scholarly journals SENTENCE AND ITS POETIC SYNTAX IN BAYATIES OF AZERBAIJAN

HOMEROS ◽  
2021 ◽  
pp. 39-50
Author(s):  
Gülqız Hacıbala ADILOVA

Bayaties attract attention with their poetic perfection reflecting the subtleties of the national language, the specific features of the phonetic, lexical and grammatical norms of the literary language of Azerbaijan. The purity of the vernacular, the richness of the vocabulary, the fluency of the grammatical structure are also clearly felt in bayaties. As the research work is also called "Sentence and its poetic syntax in bayaties of Azerbaijan", the sentences in the bayaty context will be studied directly from the linguistic poetic point of view.

Author(s):  
Jun Ma ◽  
Hongzhi Yu ◽  
Yan Xu ◽  
Kaiying Deng

According to relevant specifications, this article divides, marks, and extracts the acquired speech signals of the Salar language, and establishes the speech acoustic parameter database of the Salar language. Then, the vowels of the Salar language are analyzed and studied by using the parameter database. The vowel bitmap (average value at the beginning of words), the vowel bitmap (average value at the abdomen of words), the vowel bitmap (average value at the ending of words), and the vowel bitmap (average value) are obtained. Through the vowel bitmaps, we can observe the vowel in different positions of the word, the overall appearance of an obtuse triangle. The high vowel [i], [o], and low vowel [a] occupy three vertices, respectively. Among the three lines, [i] to [o] are the longest, [i] to [a] are the second longest, and [a] to [o] are the shortest. The lines between [a] to [o] and [a] and [i] are asymmetric. Combining with the vowel bitmap, the vowels were discretized, and the second formant (F2) frequency parameter was used as the coordinate of the X axis, and the first formant (F1) frequency was used as the coordinate of the Y axis to draw the region where the vowel was located, and then the vowel pattern was formed. These studies provide basic data and parameters for the future development of modern phonetics such as the database of Sarah language speech, speech recognition, and speech synthesis. It also provides the basic parameters of speech acoustics for the rare minority acoustic research work of the national language project.


2021 ◽  
Vol 1 (1) ◽  
pp. 9-16
Author(s):  
Khamidulla Dadaboyev ◽  

This article is devoted to the analysis of the semantic structure of the common Turkic word “tortmoq” “pull, drag” on the example of factual materials recorded in the ancient Turkic, Old Turkic and Old Uzbek written monuments. The analysis showed that intralinguistic and extralinguistic factors, the possibilities of the Uzbek language in the process of expressing the meaning of this vocabulary, as well as the mastery of word usage by one author or another, played a certain role in the formation and development of the semantic scale of the lexeme. The conclusions can be used in enriching the point of view regarding semasiology, in improving the explanatory dictionary of the Uzbek language


2021 ◽  
Vol 03 (08) ◽  
pp. 59-71
Author(s):  
Hayat NAJI

The translation of religious texts has always been a perilous undertaking, especially when it concerns a sacred text. Indeed, seeing translation as an act of communication requires a knowledge of the communicative parameters that constitute it. The translator-speaker, who plays the role of intermediary, must create an interaction at the level of meaning and its semantic components. From this emerges the role of the addressee as the main protagonist and the only interpretative force of the message. Thus, the process of negotiation manages the translating activity, since the transfer of a message is not only reduced to a process of reformulation of the source text in another language, but, largely exceeds this compartmentalization. We will first discuss the challenges and stakes of the translation of religious texts, which we have chosen to illustrate with examples that make this aspect clear. Then, we will insist on the question of the translation as a semantic negotiation, considering that there is a confrontation between transmitter and receiver from the point of view of knowledge, historical and linguistic references. Indeed, this facet of the pyramid where the cultural dimension of translation and interpretation is played out remains unknown and implicit. It is quite easy to reveal what is related to the cultural, social and historical reality of a particular receiver. But that is not enough to communicate, it is also necessary to question the cultural references of this one, the representations conveyed by the language. Indeed, we have chosen to present examples of the Holy Qur'an translated by translators of different religions, and given that some translations have deviated from the noble mission of translation, in this case, the faithful transmission of the meaning, without any objectivity whatsoever, especially when it is a sacred text whose inimitability is not to be proven or tested. Thus, the difficulty in our choice stems, on the one hand, from the sacred character of the chosen writing, and on the other hand, from the nature of research in this field which is condemned to remain always relative. Since several elements control the translation of the sacred text, namely, the language, the tradition and the personal factors of the translator. Finally, the field of religious translation requires a great deal of precision and neutrality, and a constant rethinking of the fact that the slightest subjective or cultural interpretation could call into question our research work. Thus, when it comes to cultural transfer, the translator's task is to take into consideration the knowledge that already exists in the target culture about the source culture. Indeed, it is necessary to know how to relate the knowledge concerning the target culture to the knowledge via the source culture. The translator is the first receiver who receives and interprets the message; he will therefore try to understand the source culture with his own knowledge and value judgments. The translator is indeed a mediator because he assumes two roles, that of receiver and reader of the source message, however, the translator having a task of reader which must be different from that of the normal reader, since he must undoubtedly appropriate the competence of mediator in communication which crosses with the function of transmitter of the translated message. Moreover, this same message undergoes a second transfer; the target reader receives it and interprets it in turn according to his own ideological and cultural schemes. Thus, the process of the translated text is not limited to a single phase, but, it enchains back and forth during which the text acquires the imprint of the translator who makes the transfer. Without forgetting to negotiate the meaning by respecting all the circumstances of the original text. So, to what extent can this semantic negotiation communicate the said and the unsaid of the text? .


X ◽  
2020 ◽  
Author(s):  
Alessandra Cattaneo ◽  
Laura Baratin

The castle Colonna of Arnara: from the restoration of the monument to the enhancement of the ancient village and its territoryThe castle of Arnara, is located in Ciociaria in southern Lazio, in what was once the feud of the Conti of Ceccano. For the territory it is the most important monumental complex of medieval architecture. In fact, despite its small size, it is one of the few examples of fortified architecture still original in its essential lines. This castle represents an exceptional case of sedimentation and stratification, which even today, from its reading, allows us to reconstruct both its historical events and those related to the urban development of the adjacent historic village. Moreover it can be considered of priority importance also from the urbanistic point of view because it represents the first historical nucleus of Arnara. Unfortunately, today, the castle is in a bad state of conservation. With the passing of time its conditions have become more and more aggravated also because of the complex events linked to the various passages of property, of private and public nature, which have strongly influenced the management of the monument. The study of the castle of Arnara is part of the national and international debate that considers participation a key factor for the sustainable enhancement of the cultural heritage, because it promotes greater awareness of its social and economic value. The objective of the research work is to develop, taking the castle as a case study, a new approach that sees cultural heritage (tangible and intangible) as an irreplaceable heritage of knowledge and as a precious resource for economic growth, employment and social cohesion; therefore a cultural heritage seen as a driving force. In the specific case of Colonna Castle, attention has been focused on the importance of being able to activate virtuous circles around this very important place of culture, enhancing its role as a centre of knowledge and incubator of creativity and social innovation.


2019 ◽  
Vol 7 (1-2) ◽  
pp. 115-120
Author(s):  
Brigitta Zsótér ◽  
Ágnes Milojev

In our research work we aimed at carrying out an economical assessment of an investment and development of substantial volume. The examined project was completed at a pig-farm during which a new farrowing place and pig rearing building were built, as well as the renovation of the existing pig-farm. All of them were financed partly from the firm’s own source, partly from a non-repayable aid granted by the state, and finally from a credit granted by a commercial bank. The term of the credit is 10 years and the return of the investment expected by the investors is 8%, so we carried out our calculations according to these data. We examined the three possible ways of financing the investment from the economical point of view, as a result we proposed three hypotheses. Our hypotheses are: Hypothesis 1 (Case „A”): The investment will be financially recovered within the examined period of 10 years if it is financed from the firm’s own source, the state grant and the bank credit. Hypothesis 2 (Case „B”): The investment can be economically completed within the given period of time if the project meets the costs from the firm’s own source and the credit. Hypothesis 3 (Case „C”): The investment will be economically accomplished within the examined 10 years provided the firm finances the project from their own source and the state grant. In our calculations we used the net present value (NPV), the internal rate of return (IRR), the payback time (PB), the discounted payback time (DPB) and the profitability index (PI) as economy indicators. We carried out our calculations regarding 10 years to be able to compare the results since the term of the granted credit is 10 years, too.  


Polymers ◽  
2021 ◽  
Vol 13 (19) ◽  
pp. 3394
Author(s):  
Roman Růžek ◽  
Josef Křena ◽  
Radek Doubrava ◽  
Josef Tkadlec ◽  
Martin Kadlec ◽  
...  

The present paper documents and discusses research work associated with a newly designed passenger door structure demonstrator. The composite structure was manufactured from carbon-fiber-reinforced thermoplastic resin. A composite frame with a variable cross-section was designed, optimized, and fabricated using thermoforming technology. Both numerical simulations and experiments supported structural verification according to the damage tolerance philosophy; i.e., impact damage is presented. The Tsai-Wu and maximal stress criteria were used for damage analysis of the composite parts. Topological optimization of the metal hinges from the point of view of weight reduction was used. All expected parameters and proposed requirements of the mechanical properties were proved and completed. The door panel showed an expected numerically evaluated residual strength (ultimate structure load) as well as meeting airworthiness requirements. No impact damage propagation in the composite parts was observed during mechanical tests, even though visible impact damage was introduced into the structure. No significant difference between the numerical simulations and the experimentally measured total deformation was observed. Repeated deformation measurements during fatigue showed a nonlinear structure behavior. This can be attributed to the relaxation of thermoplastics.


Author(s):  
Ekaterina I. Yakushkina

The paper undertakes an analysis of vocabulary of the village Gospodjinci (Voyvodina, Serbia), collected with the help of questionnaire of the “Serbian Dialect Atlas” project (about 400 questions). This dialect belongs to the Shumadiya-Voyvodina dialect, which represents the basis of the Serbian literary language, and the vocabulary of this dialect is quite similar to a literary vocabulary (dialectisms make up 5%). Most of the identified dialectisms are also common outside of the Voyvodina. The lexical corpus under study is also compared with the vocabulary of another Shumadiya-Voyvodina dialect — the dialect of Bela Crkva in North-Western Serbia. With 27% of the answers of questionnaires from two villages differing, 10% are partly varying (in one dialect one word is used whereas in the other — two words). In some cases lexical differentiation between the Gospodjinci dialect and Bela-Crkva dialect reflects common Serbian synonymy. Some of the differential lexemes are important from the geo-linguistic point of view and oppose the dialects of Voyvodina to some of the Serbian dialects: pevac — petao ‘rooster’, verenica -zaručnica ‘bride’, zmija — guja ‘snake’, pule — magare ‘donkey’ etc. Lexical isoglosses allow us to conclude that the area of Voyvodina may be included in both Western and Eastern Serbo-Croatian areas.


Author(s):  
Parvin Rustamova

The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.


2021 ◽  
Vol 106 (106(812)) ◽  
pp. 44-53
Author(s):  
E. Barranco-Castillo ◽  
I. Melgares-Moreno ◽  
F. Girón-Irueste

Objetives: The main aim of our work is to highlight the importance of Chamorro’s discoveries in the fields of endocrinology, gynaecology, reproduction and oncology. Methods: Evaluation of the bibliometric impact of Chamorro’s work using Google Scholar, PubMed, Scopus and Gallica. Results: Between 1937 and 1945 Chamorro carried out important research work, the results of which provided valuable discoveries about the activity of the main endocrine glands. Discussion: To achieve our objective, Google Scholar has been the most profitable metasearch engine from a practical point of view, having recognized almost all of the articles published by Chamorro, although having ignored some of them it could be thought that the overall impact of this author is higher than that which has been found. Conclusions: These findings were reflected in the most prestigious journals and widely disseminated in U.S. research institutions, amongst others. In Spain, however, they were ignored. Maybe it’s time to spread it.


2018 ◽  
Author(s):  
Darla Crispin

As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.


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