A New York Leśmian: The Translation Strategy of Marian Polak-Chlabicz

The aim of this article is to identify and outline the strategy applied by Marian Polak-Chlabicz in translating the poetry of Bolesław Leśmian into English. The examination begins with the preliminary norm as refl ected in text selection, and the initial norm, which proves to be oriented toward recreating the strangeness of the author’s poetics. Examination of particular elements of the poetics includes the translator’s attitude to Leśmian’s neologisms and other creative language deviations, issues of syntax and of poetic form, and ideational contents of the poems. Also discussed are editorial problems and issues connected with paratexts.

THE NAMING UNIT «LOVE» AND ITS SEMANTIC POTENTIAL IN THE POETIC SPEECH OF E. EVTUSHENKO

Изучение роли знаков языка в объективации в художественном тексте индивидуально-авторского мировосприятия представляет собой актуальное направление современных лингвистических исследований, выполненных в рамках антропоцентризма. В статье рассматривается семантическая многоплановость номинации «любовь» в поэтической речи Е. Евтушенко, обусловленная замыслом, когнитивным образом описываемой автором ситуации, ценностными ориентациями творческой языковой личности The study of the role of language signs in the objectification of an author’s individual worldview in a literary text is a relevant direction of modern linguistic research carried out within the framework of anthropocentrism. The article considers the semantic diversity of the naming unit «love» in the poetic speech of E. Evtushenko due to the idea, the cognitive image of the situation described by the author, and the value orientations of the creative language personality.

Generating Creative Language - Theories, Practice and Evaluation

This thesis presents approaches to computationally creative natural language generation focusing on theoretical foundations, practical solutions and evaluation. I defend that a theoretical definition is crucial for computational creativity and that the practical solution must closely follow the theoretical definition. Finally, evaluation must be based on the underlying theory and what was actually modelled in the practical solution. A theoretical void in the existing theoretical work on computational creativity is identified. The existing theories do not explicitly take into account the communicative nature of natural language. Therefore, a new theoretical framework is elaborated that identifies how computational creativity can take place in a setting that has a clear communicative goal. This introduces a communicative-creative trade off that sets limits to creativity in such a communicative context. My framework divides creativity in three categories: message creativity, contextual creativity and communicative creativity. Any computationally creative NLG approach not taking communicativity into account is called mere surface generation.I propose a novel master-apprentice approach for creative language generation. The approach consists of a genetic algorithm, the fitness functions of which correspond to different parameters defined as important for the creative task in question from a theoretical perspective. The output of the genetic algorithm together with possible human authored data are used to train the apprentice, which is a sequence-to-sequence neural network model. The role of the apprentice in the system is to approximate creative autonomy.Evaluation is approached from three different perspectives in this work: ad-hoc and abstract, theory-based and abstract, and theory-based and concrete. The first perspective is the most common one in the current literature and its shortcomings are demonstrated and discussed. This starts a gradual shift towards more meaningful evaluation by first using proper theories to define the task being modelled and finally reducing the room for subjective interpretation by suggesting the use of concrete evaluation questions.

Creative intentions — The fine line between ‘creative’ and ‘wrong’

The distinction between creative language use and linguistic errors is not always straightforward. Even less clear is what factors play a role in the attribution of a positive evaluation (= creative) or a negative one (= error). In this paper, it is argued that a Construction Grammar approach can model the difference based on two basic mechanisms: Frequency effects (either modelled as preemption or as negative entrenchment) and hearer expectations, which are continuously updated and based on a wide range of linguistic and contextual factors such as dialect and speech situation, influencing the perception of the abilities and intentions of the speaker.

Creativity within and outside the linguistic system

In this paper, we distinguish two types of creativity (F-creativity and E-creativity; Sampson 2016) and briefly address the question of language change and linguistic innovation in language acquisition. Cognitively speaking, the two types of creativity may impose different cognitive demands on a speaker. But the most pressing question, from our point of view, is the question whether E-creativity itself is constrained or forces us to ‘transcend’ the (rules of the) system. We will, eventually, argue that what looks like creative language use (metaphor, coercion, etc.) is still governed by rules (or hypermaxims). True E-creativity would then mean to step outside the system.

The role of linguistics in the development of modern literary criticism

The nineteenth century is the age of linguistics, which opened the horizons for human sciences in this age, especially the monetary field, which is considered the first beneficiary of the fruits of linguistics, where both work on one material: language. However, linguistics was interested in the ordinary language, while the criticism in the creative language took criticism from the impressionist stage to rely on technical mechanisms to prevent the critic from falling into the trap of self-impression. And with the scientific breakthrough of criticism resulting from the exchange of criticism and linguistics we found several approaches from structural to deconstruction, stylistic, which wanted to contain the page rhetoric, and other approaches that continue to breed with the development of linguistics, and do not forget the analysis of speech, and the mechanisms of the reader and his response. These scientific observations, which will be discussed in this study in the following lines.

THE ROLE OF INTERNAL CONSTRAINTS AND FANTASY ELEMENT IN CREATIVE LANGUAGE TASKS FOR FOREIGN LANGUAGE LEARNERS

For the past few years, language teaching, especially for foreign learners, has become more and more creative. Creativity has been deemed paramount in the history of language use by human beings, including day-to-day language play and literary works. It is also suggested that creative language tasks are helpful for learners when it comes to writing. This small-scale study involving two Indonesian university students in Auckland was conducted to find out how adult learners, at any rate, take advantage of imagination in language learning. It examines the role of internal constraints and fantasy element in helping adult learners create meanings in doing creative language tasks. The results show that these two components in creative language tasks could help adult learners play with language. By combining prior knowledge and existing linguistic resources, the participants came up with new meanings from previously known concepts which did not seem to relate to each other. Specifically, input and outcome constraints are useful, while external constraints should be left out. Fantasy element is also beneficial as it requires an act of imagining. For recommendation, to stimulate students to experiment with language, teachers need to design creative tasks which have appealing topics and require them to collaborate.