scholarly journals Analytical forms of expressing the category of certainty / uncertainty in modern Slovenian fiction

Litera ◽  
2021 ◽  
pp. 1-7
Author(s):  
Ksenia Igorevna Komarova

This article examines the analytical approach towards expressing the category of certainty / uncertainty in Slovenian fiction. The analytical forms are comprised by the unchangeable article-type particle “ta”, which is commonly used in the Slovenian colloquial language, but at present is also actively used in the literary language. Special attention is given to the modern Slovenian fiction. The author analyzed ten Slovenian novels published between 2008 and 2018, and revealed all instances of using the article-type particle with both, substantive adjectives and together with adjectives and nouns. The following conclusions were formulated: colloquial elements in fiction perform a stylistic function; therefore one of the key tasks of the article-type particle consists in speech characteristic of the character, including indicating his dialect, since all instanced of using the particle are in the dialogical speech or first-person narrative. However, it is important to note that in most instances, the particle is used with substantive adjectives, which indicates lexicalization of combination of the particle and the adjective, which is used for mentioning a known person/object or indicating a characteristic feature.

1952 ◽  
Vol 14 (3) ◽  
pp. 451-462 ◽  
Author(s):  
J. A. Boyle

§ 1. There is in all languages a considerable difference between literary and colloquial usage. Sometimes this difference is so great that one can almost speak of two distinct languages. But even when the contrast is less striking it remains true that a large part of the vocabulary and a number of grammatical forms are to be encountered only in books and do not come spontaneously to the lips in natural speech; just as, on the other hand, there are words and expressions to be heard on every side in ordinary conversation that would be unthinkable in formal writing. All this is as true of Persian as of any other language; but whereas in the West the colloquial idiom has long since achieved literary recognition in the drama and in fiction, this is by no means the case in Persia, where recent experiments in the recording of the spoken language have met with strong opposition from the upholders of the classical tradition. The first shot hi this new ‘Battle of the Books’ was fired more than 30 years ago by Sayyed Mohammad ‘Ali amālzāde with the publication of his celebrated collection of short stories known as Yekī būd yekī na-būd, in which he introduced into Persian literature a host of words and phrases in common use by all classes throughout Persia but unrecorded in dictionaries and carefully avoided by men of letters. ǰamālzāde was content to enrich the vocabulary of the literary language: it was left to men like the late Sādeq Hedāyat and his disciple Sādeq Čūbak to take a second and much more controversial step and to make the creatures of their imagination employ, as nearly as possibly, the actual pronunciation and grammar of the spoken language.


2011 ◽  
Vol 56 (2) ◽  
pp. 424-442 ◽  
Author(s):  
Gabriela Saldanha

This article argues that emphatic italics, a typographic feature regularly ignored by linguists and associated with poor style, have an important stylistic function in English, often working in implicit association with prosodic patterns in spoken language to signal marked information focus, thus fulfilling an important role in information structure and adding a conversational and involved tone to written texts. Emphatic italics are more common in English than in other languages because tonic prominence is the preferred means of marking information focus in English, while other languages use purely linguistic devices, such as word order. Thus arises the question of what happens in English translations from and into other languages. The study presented here looks at results obtained from a bidirectional English-Portuguese corpus (COMPARA) which suggest that italics may be less common in English translations from Portuguese than in non-translated English texts. This trend could potentially be explained by the use of common features of translated language, in particular explicitation and conservatism (also known as normalization). However, a closer look at the work of particular translators shows that the avoidance or use of italics is not a consistent feature of translations and may be a characteristic feature of the stylistic profile of certain translators.


Africa ◽  
1975 ◽  
Vol 45 (4) ◽  
pp. 426-438 ◽  
Author(s):  
W. Arens

Opening ParagraphDefinitional questions, such as ‘Who are the Waswahili’, posed by Eastman (1971) in this journal, appear to have been of little interest in the past, as many social anthropologists either ignored the problem or assumed that the answers were self-evident. However, those who have confronted this task have shown that simplicity and self-evidence is rarely a characteristic feature of the inquiry. Even classic ethnographic cases of supposed culturally homogeneous and distinct tribal groups are at present being re-examined in light of the renewed interest in this topic (cf. Helm, 1968). Whether or not the Nuer are the Dinka, or vice versa, it has been minimally established that such questions are legitimate and even fruitful in sharpening our analytical approach to subject populations.


Orð og tunga ◽  
2017 ◽  
Vol 19 ◽  
pp. 77-127
Author(s):  
Haraldur Bernharðsson

The current linguistic standard for Icelandic arose in the 19th century amidst rising romantic nationalism in Iceland and demands for independence from Danish rule. The architects of this standard, many of whom were Icelandic university students in Copenhagen, looked to the medieval Icelandic literature — the sagas — for linguistic ideals. This retrospective standard was propagated through the Icelandic Latin School, at Bessastaðir/Reykjavik, the only institution of higher education in Iceland at the time, and, especially in the second half of the century, through grammars and in printed books, journals, and newspapers. The emerging linguistic standard thus became visible through its application in printed materials in the public sphere. The first modern novel printed in Icelandic, Jón Thoroddsen’s Piltur og stúlka (‘Boy and girl’), appearing in 1850 and then again in a second revised edition 1867, played an important role in displaying and instituting the new linguistic standard. A rural love story featuring many linguistic characteristics of the medieval Icelandic sagas, the novel immediately enjoyed immense popularity. The second edition of 1867 was printed in 1,200 copies, a very large print run for a society of only around 70,000 people. Moreover, this love story about the young son and daughter of two neighboring rival farmers, appealed to children and young people in a way that no grammar, journal or newspaper ever could. This appeal to young people in their formative years probably made the novel instrumental in establishing a standard literary language for Modern Icelandic. The author, Jón Thoroddsen (1818–1868), received the best education available at the time and was friends or acquainted with many of the individuals, in Iceland and Copenhagen, who were most actively involved in the ongoing dialogue about matters concerning the Icelandic language. Jón Thoroddsen was thus in a good position to participate in and follow this dialogue and, as a writer, to conform to the emerging linguistic standard. This paper compares selected features of the language in the two editions of Piltur og stúlka appearing in 1850 and 1867. A corpus of around 70 private letters by Jón Thoroddsen are used as additional comparative material. These two editions, it is argued, were not only instrumental in establishing the new and emerging linguistic standard, but also manifest two different stages in the development of the standard. The linguistic changes implemented in the 1867 edition, as well as the linguistic features left intact, thus show the creation of a literary linguistic standard in progress. The main findings of the paper can be summarized as follows: (a) In the 1867 edition, the literary language moved away from the colloquial language. (b) The emerging linguistic standard is enforced more strictly and systematically in the novel, intended for public consumption, than in Jón Thoroddsen’s private letters. (c) Features from earlier stages of Icelandic are adopted in the literary language. (d) Almost all the changes made in the 1867 edition reflect permanent features of the linguistic standard, still in place in present-day Icelandic. (e) Some features of the language left intact in the 1867 edition would have been subject to change at a later date, showing that the linguistic standard was still not fully developed in 1867. (f) Many of the linguistic features adopted in the literary standard were at odds with the colloquial language, as already indicated, but ultimately some of these features changed in the colloquial language to conform with the literary language. The literary standard thus gradually influenced the colloquial language.


Author(s):  
Teresa López-Pellisa

En este artículo se reflexiona sobre las posibilidades de las narrativas del futuro a partir de tres textos de ciencia ficción: El cielo de la Tierra (1997) y La novela perfecta (2006) de Carmen Boullosa, y la película Sleep Delaer (2008) de Álex Rivera. Estos autores proponen narraciones de realidad virtual en las que el autor es el protagonista de una autobiografía multimedia que le permite exhibir sus vivencias en la Red (síndrome de Narciso). Y los lecto-usuarios se conectan a los avatares de estos autores para vivir en primera persona sus narraciones. El lenguaje literario se transforma en un lenguaje polisensorial proponiendo otro tipo de literatura ¿del futuro? This article reflects on the possibilities of future narratives from three science fiction texts: El cielo de la Tierra (1997) and La novela perfecta (2006) by Carmen Boullosa, and the film Sleep Delaer (2008) by Álex Rivera. These authors propose stories of virtual reality in which the author is the protagonist of a multimedia autobiography that allows him to exhibit his experiences on the Net (Narcissus syndrome). And the lecto-users connect to the avatars of these authors to live their stories in first person. Literary language is transformed into a polisensorial language proposing another type of literature ¿from the future?


2021 ◽  
Vol 1 (193) ◽  
pp. 283-289
Author(s):  
Julia Bogdan ◽  

This study is devoted to the investigation of the narrator’s typology in the modern German-language travel novel, in particular the first-person narrative. The range of unresolved problems in the typology of the narrator is outlined, namely the expediency of studying the author’s image in a travel novel. On the example of the work of the famous German writer-traveler and reporter A. Altmann, the author's position is analyzed and the author's intentions are established. Peculiarities of the formation of modern wandering novel prose determine a high degree of autobiography in the work. Using the "I" -telling, the author-protagonist forms a combination of the real author, the narrator and the main character, offers the reader a world created by him, in which the focus is on the author's impressions and guidelines. For the reader to rethink, it remains to follow the author's reflection and determine which of the described is real and which is the author's fantasy. An attempt is made to analyze the author's self­presentation at the compositional-speech and speech-stylistic levels. This novel is 12th of the 23 novels by the famous German reporter and travel writer A. Altmann. It is a combination of historical and geographical information, the stories of ordinary Australians, philosophical considerations and the author's reflection on what is seen. The figure of the author with his spiritual values and critical attitude to society found its imprint in the image of the author, creating the impression of complete identity with the real author. It is a novel with predominant compositional and speech forms - messages with descriptive elements and author's reflections. A typical architectural-speech form of the work is a monologue-reflection. At the speech-stylistic level, it should be noted the author's perfect use of a wide range of stylistically colored lexical layer from poetic to colloquial language. In the future, it is considered appropriate to compare and explore the author's position in the modern Ukrainian and German travel novel.


2017 ◽  
Vol 13 (1-2 (17)) ◽  
pp. 103-110
Author(s):  
Mariam Khazhakyan

In this paper, an attempt has been made to show the indispensable role of prosody in the language of drama. Prosody as a reliable means of identifying the meaning in belles-lettres style (drama) is important not only in terms of articulation but also perception and cognition as speech is a bilateral process. As compared with other substyles of the belles-lettres style, the dialogue in drama occupies a leading place. The author’s remarks contribute to the correct choice of prosody enabling us to reveal the author’s intent. Though represented in the form of dialogues, the language of drama is in no way the exact reproduction of the norms of colloquial language. The playwright will reproduce actual conversation only as far as the norms of the written language will allow. Thus, the language of drama is marked by stylization of colloquial speech preserving the modus of literary language.


Author(s):  
Pier Luigi Porta

This note outlines essential elements for reconstructing the intellectual route followed by Piero Sraffa on the basis of archival documents dating from the second half of the 1920s. These documents highlight Sraffa’s interest in Marx’s lack of success in linking his theoretical contribution to the reconstruction of its precedents in the history of political economy. Archival documents illustrate the formative phase of Sraffa’s scientific programme and show his intention to build a new theory starting from its premises in the history of economic analysis. Sraffa’s subsequent abandonment of the historical-analytical approach confirms Luigi Pasinetti’s view that Sraffa had to shelve an initial programme of great vastity and ambition to reduce it within feasible limits, of which his ‘equations’ are a characteristic feature.


Author(s):  
Sima Farda

To date, the contribution of the Turkish Sufis in the expansion of civilization, wisdom and Sufism are so great and effective in the Islamic world. In this area, many leaders in the golden banners of history have come up with a suitable place for themselves. It should be noted that the evaluation and study of the concepts such as Sufi and Sufism is one of the topics where all their profound and profound learning is essential for any literary worker, and they must investigate it, as it is one of their fundamental duties. The prominent poets of the Uzbek literature such as Khawajah Ahmad Yusawi, Baba Rahim Moshreb, Ibrahim Adham, Yusuf Amdani and others, have left valuable, influential and attractive works in the history of literature of this language, they also uncovered the imperfections of feudalism, the actions of religious hypocrites and unpleasant characteristics of vile leaders. They had a graceful role in deepening of world literature from the viewpoint of language formation and enriching. They have also played a significant role in the use of literary language, instead of colloquial language beside in the improvement of expression technique in this literature. Besides, they had a graceful role in expansion of Uzbek classical literature. The purpose of this article is to motivate learners of Uzbek language and literature in relation with the identification of mystical literature and poets, as well as their role in developing their thoughts and ideas in the right direction. The significance of this paper is to strengthen the worldly and eternal thoughts of peoples and the development of love, affection, intimacy, brotherhood and humanity that lies within their nature and character.


2020 ◽  
Vol 19 (2) ◽  
pp. 9-25
Author(s):  
E. L. Rudnitskaya

The paper deals with derivational processes: meaning and syntactic functions of deverbal nouns in the literary and spoken Evenki. Three affixes are considered: -kīt (nominalization with the meaning of the place of the action, or of an abstract action), -ďĀk (nominalization with the meaning of the place of the action), and -wūn (derived nouns with -wūn have the meaning of the result of the action, of the instrument, an abstract noun meaning, etc.). It is mentioned in grammars and vocabularies that -kīt shows a quite regular polysemy ‘place of action’ vs ‘abstract noun’; This polysemy is based on real uses in newspapers (the ‘abstract noun’ meanings found in the texts are often not listed in the dictionaries). The affix -ďĀk can have only the ‘place of action’ meaning in both written and spoken texts. The affix -wūn has a lot of nominal meaning; the ‘abstract noun’ meaning is found both in the literary and in the spoken language. This meaning is widely mentioned in dictionaries and grammars. All of the three affixes occur in the prenominal adjective / modifier position with the modification function. Cases of functioning of these three affixes as adjectives / modifiers are hardly mentioned in the dictionaries, and especially in the grammars, whereas you can find the nouns with -ďĀk, -kīt, -wūn in the noun modifier function in literary texts regularly. In this function, the nominalization loses important morphological properties of a noun, such as ability to bear a possessive or reflexive affix. The nominalization in the noun modifier position can optionally agree with the noun it modifies in case and/or number: this is a characteristic feature of Evenki adjectives. In spoken texts, we have found only ‑wūn nominals in the modifier position; overall, these nominals demonstrate case/gender agreement more often than nominals with -kīt and -ďĀk. We can conclude that the modifier use of deverbal nouns with -wūn and especially with -ďĀk and -kīt as adjectives is an innovation, and that the spoken Evenki preserves more archaic grammar rules than the newspaper (literary) language. These data also confirm the claims of G. M Vasilevich and I. Nikolaeva that nouns and adjectives are not two distinct categories in Evenki: they are not fully differentiated neither in the lexicon, nor in grammar. Not only a considerable amount of stems are, following G. M. Vasilevich, “undifferentiated”, or under-differentiated, but the number of such affixes is also increasing.


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