a lesson of creativity «Making up a fairy tale independently». Such lesson will help the pupils to notice the peculiarities of a fairy tale plotting best.

The positioned reader

2013 ◽  
Vol 22 (3) ◽  
pp. 263-277 ◽  
Author(s):  
Peter Stockwell
Keyword(s):  
Cognitive Linguistics ◽  
Research Programme ◽  
Literary Work ◽  
Literary Reading ◽  
Cognitive Poetics ◽  
Systematic Account ◽  
Literary Scholarship ◽  
Descriptive Account ◽  
Principled Account ◽  
Linguistic Approach

Modern stylistics is in the process of emerging completely from the shadows of the New Critical prohibitions on discussing the intentional and psychological fallacies in literary reading. Informed by cognitive linguistics and the psychology of cognition, a strong tradition of cognitive poetics has become established within stylistics, serving as a powerful challenge to the psychological fallacy in particular: readerly effects, emotions and significances in literary engagement are now regarded as part of the legitimate ground of stylistic study. In the classical terms that underpin the long view of stylistics, we now possess a good research programme in the systematic account of meaningfulness ( logos) and emotional affect ( pathos). What remains is the challenge of a similarly principled account of ethics. However, just as the cognitive turn has taken an applied linguistic approach to interpretation and aesthetics, so our cognitive poetic approach to ethos must be based on a descriptive account not of authority and immanent intentionality, but on the readerly sense of adopting a position in the process of literary reading. The concept of the intentional fallacy cannot be criticised as comprehensively as the psychological fallacy, but it nevertheless poses the wrong sort of question. This article sets out an encompassing framework for the analysis of ethics as an interaction between readerly disposition and textual imposition, to produce a sense of a ‘positioned reader’ of a literary work. Brief analytical illustrations from literary prose fiction are presented for exploration. The article draws on and questions related traditions in critical theory and psychology, with the aim of establishing a fully rounded stylistics as the foundational principle and principal method in literary study. My ultimate framing objective is an applied linguistic approach to literary scholarship that is evidential, dialogic and humane, and which completes the circle of meaning, feeling and significance familiar to generations of literary scholars.

Transitioning the Edges of Multiple Text Worlds: A Cognitive Processing Path from Textuality to Texture in Hanya Yanagihara’s A Little Life

2020 ◽  
pp. 243-268
Author(s):  
Anna Bendrat
Keyword(s):  
Cognitive Processing ◽  
Cognitive Processes ◽  
Emotional Valence ◽  
Cognitive Poetics ◽  
Complex Process ◽  
Level 1 ◽  
Main Protagonist ◽  
Socially Situated ◽  
Level 2

The paper is located in the field of cognitive poetics and its general aim is to explore cognitive processes underlying the idiosyncrasy of a reader’s narrative engagement on the level of texture. By introducing the notion of texture, Peter Stockwell (2009) added the third level of a reading experience, situated above a text (level 1) and textuality (level 2). While textuality present in text‘s stylistic patterns is the “outcome of the workings of shared cognitive mechanics, evident in texts and readings,” texture is defined as the “experienced quality of textuality” (Stockwell, Texture – A Cognitive Aesthetics of Reading 1). In other words, texture must involve a reader’s aestheticpositioning, but it also “requires aesthetics to be socially situated” (Stockwell 191; emphasis added). The paper focuses on Hanya Yanagihara’s novel A Little Life (2015) which has been selected due to its added complexity stemming from the fact that the chapters have alternating narrators. In the book a computational analysis is applied to the narratives of the three focalizers to trace and compare the positive and negative emotional valence of the texts with the use of R-environment software. It is argued that where intradiegetic perspectivizing entities (focalizers/narrators) are multiple, indicating and creating a mental representation of the main protagonist involves a particularly complex process. The protagonist’s ontological existence inside the narrative situation blends with the reader’s mental capacity for synthesis along the edges of the multiple narrative perspectivization.

The cognitive poetics of literary resonance

2009 ◽  
Vol 1 (1) ◽  
pp. 25-44 ◽  
Author(s):  
Peter Stockwell
Keyword(s):  
Cognitive Science ◽  
Literary Criticism ◽  
Literary Reading ◽  
Cognitive Poetics ◽  
Literary Scholarship ◽  
The Past ◽  
Dylan Thomas ◽  
Attention And Perception

AbstractThe application of cognitive science to literary scholarship in the form of a cognitive poetics offers the opportunity for accounting for many features of literary reading that have been rendered only in vague or impressionistic terms in the past. In this paper, an argument for cognitive poetics is made, with a focus on the affective and experiential phenomenon of resonance. This is modelled through cognitivist work on the field of attention and perception, to give a particularly literary-angled approach. The argument is exemplified with reference to a Shakespeare sonnet and then further demonstrated in a poem by Dylan Thomas, where the notion of a lacuna is developed to account for the phenomenon of “felt absence”. The paper concludes with observations on the role of cognitive poetics in relation to cognitive science, literary criticism, and in its own right.

scholarly journals Pronouns in Lotha

2020 ◽  
pp. 57-66
Author(s):  
Yantsubeni Ngullie
Keyword(s):  
Noun Phrase ◽  
Personal Pronouns ◽  
Free Standing ◽  
Second Person ◽  
Negative Particle ◽  
Demonstrative Pronoun ◽  
Demonstrative Pronouns ◽  
Third Person ◽  
Cultural Entity ◽  
Case Markers

The paper gives an account of pronouns in Lotha, a Tibeto-Burman language spoken in Nagaland, India. Lotha is a generic name and refers to both the linguistic group and the ethno-cultural entity. Lothas are racially Mongoloid and linguistically, it has been classified under the Central Naga group of the Naga sub-branch of the Tibeto-Burman languages. Pronouns in Lotha are free forms which can function solely to fill the position of a noun phrase in a clause. Personal pronouns are typically deixis to the speech participants for each of the three grammatical person i.e. first person, second person and third person. In annex to person, numbers i.e. singular, dual and plural are also distinguished on pronouns. Personal pronouns in Lotha are independent and free-standing and for that matter it takes case-markers and postposition in similar ways as full noun phrase. The first, second and third personal pronouns take case marking only when it serves as a subject and does not take any case markers when it serves as an object. Demonstrative pronouns function in several ways based on proximity and distance in time. Lotha has three-way distinction of identifying demonstrative pronoun i.e. proximate, distance and remote marked by ʃi ‘this’ (near the speaker), ci ‘that’(near the hearer) and o-ci ‘over there’( far away from both the speaker and hearer). The interrogative pronouns kvə, ndo and otʃɔ are attached to the bound nominal suffixes. Indefinite pronouns can be formed from the question words which can change to affirmative by attaching the indefinite suffix -sana and its negative particle counterpart mek. Reflexive pronoun in Lotha is expressed by the reflexive lexeme bɔbɔ ‘self’ which is a free morpheme.

scholarly journals Taking Perspective: Personal Pronouns Affect Experiential Aspects of Literary Reading

PLoS ONE ◽  
2016 ◽  
Vol 11 (5) ◽  
pp. e0154732 ◽  
Author(s):  
Franziska Hartung ◽  
Michael Burke ◽  
Peter Hagoort ◽  
Roel M. Willems
Keyword(s):  
Literary Reading ◽  
Personal Pronouns

scholarly journals Zu syntaktischen Eigenheiten des Merkmals Person im Deutschen

2018 ◽  
Vol 142 ◽  
pp. 105-117
Author(s):  
Teuta Abrashi
Keyword(s):  
Noun Phrase ◽  
Phrase Structure ◽  
Noun Phrases ◽  
Written Language ◽  
German Language ◽  
Personal Pronouns ◽  
Grammatical Categories ◽  
Syntactic Relations

Obwohl das Merkmal Person zu den grundlegenden grammatischen Merkmalen gehört und der Eindruck besteht, dass alles darüber ausgesagt wurde, sieht es aber aus, dass einige Gegebenheiten noch genauer behandelt werden müssen. Dieser Beitrag untersucht, ob die deutschen Nominalphrasen, die als Kern kein Personalpronomen haben, auch andere Merkmale als das der 3. Person tragen können. Es wird gezeigt, dass Anredeformen nur die 2. Person beanspruchen. Demzufolge wird die nur 3. Person Annahme vorgeschlagen, die in allen deskriptiven Grammatiken deutscher Sprache akzeptiert ist, zu modifizieren. Genauer gesagt, sollte das Merkmal 2. Person für jede Nominal­phrase vorgegeben werden, die die charakteristische Vokativ- Intonationskontur in der gesproche­nen Sprache hat oder mit einem bestimmten Vokativ- Interpunktionszeichen in der geschriebenen Sprache erfolgt. Somit könnten die Schwierigkeiten bei der Darlegung von Kongruenz/Rektion ver­mieden werden.Syntactic peculiarities of the feature person in GermanAlthough the feature Person belongs to the basic grammatical categories and the impression is that everything has been said, it seems, however, that some matters must be treated in more details. Con­cretely, this article will investigate if German noun phrases which heads are no personal pronouns, could hold other person feature than the 3rd person which is specified in the lexicon. It will be shown that quasi-vocative noun phrases hold 2nd person only. Consequently, proposal is to modify 3rd person only assumption which is accepted in all descriptive grammars of German language. Specifically, the person feature should be fixed to 2nd person feature for any noun phrase which has a characteristic vocative-intonation contour in the speaking language or is followed with a specific punctuation for vocative noun phrases in written language. In this way all possible problematic issues related to syntactic relations agreement/government and noun phrase structure could be avoided.

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