Co znaczy i co oznacza śmiech? O metonimicznych źródłach wieloznaczności czasownika śmiać się

Artykuł wpisuje się w nurt badań nad walencją i semantyką polskich czasowników nawiązujących do modelu struktur predykatowo-argumentowych autorstwa Stanisława Karolaka. Głównymi zadaniami pracy są repartycja i opis znaczeń polisemicznego kształtu językowego śmiać się. Zebrany materiał badawczy pokazuje, że predykat ten konstytuuje w polszczyźnie kilka różnych konstrukcji składniowych: [ktoś] śmieje się, że_, [ktoś] śmieje się z [kimś] z tego, że_, [ktoś] śmieje się do [kogoś], [ktoś] śmieje się z [siebie], że_, [ktoś] śmieje się z [kogoś/czyjegoś], że_, [ktoś] śmieje się z tego, że_, których struktury formalne, semantyczne i pojęciowe są rezultatem rozszerzeń metonimicznych opartych na mechanizmie polisemii radialno-łańcuchowej. Autorka podejmuje analizę procesów metonimicznych kształtujących gniazdo leksykalne utworzone wokół czasownika śmiać się oraz zwraca uwagę na kwestię, jak za ich sprawą do wtórnych znaczeń tego leksemu przenikają treści pochodzące ze sfery kultury. What does laughter mean from a linguistic and extralinguistic perspective? On metonymy as a source of polysemy of the Polish verb śmiać się (to laugh) Summary: This paper investigates the main syntactic and semantic features of the Polish polysemous predicate śmiać się (to laugh) within the theory of Semantic Syntax (Karolak 1984, 2002). The analysis shows that the verb forms several predicate-argument structures, e.g.: 1) [ktoś] śmieje się z [kimś] z tego, że_, ([somebody] laughs with [somebody] + SENT), 2) [ktoś] śmieje się do [kogoś] ([somebody] laughs to [somebody], which means ‘to grin’), 3) [ktoś] śmieje się z [siebie], że_ ([somebody] laughs at [oneself] + SENT), 4) [ktoś] śmieje się z [kogoś/czyjegoś], że_ ([somebody] laughs at [somebody / something that belongs to somebody] + SENT), which are different in terms of the number, status and semantic roles of their arguments, reference and type of humour incorporated in the act of laughter. The source of this variety of meanings of the predicate śmiać się (to laugh) lies in metonymic extensions which fit into the pattern of radial and chain polysemy. The article also outlines how the semiotic (cultural) meaning of laughter is reflected in the semantics of the verb śmiać się (to laugh) through the mechanism of metonymy.

PERSEPSI PEREMPUAN HINDU BALI TENTANG JEJAITAN, BANTEN DAN UPAKARA DENGAN PENDEKATAN EKSPLORATIF

<pre><em>Jejaitan, Banten and Upakara are three things that cannot be separated in Balinese culture. Women play an important role in maintaining the consistency of these three things. The era of revolution 4.0 with a technology basis tends to break the focus of Balinese women, they must be able to adapt themselves well without reducing the cultural meaning that has been attached to Balinese society. Share the challenges and obstacles faced by Balinese women to maintain a culture that is very closely related to religious life in Bali. This study was designed qualitatively with an explanatory approach through a brief survey with the help of Google Form media on 172 Balinese Hindu women in the Kubuaddan Village area, Buleleng Regency. The data obtained were analyzed with Nvivo 12 Plus. The results of this study resulted in four main themes, namely the meaning of jejaitan, the role of women, the burden or yadnya and learning efforts. The four themes that were produced overall show that women have a very important role. help and important bridge in the effort to maintain the culture of jejaitan, offerings and ceremonies in Bali. These three elements are part of the yadnya that is sincere to Ida Sang Hyang Widhi Wasa, this concept can defend Balinese culture from the abrasion of times and existing technology.</em><em></em></pre>

The Integration Perspective Between of Philosophy and Malay Socio-Cultural Elements in Paintings in the Millennium Era

This study focuses on the works of Hashim Hassan paintings. The artist is known for showcasing the essence of the Malay socio-cultural and philosophy that is in-depth within the community. The scope of the study is his natural, conventional subject matters and the intrinsic meaning of the paintings. Regarding the philosophical and Malay socio-cultural meaning of Wau Bulan Terbang Malam, the painting resonates with the classic Malay song, Engkau Laksana Bulan, by Tan Sri. P. Ramlee. The painting has also been an inspiration from subject matter the Malay banknotes and coins and the graphic design logo of Malaysia Airlines Berhad. Keywords: Integration, Millennium Era, Paintings, Philosophy and Malay socio-cultural elements eISSN 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., U.K. This is an open-access publication under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6i18.3061

Discontinuity: A compositional approach to the dynamic decoupling of gesture and sound in live performance

<p>The gestural-sonorous object, as described by Rolf Inge Godøy, has experienced a gradual aesthetic splitting in New Music practices. The notion that physical gesture relates to sounding result in a linear, cause-and-effect fashion can no longer be taken as a pre-condition in the study of compositional thought, as New Complexity conceives of ever more diverse modes of instrumentally focussed sound production, while the New Discipline eschews musical tropes altogether. This thesis formulates a new model of information flow in performance, to facilitate an understanding of the role physical gesture plays in the interpretative processes involved in the creation of bodily and cultural meaning, as derived from musical experiences. This model, based on the concept of the ‘assemblage’, allows for an in-depth consideration of the abstract topologies of external references in music, and provides a foundation for a taxonomy of the modes of disruption of gestural-sonorous linearity. This is developed in the pursuit of a more dynamic and meaningful conception of the role physical gesture plays in the acquisition of knowledge and meaning in music.</p>

Discontinuity: A compositional approach to the dynamic decoupling of gesture and sound in live performance

<p>The gestural-sonorous object, as described by Rolf Inge Godøy, has experienced a gradual aesthetic splitting in New Music practices. The notion that physical gesture relates to sounding result in a linear, cause-and-effect fashion can no longer be taken as a pre-condition in the study of compositional thought, as New Complexity conceives of ever more diverse modes of instrumentally focussed sound production, while the New Discipline eschews musical tropes altogether. This thesis formulates a new model of information flow in performance, to facilitate an understanding of the role physical gesture plays in the interpretative processes involved in the creation of bodily and cultural meaning, as derived from musical experiences. This model, based on the concept of the ‘assemblage’, allows for an in-depth consideration of the abstract topologies of external references in music, and provides a foundation for a taxonomy of the modes of disruption of gestural-sonorous linearity. This is developed in the pursuit of a more dynamic and meaningful conception of the role physical gesture plays in the acquisition of knowledge and meaning in music.</p>

Situating the videogame maker’s agency through craft

It is now widely accepted that videogames are a cultural form, and that they generate cultural meaning through the possibilities and constraints through which they shape players’ experiences and choices. However, the cultural processes through which videogames are themselves produced remain understudied and too-straightforwardly imagined. The videogame maker does not simply conceive of a videogame idea and then execute it. Instead, the videogame is produced through processes of negotiation and iteration between videogame maker, software and hardware environments and the broader expectations of the field. In this sense, videogame production can be fruitfully understood through the lens of craft. I argue that in order to politicise agency in digital play, as is this special issue’s goal, videogame research must also consider the agency of the videogame maker, and the iterative, embodied, and social processes through which videogames are produced. This article draws from interviews with videogame makers and existing research on craft production to provide a preliminary consideration of how the agency of the videogame maker as a cultural producer can be accounted for.

Cultural Meaning of Nyialong Tradition As A Form Of Local Wisdom of Orang Rimba Jambi (Ethnolinguistics Study)

Ethnolinguistics is the study of the relationship between language facts and cultural facts. Ethnolinguistics is theoretically known as linguistic anthropology or anthropological linguistics (Duranti, 1997:1). The geographical location in this study is a group of Orang Rimba who still maintain the tradition of livelihood that is taking honey (Nyialong). This area locates in Air Hitam subdistrict, Sarolangun district of Jambi Province. In addition, the food needs of the Orang Rimba come from forest products, namely climbing sialang (Nyialong), hunting, and fruits. Other forest products are used for commercial purposes and are the livelihood of the Orang Rimba. The study aims to describe the cultural meaning of the Nyialong tradition found in the Taman Nasional Bukit Duabelas (TNBD) Jambi. Nyialong tradition is done ny Orang Rimba in Taman Nasional Bukit Duableas as annual season (petahuon). The tradition is held by Orang Rimba especially Piawang and dukun.The study is qualitative descriptive that uses an ethnolinguistics approach by utilizing the ethnographic method. The data in this study is a verbal and non-verbal expression reflected in Nyialong tradition. The data source in this study comes from the informants and the events of the tradition. Data collection methods use interview and observation methods. The result of the investigations in the form of Cultural values in the Nyialong tradition include nature, human relationship with human, and human with God. Nyialong tradition also has a symbolic meaning as a form (1) of the offering of the god rapa, the god hariamau to beg for salvation to climb sialang (2) as an intermediary to ask for salvation to god Alah, (3) as a symbol of maintaining the sustainability of the forest of the Orang Rimba Jambi.

NARASI SIMBOL DAN MAKNA PADA TEKS SAWERAN PERNIKAHAN DESA KADU GEDONG KABUPATEN PANDEGLANG BANTEN SEBAGAI UPAYA MEMPERKAYA BAHAN PEMBELAJARAN SASTRA DI SMP

This study was conducted to determine the functions and meanings contained in the traditional expression of the text of the Saweran wedding ceremony in Kadu Gedong Village, Pandeglang, Banten. The text studied is the kawih text, which will be analyzed with a semantic approach. The values of character education are also important points in this study, such as religious values, honesty, and tolerance in order to advance a person's basic potential to behave well and think positively, as well as develop the behavior of the nation's multicultural children. Furthermore, the results of the analysis of the narration of symbols and meanings in the Saweran text at the wedding ceremony in Kadu Gedong Village will be associated with existing competencies in junior high school, then a literary module, especially poetry learning, will be made. The results of the analysis show that first, the text of kawih saweran marriage has a function as a mandate to the bride and groom, and becomes a provision in the household, as well as a form of joy carried out by the two couples. Second, it has an inherent meaning, such as lexical meaning, direct meaning, figurative meaning, grammatical meaning, and cultural meaning. Third, it has character education values that are in accordance with the VII grade VII Junior High School learning implementation plan.

The Practicability of Language in Business Context: A Reviewed Study

The world witnesses a noticeable rapid growth in information technology development of society pertaining to the language of business. One of the remarkable linguistic tools in business communication lies in the form blogs of effective companies. Therefore, the purpose of this paper is to show how effective business context are conducted by the assistance of discourse linguistics related to business. It is obvious that there is a need to concentrate on the cultural meaning relating to the websites’ form and content in the e-commerce context. Research also showed that there is lack of research pertaining to language role and its impact on limitation of websites and blogs. In reviewing literature, according to Forrester Research, most Chinese on-line consumers are convenient with websites involving content in language own use. Further studies and recommendations are presented accordingly.

The Puppy in the Pit: Osteobiography of an Eighteenth-Century Dog at the Three Cranes Tavern, Massachusetts

Boston’s “Big Dig” construction project resulted in the excavation of multiple archaeological sites dating from the seventeenth to nineteenth centuries, including the Great House/Three Cranes Tavern in Charlestown, Massachusetts (USA). An otherwise unremarkable pit below the tavern foundation contained bones originally identified as a cat skeleton, which has subsequently been reidentified as a dog. This paper discusses site context, osteological evidence for the dog’s reclassification, and the shifts in cultural meaning this may indicate. Employing an osteobiographical approach, it draws together points of connection between the modern skeletal assessment, a series of 1980s excavations, and the motivations of eighteenth-century tavern inhabitants.