Notions “association”, “associativity” in modern linguo-stylistics

2019 ◽  
pp. 84-89
Author(s):  
Iryna Ivanenko
Keyword(s):  
Subjective Experience ◽  
Green Light ◽  
Human Memory ◽  
Text Structure ◽  
Point Of View ◽  
Modern Theory ◽  
Literary Language ◽  
The Core ◽  
History Of ◽  
The Aesthetic

Charles Bally’s works laid the basis for the linguistic interpretation of the conceptions of association and associativity and understanding of associative mechanisms with regard to the fundamentals of psychology and systemacy of semantic links in thinking and language. The foundation of the modern theory of associativity is the classification of associations (mnemonic and necessary, close and distant, internal and external) developed by Charles Bally in his works. In linguo-stylistics the conception of association and associativity are associated with understanding of the psycholinguistic mechanisms of figurative use of language units and the realization of the aesthetic function of a literary language (S.Ya. Yermolenko, A.A. Moisiienko, L.V. Tailor, O. Malenkov, H.M. Siuta). Among the mechanisms for the formation of linguistic associations are the following factors: objective, social and intellectual experience, dependence on cultural and historical traditions, the gender identity of the speaker, etc. One of them dominates in each specific communicative situation. Currently known classifications of types of associative links take into account the basic positions of psycholinguistics, and the needs of lexicology and stylistics, etc. General differentiation is carried out: 1) for contiguity, similarity and contrast, 2) according to the scheme “word-stimulus, word-reaction”, 3) according to the type of relationship between the stimulus and the associate). Deep differentiation of associations according to the type of relationship between stimulus and associate) determines the allocation of several associative types: paradigmatic (food – bread) / syntagmatic (food – consume); thematic (friend – childhood - childhood friend); empirical (associated with the subjective experience of the speaker); social (associated with the social experience of the speaker), etc. The use of other criteria motivates the allocation of these types of associations: a) audio, visual, adorational, tangential; b) the usual and unexpected; c) direct and indirect, mediated; d) positive and negative; e) cultural, ethnic and author’’s individual. Understanding the connection between associativity and imagery is a primary issue in the modern literary language theory. Being a basis of concrete and sensual perception of the literary text, associations serve as a basis of creation of character in literature (S.Ya. Yermolenko, L.O. Pustovit, L.O. Stavitska, V.A. Chabanenko). It is necessary to consider the ideas of Franko’s treatise according to the history of the formation of the associativity theory. In particular, the proposed division of poetic associations by content (“ordinary”, that is, simple, and “linked by force”, that is, complex), remains undeniable. During the twentieth century the understanding of the mechanisms of implementation of associativity significantly deepened. One of the main subjects of intensive processing was the paradigmatic ordering of words in language and in human memory, the presence of clear mental connections between certain objects, realities on the basis of commonality or adjacency of their individual traits, features, etc. (compare.: spring – green, light, sun, warmth, flowers, feelings). This motivates the associative grouping of words into semantic fields. From linguo-stylistics point of view the associative-semantic field is a text structure, the model of the functional and stylistic implication of lexical-semantic units. The core of such a field, as a rule, are the keywords – the semantic and estimated coordinates of the entire work. Another type of lexicon combination, taking into account the associative links between the components, is an associative and imaginative field. It arises on the basis of associative and semantic or lexical and semantic association due to the identity of the denotative properties of linguistic signs, the general tradition of common language and poetic usage. Its center is the most active unit (dominant) – the core component of the series, which organizes the relationship of all other components. Associative-figurative series (lexical-thematic lines) go from this dominant, which work together semantically with the center for associative and creative field. Associativity is one of the key concepts of modern linguistic style. Terminological functionality of the conception of association and associativity is associated with the activity of cognition of the problems of “language association”, “artistic association”, “associativity and creative work”.

Notions “association”, “associativity” in modern linguo-stylistics

2019 ◽  
pp. 84-89
Author(s):  
Iryna Ivanenko
Keyword(s):  
Subjective Experience ◽  
Green Light ◽  
Human Memory ◽  
Text Structure ◽  
Point Of View ◽  
Modern Theory ◽  
Literary Language ◽  
The Core ◽  
History Of ◽  
The Aesthetic

Charles Bally’s works laid the basis for the linguistic interpretation of the conceptions of association and associativity and understanding of associative mechanisms with regard to the fundamentals of psychology and systemacy of semantic links in thinking and language. The foundation of the modern theory of associativity is the classification of associations (mnemonic and necessary, close and distant, internal and external) developed by Charles Bally in his works. In linguo-stylistics the conception of association and associativity are associated with understanding of the psycholinguistic mechanisms of figurative use of language units and the realization of the aesthetic function of a literary language (S.Ya. Yermolenko, A.A. Moisiienko, L.V. Tailor, O. Malenkov, H.M. Siuta). Among the mechanisms for the formation of linguistic associations are the following factors: objective, social and intellectual experience, dependence on cultural and historical traditions, the gender identity of the speaker, etc. One of them dominates in each specific communicative situation. Currently known classifications of types of associative links take into account the basic positions of psycholinguistics, and the needs of lexicology and stylistics, etc. General differentiation is carried out: 1) for contiguity, similarity and contrast, 2) according to the scheme “word-stimulus, word-reaction”, 3) according to the type of relationship between the stimulus and the associate). Deep differentiation of associations according to the type of relationship between stimulus and associate) determines the allocation of several associative types: paradigmatic (food – bread) / syntagmatic (food – consume); thematic (friend – childhood > childhood friend); empirical (associated with the subjective experience of the speaker); social (associated with the social experience of the speaker), etc. The use of other criteria motivates the allocation of these types of associations: a) audio, visual, adorational, tangential; b) the usual and unexpected; c) direct and indirect, mediated; d) positive and negative; e) cultural, ethnic and author’’s individual. Understanding the connection between associativity and imagery is a primary issue in the modern literary language theory. Being a basis of concrete and sensual perception of the literary text, associations serve as a basis of creation of character in literature (S.Ya. Yermolenko, L.O. Pustovit, L.O. Stavitska, V.A. Chabanenko). It is necessary to consider the ideas of Franko’s treatise according to the history of the formation of the associativity theory. In particular, the proposed division of poetic associations by content (“ordinary”, that is, simple, and “linked by force”, that is, complex), remains undeniable. During the twentieth century the understanding of the mechanisms of implementation of associativity significantly deepened. One of the main subjects of intensive processing was the paradigmatic ordering of words in language and in human memory, the presence of clear mental connections between certain objects, realities on the basis of commonality or adjacency of their individual traits, features, etc. (compare.: spring – green, light, sun, warmth, flowers, feelings). This motivates the associative grouping of words into semantic fields. From linguo-stylistics point of view the associative-semantic field is a text structure, the model of the functional and stylistic implication of lexical-semantic units. The core of such a field, as a rule, are the keywords – the semantic and estimated coordinates of the entire work. Another type of lexicon combination, taking into account the associative links between the components, is an associative and imaginative field. It arises on the basis of associative and semantic or lexical and semantic association due to the identity of the denotative properties of linguistic signs, the general tradition of common language and poetic usage. Its center is the most active unit (dominant) – the core component of the series, which organizes the relationship of all other components. Associative-figurative series (lexical-thematic lines) go from this dominant, which work together semantically with the center for associative and creative field. Associativity is one of the key concepts of modern linguistic style. Terminological functionality of the conception of association and associativity is associated with the activity of cognition of the problems of “language association”, “artistic association”, “associativity and creative work”.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

RUSSISMS IN THE MODERN SERBIAN LANGUAGE

2021 ◽  
Vol 4 (103) ◽  
pp. 54-65
Author(s):  
JELENA LEPOJEVIC
Keyword(s):  
Semantic Analysis ◽  
Russian Language ◽  
Point Of View ◽  
Modern Theory ◽  
Literary Language ◽  
Lexical Semantic ◽  
Theory Of Language ◽  
The Russian Language

This paper considers, from the point of view of modern theory of language in contact, words loaned from the Russian language or through the Russian language that are still in active use in the modern Serbian language. The aim of this paper is to determine the corpus of these elements in the dictionaries of the modern Serbian literary language, as well as to conduct a morphological and lexical-semantic analysis of the collected material. Many of these words are not perceived as borrowings by speakers of the Serbian language, but it is a fact that these elements came to the Serbian language from Russian. The author studies the words with the label rus. , identified by the analysis of Serbian language dictionaries. Words of Russian origin that are on the periphery of the lexical fund of the Serbian language, such as archaisms and historicisms, have not been taken into consideration.

scholarly journals Lebanon’s Greening Imagination // La imaginación de un Líbano verde

2013 ◽  
Vol 4 (2) ◽  
pp. 117-132
Author(s):  
Marianne Marroum
Keyword(s):  
Subjective Experience ◽  
Creative Work ◽  
Separate Entity ◽  
The Core ◽  
The Past ◽  
Public Consciousness ◽  
Etel Adnan ◽  
The Aesthetic ◽  
Objective Description

This paper examines the narratives of a group of Lebanese authors and artists on nature in Lebanon, collected in an anthology entitled The Lost Space: The Views of Lebanese Authors and Artists on Nature  (2009) published by the cultural association of George Yammine,  the deceased Lebanese poet media officer and critic of literature and art (1955-2000). The   essays of Etel Adnan,  Antoine al-Daouihy, Hassan Daoud,  Fifi Kallab  and Claudia Marchelian,  among some others, will form the core of the study. I will deal with their objective description and /or subjective experience and perception of Beirut, nature and the environment in Lebanon as a separate entity, and in its relation to their creative work, whence the symbiosis of the natural, the aesthetic and the creative. I will undertake to analyze in the artists’ discourses the residues of forms and frame of minds of what may be regarded as Mediterranean orientalism, namely the subjective romantic experience of nature, the nostalgia for the green Lebanon of the past,  as well as the focus on the beauty of the Lebanese landscape.  I hope to show that these elements are paralleled and often dialectically intertwined with  a more objective  image  of a degraded environment, one that is  moving towards greater entropy.  I will conclude with a sample of variegated reactions and solutions some of the authors  put forward: paradoxical expressions of love and pride for this degenerated environment, philosophical arguments that inculcate  ecocentric values to public consciousness, and  pragmatic solutions that consist of a reconfiguration of landscape in sound ecological  manner.   Resumen   Este trabajo analiza la obra de un grupo de autores y artistas libaneses sobre la naturaleza en el Líbano, recogida en la antología titulada The Lost Space:  The Views of Lebanese Authors and Artists on Nature (2009), publicada por la asociación cultural de George Yammime, el fallecido poeta y critico literario y de arte (1955-2000). Los ensayos de Etel Adnan,  Antoine al-Daouihy, Hassan Daoud,  Fifi Kallab  y Claudia Marchelian, entre otros, formarán el núcleo del estudio. Exploraré su descripción objetiva y/o experiencia subjetiva y su percepción de Beirut, la naturaleza y el medio ambiente del Líbano como una entidad separada, y la relación con su obra creativa, razón de la simbiosis de lo natural, lo estético y lo creativo.  Comenzaré analizando en los discrusos de los artistas las formas y estados de ánimo de lo que puede considerarse orientalismo mediterráneo, concretamente la experiencia subjetiva y romántica de la naturaleza, la nostalgia por el Líbano verde del pasado, así como la atención a la belleza del paisaje libanés. Espero demostrar que estos elementos son paralelos a, y a menudo están dialécticamente entrelazados con, una imagen más objetiva de un medio ambiente degradado, que se mueve hacia una mayor entropía. Concluiré con una muestra multicolor de reacciones y soluciones propuestas por algunos de los autores: expresiones paradójicas de amor y orgullo por este medio ambiente degenerado, argumentos filosóficos que inculcan valores ecocéntricos a la conciencia pública, y soluciones pragmáticas que consisten en una reconfiguración profundamente ecológica del paisaje.

Neuroesthetics

2017 ◽  
pp. 52-70
Author(s):  
Fernando Fogliano ◽  
Hosana Celeste Oliveira
Keyword(s):  
Aesthetic Experience ◽  
Point Of View ◽  
The Core ◽  
The World ◽  
The Aesthetic

This paper presents some considerations regarding the aesthetic experience from a neuroaesthetic point of view. The approach proposed here can take the discussions beyond the field of art allowing the aesthetic experience to be considered as a key aspect of subjectivity and interactions in the world. A reflection on the roles of emotion and language as fundamental aspects of the aesthetic experience is presented. Based on this reflection, some assumptions that are at the core of culture are made and re-framed here considering the postmodern turn.

The Religious Experience of the Landscape Ruskin and Nature

2020 ◽  
Vol 61 (1) ◽  
pp. 181-199
Author(s):  
Sándor Radnóti
Keyword(s):  
Point Of View ◽  
The Other ◽  
Landscape Painting ◽  
Social Critic ◽  
History Of ◽  
The Aesthetic ◽  
Harsh Criticism ◽  
Scientific Truth ◽  
Modern Era ◽  
Artistic Tradition

AbstractThis paper reconstructs Ruskin’s work from the perspective of the landscape, building upon the assumption that Modern Painters played a cardinal role in the emancipation of the genre. This reconstruction is complicated by the internal contradictions within the work: it cannot be regarded as a systematic work of philosophy, but belongs rather to the genre of sage writing. In volume I, Ruskin approached the landscape not from an aesthetic point of view, but from the direction of scientific truth. The aesthetic consequence of this was his anti-mimetic attitude, which differentiated between the imitation of nature and the uncovering of the truths of nature, and in this respect, he considered Turner the greatest master who had ever lived. Truth takes precedence over all aesthetic considerations, and for this reason Ruskin was resolutely against artistic tradition. Seen from his perspective, the history of landscape painting appeared as a series of scientific illustrations, which, with the forward march of science, came ever closer to truth-to-nature. The other two essential conditions of art, the other side of truth, were its moral and religious messages. Beauty is the work of God, and God must be praised in His work, in Nature. Only later did Ruskin introduce a historical dimension to the experience of the landscape. The modern era is characterised by the rise of the pre-eminent interest in the landscape, accompanied by a parallel decreasing interest in gods, saints, ancestors and humans. This later became the main motif of Ruskin’s activities as a social critic and reformer. In relation to the loss of faith and the prospect of regaining it, Ruskin saw landscape painting as the representative art of the modern era. In the later volumes of Modern Painters, Ruskin carefully distinguished between the task of science, which is to investigate the essence and uncover the truths of material nature, and the task of art, which is to explore the possible viewpoints or aspects of material nature. In volume V of Modern Painters he firmly asserted – in diametric contradiction to his earlier views – that the greatness and truth of Turner did not rest on scientific truth, for in this respect the artist was completely ignorant. This paper interprets and evaluates Ruskin’s extraordinarily harsh criticism of Claude Lorrain, which contrasts with the fact that Turner spent almost his entire life idolising and attempting to rival Claude.

SYMBOLISM IN POETRY OF OLEKSANDR OLES AND CREATIVITY OF POLISH MODERNISTS

2019 ◽  
pp. 389-396
Author(s):  
Ivan Tsurkan
Keyword(s):  
Point Of View ◽  
Social Involvement ◽  
European Tradition ◽  
History Of ◽  
New Ideas ◽  
Research Goal ◽  
The Aesthetic ◽  
New Generation ◽  
Conceptual Foundations ◽  
Individual Interpretation

This article has investigated the development of Ukrainian symbolism, argued the reception of the aesthetic and conceptual foundations of the Polish symbolists in Oleksandr Oles’s works. Oleksandr Oles, as well as Polish symbolists, was affected with emotionally unstable atmosphere of national and revo- lutionary renaissance, which explains the pessimism, feeling of weakness and helplessness in their philosophy – on one hand, and vital, extremely optimistic point of view – on the other. This article is devoted to analyze an aesthetic heritage of European symbolists and it’s reflection in Oleksandr Oles’ s individual interpretation. Reaching of this research goal demands a comparative study of poetry of Oleksandr Oles and rep- resentatives of Polish symbolism – in particular, the analysis of symbolic concepts formed in Western European tradition. The changes of scientific paradigm in modern philology, free choices of tools lets us to delineate the tasks of the research – among them are to describe the mechanisms of establishment of Oleksandr Oles’s symbolic outlook, which determined his adapta- tions of artistic and stylistic features of this aesthetic model. The new generation of artist who came instead of the apologists has noted the disadvantages of social involvement of literature. The views of European symbolists have been transformed on Ukrainian national ground and undergone the modifications caused by specific social and political contradictions over the history of society. It has directly determined the way of Ukrainian symbolism basing it on artistic dialogue between the new ideas in European literature and the national background. The influences of Polish symbolic poetry, in particular works of Kazimierz Przerwa-Tetmajer, can be noted in Oleksandr Oles’s – „Ukrainian Heine’s”, as Khrystia Alchevska called him – artistic mindset.

scholarly journals ІМЕРСИВНІ ТЕХНОЛОГІЇ: ПЕРЕОСМИСЛЕННЯ ІСТОРІЇ ТЕАТРУ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Current Trend ◽  
Educational Process ◽  
Point Of View ◽  
Educational Systems ◽  
Core Concept ◽  
The Core ◽  
History Of ◽  
The Times ◽  
Effective Design ◽  
Immersive Technology

Стаття присвячена осмисленню провідної проблеми сучасної художньої освіти як «переформатування», створення цілісного художньо-освітнього простору, пошуку інноваційних технологій та актуальних методик, удосконалення методологічного інструментарію, підвищення методологічної культури як такої. Автор торкається методологічної проблематики підготовки за фахом «Сценічне мистецтво» в руслі актуалізації імерсивних технологій, що нівелюють недоліки застарілої освітньої системи, скутої жорсткими рамками. З авторської точки зору нові педагогічні технології, впроваджувальні в систему професійної освіти, необхідно розглядати як еволюцію освітнього простору, тож «переосмислення» вектора розвитку й постає стрижневим поняттям нинішнього педагогічного процесу, сутнісним, глибинним та визначальним сучасні вимоги до організації професійної підготовки, виявлення її потенційних ресурсів.Стаття стосується проблеми організації й здійснення освітнього процесу, очевидності актуалізації сучасного тренду в галузі освітніх технологій – імерсивних – як перетворення педагогічних умов, спрямованих на ефективне проектування засобів сучасної художньої освіти, здатних конкурувати з розважальною сферою й здійснювати залучення властивих їй механізмів сприйняття, що може дозволити залучати студентів до процесу засвоєння нових знань. Ключові слова: технології організації та здійснення сучасного освітнього процесу; ефективне проектування засобів навчання; переосмислення історії театру; імерсивні технології. Ключові слова: технології організації та здійснення сучасного освітнього процесу; ефективне проектування засобів навчання; переосмислення історії театру; імерсивні технології. From the author’s point of view, the successful functioning of educational systems and their development are largely determined by two leading trends: technologization and humanization that meets the requirements of the times. New pedagogical technologies introduced into the vocational education system should be considered as a fundamental way of the development of the educational process. That is why the «rethinking» of the development vector is the core concept of the current pedagogical process, the essential, deep, defining modern requirements for the organization of training, identifying its potential resources.The problem of organizing and implementing the educational process actualizes of the current trend in the field of educational technology – immersive technology. Rethinking of pedagogical conditions aimed at the effective design of modern art education tools that can compete with the entertainment sphere and implement its inherent perception mechanisms can truly engage students in the process of learning new knowledge.Key words: technology for the organization and implementation of the modern educational process; effective of training tools; rethinking the history of the theater; immersive technology.

scholarly journals Diary as a Mystification of Reality in Vladimir Sharov’s Novels

2020 ◽  
pp. 43-63
Author(s):  
Irina V. Ashcheulova ◽  
Keyword(s):  
Text Structure ◽  
Point Of View ◽  
Russian History ◽  
Historical Process ◽  
Text Structures ◽  
The People ◽  
History Of ◽  
The Will ◽  
The Individual ◽  
The Revolution

In Vladimir Sharov’s novels, the text structure of the narrative is of crucial importance. The text structures of Sharov’s novels are diverse: letters, diaries, archives, notes, treatises, dissertations, etc. Sharov consciously chooses the diary as a form of narration, as a stylisation of the document of one’s personal presence in history. The diary allows Sharov to reveal the characters’ psychology, to identify their attitude to reality, its perception, and image. The article analyses the form of the diary in the novels The Rehearsals (1992), The Old Girl (1998), Raising Lazarus (2003). In The Rehearsals, the diary of Jacques de Sertan, a French director and actor brought to Russia by the will of fate, becomes the key form of the narration. For several years (1660s), Sertan describes the plot of the rehearsals of a religious mystery about the life of Christ staged under the patronage of Patriarch Nikon. The meaning of the diary at the level of the author’s consciousness is to establish the laws of historical mystery. The author comes to the idea that the idea (political, theocratic, utopian) influences the historical process. Service to the idea and fascination with it entail a desire to change, remake reality. This is how, according to Sharov, the endless revolutions of Russian history arise leading to national divisions, opposition of one part of the people against another. The algorithm of Russian history is extremely clear: repeated splits lead to absurd dead ends. The narration in The Old Girl is connected with the comprehension of the most important event in Russian history for Sharov’s authorial historiosophy: the Revolution of 1917 and the political repressions of the 1930s. The basis of the narration is texts of different statuses that the author imitated: first of all, the diary of the main character Vera Radostina. The diary here is a personal document of one’s own life and a document of the historical era of the 1920s and 1930s. This is the narrative function of Vera Radostina’s diary, stories about the revolution, its role, its meaning for a person and for contemporaries. The author’s modeling of the diary of a character such as Vera is associated with the perception of the role of a person in the historical process of the 1920s and 1930s. Vera turns out to be identical with the epoch. She is fascinated by the grandeur and phenomenality of what is happening. She understands that the revolution should be involved in the general historical flow, that it is necessary to “enter the revolution into the history of Russia”. From the point of view of the author’s consciousness, with a common historical pattern, the revolution turns out to be a catastrophe in the national historical process. In Raising Lazarus, the diary performs three functions. At the plot level, it logically ends the search for the missing manuscripts. At the level of the consciousness of Nikolai Kulbarsov, the author of the diary, it “documents his identity”, confirming the continuity of his self. At the level of the author’s consciousness, the diary becomes a fact of the resurrection of the individual in the abyss of history.

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