scholarly journals PSYCHOLINGUISTIC IMAGE OF JOY (IN THE COMPUTER-ANIMATED FILM INSIDE OUT)

2021 ◽  
Vol 16 ◽  
pp. 32-35
Author(s):  
Маргарита Бережна

The paper is focused on the correlation between the psychological archetype of a film character and the linguistic elements composing their speech. The Nurturer archetype is represented in the film Inside Out by the personalized emotion Joy. Joy is depicted as an antropomorphous female character, whose purpose is to keep her host, a young girl Riley, happy. As the Nurturer, Joy is completely focused on Riley’s happiness, which is expressed by lexico-semantic group ‘happy’, positive evaluative tokens, exclamatory sentences, promissive speech acts, and repetitions. She needs the feeling of connectedness with other members of her family, which is revealed by lexico-semantic groups ‘support’ and ‘help’. She is ready to sacrifice everything to save the girl in her care, which is demonstrated by modal verbs, frequent word-combination ‘for Riley’, and directives.

2020 ◽  
Author(s):  
Olja Baker

Abstract The main aim of the present paper is to compare the realization patterns of directive speech acts produced by the Speaker of the House of Representatives of New Zealand and the Speaker of the House of Representatives of Bosnia and Herzegovina. The paper focuses on head acts only, disregarding modification. Head acts are analyzed and compared in terms of their explicitness and implicitness, as defined in the framework proposed by Vine (2004a, 2004b). Overall results show that explicit head acts were dominant in both data sets. Furthermore, significant differences were noticed in terms of the findings for certain sub-forms of the explicit head acts, such as the imperative form, which is more frequent in parliamentary directives in Serbian, as are performative verbs. Modal verbs were typical of the parliamentary directives in English. The results are discussed in the context of the findings of previous relevant studies.


1997 ◽  
Vol 25 (1) ◽  
pp. 23-37 ◽  
Author(s):  
Tamar Heller

Margaret oliphants ghost story “The Library Window” (1896) — one of the last works of its author's prolific career — is haunted by images of reading and writing. Visiting her aunt, the young narrator (never named) reads obsessively, perched in the window seat where she witnesses another scene of textuality. Some claim that a window in the college library across the street is only “fictitious panes marked on the wall” (296), yet in a series of increasingly vivid tableaux the girl sees through those panes a young man seated in a study “writing, writing always” (305). So entranced is she by this vision of scholarship, so convinced of its reality, that she is devastated to learn the window is indeed a fake and the young man a ghost who appears to her because of a curse on the female members of her family: he was killed by the brothers of another young girl — the narrator's ancestor — when they mistakenly assumed he was responding to her flirtatious overtures as she waved to him across the street.


2021 ◽  
Vol 10 (4) ◽  
pp. 14-22
Author(s):  
Muhammed Kamal Abdulwahab ◽  
Himdad A. Muhammad ◽  
Mary Beneditte

The paper aims at investigating translating commissive speech acts in movie subtitle from English into Kurdish. It attempts to identify the meaning loss, in other words deletion errors and then categorize them along with the illocutionary acts. The samples of the study are taken from the subtitle of the horror movie (Pumpkinhead: Blood Feud) which has been translated into the Kurdish language. First, twenty commissive speech act are identified as having translation problems in the movie according to Searle’s category, then their illocutionary acts are specified. The English and Kurdish subtitles are compared to find out the meaning loss and deleted items, in addition to the compatibility of the illocutionary acts between them. The results of the analysis show that ‘promising’ and ‘warning’ are the most challenging illocutionary acts for translators because of the number of deletion errors found in their translation. The most common type of meaning loss in the translation of commissive speech acts are adverbs, pronouns, exclamation words, main verbs, modal verbs, nouns, and adjectives, respectively.


2019 ◽  
Vol 3 ◽  
pp. 00046
Author(s):  
Yuliantini Yuliantini ◽  
Sumarlam Sumarlam ◽  
Tri Wiratno

<p class="MsoNormal" style="text-indent:0in">This research aims to describe the type of modality of French modal verbs in directive speech acts in the comic Michel Vaillant and find its meaning. In French, modality it is seen in the use of modal verbs such as <i>devoir, pouvoir, vouloir,</i> and <i>falloir</i>. In addition to the semantic studies, the terms are also considered to be socio-pragmatic. This study describes the modality of modal verbs in directives speech acts in the data. Analysis of the modality types is made by dividing it into four categories namely intentional, epistemic, deontic and dynamics. The purpose of this study is to describe the verb type and mode which means the modality of French modal verbs in directive speech acts. The socio-pragmatic approach is used to address the problem and interpret the intent of the spoken statement. The unit of analysis is the speech acts. The speech here means directive using modal verbs used by the characters in Michel Vaillant. In addition, to find the meaning of French modal verbs we use Hymes’ theory on the components of speech situations.<o:p></o:p></p>


2018 ◽  
Vol 8 (2) ◽  
Author(s):  
Arwen Thysse

Magras, Diane. The Mad Wolf’s Daughter. Kathy Dawson Books, 2018. The Mad Wolf’s Daughter is a children’s novel set in thirteenth-century Scotland that tells the story of Drest, a young girl who goes on an adventure to save her father and brothers after they are captured by invading forces. Diane Magras tells an engaging adventure story that sweeps you along with Drest as she tries to navigate a frightening world without her family—learning whom she can and cannot trust, and coming into her own as a young girl who can best adults through both her strength and her intelligence. Written for children, particularly girls of around the same age as Drest (12 years old), this story provides many insights into life, family, and friendship that both children and adults might find extremely powerful. For example, over the course of the story, Drest comes to understand that “you can’t always control your legend”—an important lesson in our modern world where rumour can spread so fast. The story emphasizes that you have to be true to yourself despite what people may be saying around you, and that it is this belief in one’s own self that can guide you through the roughest of times. As details around the lives of Drest’s family and the families of Drest’s friends are revealed in the story, Magras builds another powerful message about how it is ok to differ from and, indeed, disagree with people you love. Magras, aware that certain aspects of the medieval world in which she places her story may be unfamiliar to her audience, includes a glossary of terms as well as an author’s note that discusses the historical setting in greater detail. In particular, Magras does a good job of indicating that gender roles were not as fixed in the Middle Ages as is often assumed, and introduces the reader to the great variety of roles and indeed agency that women could have in the medieval period. Despite these positive traits, Magras’ story does seem to lack some depth to its world and only scratches the surface of the medieval context that she researched for the story. However, the exciting plot and vivacious characters satisfactorily carry the novel’s interest. Overall, this is a good adventure book which also offers a point of departure for readers to explore the medieval world in more detail. Therefore, this book would be a good addition to school and public libraries. Recommended: 3 out of 4 starsReviewer:  Arwen Thysse Arwen Thysse is a graduate of the University of Alberta Bachelor of Arts program and graduate of the University of Toronto’s Master of Medieval Studies program. She is also an avid musician, and enjoys children’s books.


Author(s):  
Maria Jolanta Olszewska

Two dramas by Lucjan Rydel 'Na marne' (1895) and 'Z dobrego serca' (1897) were created during the poet’s stay in Western Europe. These pieces are a testimony to changes in his worldview and attitude to life. He left in them his youthful fascination with symbolic and mood drama modeled on Maurice Maeterlinck’s plays. The attempts to transpose these patterns were heavily criticized by his youthful works 'Matka' and 'Dies irae'. Rydel turned to realism in art. In this case, the patterns were provided by Gerhart Hauptmann and Leo Tolstoy. Na marne is based on the confrontation of two life attitudes. The Major, a former insurgent, symbolizes patriotic tradition and deed, and his grandson Adam is a decadent who has lost faith in the meaning of life. It pushes him to suicide. This drama is a warning against passivity and fatalism. 'Z dobrego serca' treats about the sacrifice of a young girl who, after her sister’s death, decides to marry a much older brother-in-law to save her family. It becomes the personification of love of human being. For Rydel, the foundation on which we should build our life is Christian values. The choice made by the poet confirms his subsequent dramas mainly written for the folk theatre of which he was the initiator and creator.


IdeBahasa ◽  
2021 ◽  
Vol 3 (2) ◽  
pp. 71-80
Author(s):  
Elan Halid

The problem to be discussed in this research is how the expressive speech acts in the animated film Upin and Ipin are broadcast on MNCTV private television.  Pragmatics is the study of all aspects of meaning that have been covered in semantic theory, or in other words: discussing all aspects of the meaning of speech that cannot be explained completely by direct reference to the conditions of truth of the sentence spoken.  Speech acts are actions that are displayed through utterances to convey one's intentions and goals to others in life situations.  Expressive is a type of speech act that states something the speaker feels. Animated films are films that are the result of processing hand drawings, so that they become moving images. Animated films are basically based on fantasy stories. While the source of data in the research is the animated film Upin and Ipin. This type of research is a qualitative research with descriptive method. After the researchers conducted research and grouped the results of the research data based on expressive speech acts, the researchers obtained 27 data. The speech act of thanking found 5 data, apologizing found 4 data, congratulating found 3 data, praising found 5 data, complaining found 6 data, and blaming found 4 data. The conclusion in this study is that expressive speech acts in the form of complaining are the most commonly found in the animated film Upin and Ipin.


2017 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Alberta Natasia Adji

The re-writing of a fairy tale caters for characters, settings and values that have undergone changes, be it explicit or implicit. In Juliet Marillier’s Wildwood Dancing, the main female character Jena is transformed from the passive and obedient Twelfth/Youngest Princess of Grimm’s The Worn-Out Dancing Shoes into a brave and sensible figure. She challenges the oppression of patriarchal rules by taking control of her household in her father’s absence, securing her four sisters’ welfare, and keeping secret of their nocturnal dancing trips in the Other Kingdom despite being threatened by her domineering male cousin. In this way, Gerard Genette’s Hypertextuality strives to investigate the underlying patterns manifested in both literary works by applying the Re-vision element. Through it, Jena’s and the Twelfth/Youngest Princess’ sensibility trait and the socio-cultural settings surrounding them are highlighted in order to determine the importance of the overall hypertextuality process that takes place between the two. Later, Jena emerges as the more influential heroine than her predecessor character because she does not stop struggling to be regarded as an independent young woman who can always give advice and make decisions for her family affairs sensibly. Also, it is eventually proven that sensibility is indeed a strong weapon to be possessed by women in order to empower themselves against the conventions of a patriarchal world.      


2019 ◽  
Vol 2 (2) ◽  
pp. 139
Author(s):  
Bini Lestari

This study aims to describe the forms of illocutionary speech acts in the animated film Upin & Ipin in the series "Seronoknya Wisata Air". In addition, this study also describes the form of character education contained in the animated film. Furthermore, this study uses a qualitative method with a descriptive approach. The data source in this study obtained conversations in the animated film Upin & Ipin obtained from Television. Data collection techniques in this study used the note taking technique, by noting every conversation that contains illocutionary speech acts. The data validity technique in this research is in the form of theory triangulation, data analysis using interactive analysis. The results of the study show that in the animated film Upin & Ipin the series of "Water Tourism" contains illocutionary acts. For example assertive, directive and expressive. In this study, researchers also found the value of character education contained in the Upin & Ipin animated film "Seronoknya Wisata Air", for example disciplinary value, creative value, value of achievement and friendly values.Keywords: Illocutionary Speech Acts, Upin & Ipin Animated Film, Character Education


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