scholarly journals E.K. Pekarsky’s dictionary of the yakut language as a kind of special supertext

2021 ◽  
pp. e021030
Author(s):  
Elena Stepanovna Rufova

This article studies E.K. Pekarsky’s Dictionary of the Yakut language within the scientific problem related to a supertext. Linguistic and literary works consider supertext as a multidimensional, cross-temporal, cross-personal, and polygenre phenomenon within the framework of the interpreted integrity of a number of independent texts; and integrity as a paradigmatic component is a constitutive part of the supertext. In supertexts, the textual component forms intertextual links and is revealed in the textual concept sphere, and simultaneously forms supertext links, creating a single text space.

2008 ◽  
Vol 67 (2) ◽  
pp. 71-83 ◽  
Author(s):  
Yolanda A. Métrailler ◽  
Ester Reijnen ◽  
Cornelia Kneser ◽  
Klaus Opwis

This study compared individuals with pairs in a scientific problem-solving task. Participants interacted with a virtual psychological laboratory called Virtue to reason about a visual search theory. To this end, they created hypotheses, designed experiments, and analyzed and interpreted the results of their experiments in order to discover which of five possible factors affected the visual search process. Before and after their interaction with Virtue, participants took a test measuring theoretical and methodological knowledge. In addition, process data reflecting participants’ experimental activities and verbal data were collected. The results showed a significant but equal increase in knowledge for both groups. We found differences between individuals and pairs in the evaluation of hypotheses in the process data, and in descriptive and explanatory statements in the verbal data. Interacting with Virtue helped all students improve their domain-specific and domain-general psychological knowledge.


2007 ◽  
Vol 12 (3) ◽  
pp. 196-205 ◽  
Author(s):  
Géry d'Ydewalle ◽  
Wim De Bruycker

Abstract. Eye movements of children (Grade 5-6) and adults were monitored while they were watching a foreign language movie with either standard (foreign language soundtrack and native language subtitling) or reversed (foreign language subtitles and native language soundtrack) subtitling. With standard subtitling, reading behavior in the subtitle was observed, but there was a difference between one- and two-line subtitles. As two lines of text contain verbal information that cannot easily be inferred from the pictures on the screen, more regular reading occurred; a single text line is often redundant to the information in the picture, and accordingly less reading of one-line text was apparent. Reversed subtitling showed even more irregular reading patterns (e.g., more subtitles skipped, fewer fixations, longer latencies). No substantial age differences emerged, except that children took longer to shift attention to the subtitle at its onset, and showed longer fixations and shorter saccades in the text. On the whole, the results demonstrated the flexibility of the attentional system and its tuning to the several information sources available (image, soundtrack, and subtitles).


2014 ◽  
Vol 16 (3) ◽  
pp. 126-104
Author(s):  
M.A.S. Abdel Haleem

With a rich, productive career spanning over 60 years, culminating in the award of the Nobel Prize for Literature in 1988, Naguib Mahfouz's literary works have naturally attracted numerous studies and critiques. These studies have covered a great many aspects of Mahfouz's creative writing, but, perhaps because of the secular, modern education Mahfouz received (both at school and in the Department of Philosophy in Cairo University), and his personal lifestyle, they have concentrated on the socialist, materialist, and structural aspects of his work. Perhaps because of this, one important aspect of his writing has largely escaped attention: his artistic use of the language of the Qur'an. Mahfouz does not signal that a given phrase or reference is Qur'anic, leaving it to blend with the text, and making it easy to miss the fact that the Qur'an played any part in Mahfouz's use of language. However, to a reader who knows the Qur'an by heart the presence of Qur'anic language in his works is obvious, and equally obvious is Mahfouz's artistic talent in using it. Eventually, he himself announced at the end of his life that he had always had an intimate interest in the Qur'an, read it daily, and benefited from it. This article seeks to demonstrate the ubiquitous presence of Qur'anic language in Mahfouz's works, and the skill and subtlety with which he used it.


2014 ◽  
Vol 11 (2-3) ◽  
pp. 378-396 ◽  
Author(s):  
Robert Murphy

Tony Richardson's major contribution to British and international cinema has been obscured by jejune prejudices over his small-town, north of England origins, his parallel career as a theatre director and his eclectic choice of film subjects. This article concentrates on his two most important contributions to the ‘British New Wave’ – A Taste of Honey and The Loneliness of the Long Distance Runner – in order to demonstrate Richardson's ability to recreate dramatic and literary works as dynamic and innovative films.


2014 ◽  
Vol 55 (1-2) ◽  
pp. 17-26
Author(s):  
Paul W. Merrick

The influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s.


Author(s):  
Biancamaria Fontana

This introductory chapter provides an account of Germaine de Staël's approach to politics that brings out the independence and originality of her contribution. Its main focus is the evolution of her views in the years 1789 to 1800, when she had the opportunity to take part (albeit intermittently) in French political life, and to set forth projects and strategies connected with it. The chapter touches only on Staël's best-known—and more widely studied—fictional and literary works, though naturally these do also have some political relevance. It has been suggested that the protracted exile into which she was forced during the empire was at the origin of Staël's major literary achievements, as it provided her with both the opportunity and the incentive to develop her true potential as a writer.


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