Limits on semantic prediction in the processing of extraction from adjunct clauses

Processing filler-gap dependencies (‘extraction’) depends on complex top-down predictions. This is observed in comprehenders’ ability to avoid resolving filler-gap dependencies in syntactic island contexts, and in the immediate sensitivity to the plausibility of the resulting interpretation. How complex can these predictions be? In this paper, we examine the processing of extraction from adjunct clauses. Adjunct clauses are argued to be syntactic islands, however, extraction is permitted if the adjunct clause and main clause satisfy specific compositional and conceptual semantic criteria. In an acceptability judgment task, we found that this generalization is robust. Additionally, our results show that this is a property specific to adjunct clauses by comparing adjunct clauses to conjunct VPs, which are similarly argued to permit extraction depending on semantic factors. However, in an A-Maze task, we found no evidence that this knowledge is deployed in real-time sentence processing. Instead, we found that comprehenders attempted to resolve a filler-gap dependency in an adjunct clause regardless of its island status. We propose that this is because deploying this linguistic constraint depends on a second-order serial search over event schemata, which is likely costly and time-consuming. Thus, comprehenders opt for a riskier strategy and attempt resolution into adjunct clauses categorically.

AMERICA Concept as a Fragment of the Concept Sphere of Barack Obama’s Linguistic Personality

The concept of AMERICA is considered as a part of the concept sphere of Barack Obama’s linguistic personality. Special attention is paid to the structure of the AMERICA concept in B. Obama’s speeches and the nominative features of this phenomenon. The material for the study was the public policy speeches delivered by Obama at different stages of his career. Methods of conceptual, semantic and discourse analysis are used to identify the means of objectification of this concept in the speeches of the studied linguistic personality and to construct its nominative field. The AMERICA concept is proven to be one of the central components in the Barack Obama concept sphere throughout his political career. It is shown that Barack Obama’s AMERICA concept has a complex structure with a branched system of features. It is noted that it includes associations actualized by the AMERICA concept, which is part of the national picture of the world. It is revealed that the structure of this concept also includes a set of individual-author’s associations reflecting the world picture of the linguistic personality of the 44th President of the United States. The structure of the AMERICA concept with the allocation of the core, near and far periphery is described.

Legitimisation of Social Economy Entities: Theoretical Framework for Analysis in Polish Conditions

Background In the literature one can find studies on the legitimacy of the political system or institutions (organs) of power. There are no studies on legitimacy from the point of view of social economy entities. Social perception is a factor that influences the success of social economy entities. Research aims The author set out to adapt the conceptual (semantic) apparatus to the analysis of legitimacy in relation to institutions operating in the social economy sector. Methodology The article has a theoretical character and presents the importance of the concept of legitimacy in the environment of social entrepreneurship (conceptual paper). The thesis the author will try to prove is that legitimisation of social economy entities is an essential element of the functioning of the social sector. The analysis was made on the basis of Polish conditions. Findings The analysis of planes and factors shaping the legitimacy of social economy entities seems interesting. Summarising the results of the research, it can be seen that the category of legitimacy, combined with the acceptance and legal validation of the activities of individual entities, as well as the entire social economy system, can be useful.

SEMANTIC-FUNCTIONAL CHARACTERISTICS OF CONCEPTUAL METAPHOR IN THE LANGUAGE OF WORKS OF POSTMODERNISTS POETS

The article is devoted to the study of the peculiarities of the functioning and creation of metaphors in the poetry of Oksana Zabuzhko, Yuri Izdrik and Serhiy Zhadan. The main contradiction in the understanding of metaphor lies in the ambiguous essence of this phenomenon: on the one and, metaphor is a means of speech, a linguistic unit, and on the other – it belongs to the figurative figures of language. A number of linguistic works in both Ukrainian and foreign linguistics are devoted to the study of metaphors. In particular, the language metaphor became the subject of scientific interest of N. Harutyunova; metaphor, its nature and role in language, and speech were studied by A. Gavrilyuk, the means of expression of metaphor became the main topic of research G. Sklyarevskaya and others. One of the important problems of linguistic stylistics is the study of the linguistic personality of writers, whose works are one of the stylistic sources of development of Ukrainian poetic language, so the importance of metaphor in poetic texts remains a relevant object of modern linguistic studies. The purpose of the article is to determine the features of semantics and the functioning of conceptual-semantic and structural-grammatical types of metaphors in the collections "Second Attempt" by Oksana Zabuzhko, "Quote Book" by Serhiy Zhadan and "Lazy and Gentle" by Yuri Izdryk. In accordance with the purpose, the following research methods were used: descriptive, using the methods of comparison and observation, as well as external and internal interpretation of linguistic material to determine the associations underlying metaphorical transference, contextual, conceptual and semasiological to analyze metaphor in the context of a poetry of postmodern writers. The article also clarifies the concept of metaphor and establishes its feature as a semantic linguistic unit. The focus is on the classification of metaphors used in the works of postmodern poets. The stylistic role and functions of language metaphors in poetic texts are investigated. This article can be used for further research in the field of conceptual metaphors in novel or poems.

KONSEPTUALISASI PEREMPUAN DAN WANITA PADA JUDUL BERITA DI MEDIA DARING

This study aims to describe several concepts that come up and have connection with the using of wanita (woman) and perempuan (woman) in online media head.lines and measure the frequency in which they occur. The data in this study are 120 news headlines from 6 online media. The data are analyzed qualitatively and quantitatively by using conceptual semantic theory. The result shows that the words perempuan and wanita in online media headlines are in the same concept. However, from the realm of their use, both of those words are not always in the same realm. Meanwhile, based on the frequency of occurrence, in overall the highest frequency is found in the news headlines related to the concept of perempuan or wanita as a victim of an event, that is 50% for the frequency of using the words perempuan and 48,3% for the frequency of using the words wanita. The high frequency of occurrence the word perempuan and wanita in this concept is inseparable from the existence of media as a reflection of social reality that occurs in society. The rising act of violence involving perempuan or wanita often make this figure becomes the object of news in various media, including online media. conceptualization, perempuan and wanita, online media

VERBALIZED CONCEPT OLD AGE AS A CONSTITUENT OF EKPHRASIS IN THE MODERN ESSAYS WRITTEN IN ENGLISH ABOUT THE LATE WORKS OF PABLO PICASSO: COGNITIVE AND DISCURSIVE ANALYSIS

У статті проаналізовано особливості вербалізації концепту OLD AGE / СТАРІСТЬ як конституента екфразису в есеїстич-ному дискурсі про образотворче мистецтво. Мета. Метою статті є з’ясувати когнітивно-дискурсивні особливості лінгвального втілення концепту OLD AGE / СТАРІСТЬ як конституента екфразису в сучасних англомовних есе трьох різних авторів про пізню творчість Пабло Пікассо. Методологічно дослідження спирається на ідею «епістемного збирання» (О.П. Воробйова, Е. Кржановська-Ключевська) і син-тезує напрацювання в галузях вивчення типів екфразису, типів екфрастичних текстів, жанру есе про мистецтво, дискурсу про мистецтво, інтегруючи їх у методологічне поле когнітивно-дискурсивного інструментарію. Методи. У роботі використані такі методи: компонентного, концептуально-семантичного і контекстуально-інтерпретацій-ного аналізу. Результати. Як конституент дескриптивного, тлумачного, простого і зведеного типів екфразису (виділених слідом за О.В. Яценко) концепт OLD AGE / СТАРІСТЬ актуалізовано в есе про пізню творчість Пікассо в сукупності таких склад-ників: «похилений, зігнутий», «вузлуватий, шишкуватий (про частину тіла)», «утратив репродуктивну силу», «імпотенція», «висохле, зморшкувате тіло», «слабкий», «занепад, згасання», «втрата інтелектуальних здібностей», «хтивість», «відчай”, «гнів», «самотність», «впевненість», «викликає глибоке зворушення». Концепт OLD AGE / СТАРІСТЬ утворює дискурсивні конфігурації (у термінології А.М. Приходька) з концептами YOUTH / МОЛОДІСТЬ, PIGMENT / ПІГМЕНТ, FLESH / ПЛОТЬ, DISCOVERY / ВІДКРИТТЯ. Висновки. Когнітивно-дискурсивна особливість актуалізації концепту OLD AGE / СТАРІСТЬ як конституента екфразису в сучасних англомовних есе про пізню творчість Пабло Пікассо полягає в атрибуюванні характеристик старості, об’єктивованих як складники концепту OLD AGE / СТАРІСТЬ, або людині як такій, або саме митцеві, що уможливлює розгортання витворю-ваних в есе смислів у кількох площинах: у площині осмислення віку людини як питомої риси людської екзистенції і площині роздумів про точки дотику старості й мистецтва (старість як предмет зображення і як особливі обставини творчості). The article focuses on the analysis of the charactristics of the verbalization of the conceptOLD AGE as a constituent of ekphrasis in modern discourse about the fine arts. The purpose of the paper is to reveal the cognitive and discursive peculiarities of the verbalization of the conceptOLD AGE as a constituent of ekphrasis in the essays about the late period of Pablo Picasso’s creative activity by three different authors. The methodology of the research is rooted in the idea of the “the jigsaw paradigm pattern” (O.P. Vorobyova, E. Chrzanowska-Kluczewska) and is a synthesis of the studies of the types of ekphrasis, types of ekphrastic texts, essays about art as a genre, as well as discourse about art which are integrated within the cognitive-discursive approach. Methods. The following methods have been used: componential, conceptual semantic and contextual interpretative analyses. Results. The conceptOLD AGE as a constituent of the descriptive, interpretative, simple and generalizing ekphrasis (following the classification of ekphrasis by E.V. Yacenko) when actualized in the essays about the late period of Picasso’s creative activity, includes the following conceptual components: “bent”, “knobby (part of the body”, “lost reproductive power”, “impotence”, “withered flesh”, “weak”, “decline”, “loss of mental ability”, “lust”, “despair”, “anger”, “being alone, “confidence”, “is deeply moving”. The concept OLD AGE develops I the essays discursive configurations (in A.N. Prixodko’s terminology) with the concepts YOUTH, PIGMENT, FLESH and DISCOVERY. Conclusions. The characteristic cognitive and discursive feature of the concept OLD AGE as a constituent of ekphrasis in the essays about Picasso’s late work is attributing the features of the old age, which are conceptualized as components of the concept OLD AGE, either to a person in general or to an artist. It enables the development of the meanings created in the essays in different domains: in the domain of the contemplation on the old age as a stage in the human existence as well as in the domain of reflexions on the old age as a problem tackled in the fine arts and a predicament old painters find themselves in.

A Valid and Reliable Scale for Developing Programming-Oriented Computational Thinking

In this research, a scale was developed to determine the programming-oriented computational thinking skills of university students. The participants were 360 students studying in various departments at different universities in Turkey for computer programming. The scale consists of 33 items under conceptual knowledge, algorithmic thinking, and evaluation subscale. While there was no significant difference between the students’ conceptual knowledge and algorithmic thinking skills, the evaluation skills of male students differed significantly compared to females. Programming experience has a significant effect on conceptual knowledge, algorithmic thinking, and evaluation. The algorithmic thinking skills of the students who have low, middle, and high-level programming experience differed significantly. In terms of the development of conceptual knowledge and evaluation skills, it was observed that students should have at least one year of programming experience, but this experience will not make a significant difference if it is four years or more. It is thought that this scale, which is structured for different applications (e.g., web, game, robot) and learning environments (e.g., text, block) within the framework of its programming capabilities (conceptual, semantic, strategic knowledge), will contribute significantly to the evaluation of computational thinking as programming oriented.

FILM CONSTRUCT MODELING: A SYSTEM OF PRECEDENT-PERSONIFIED POLITICAL MARKERS

В статье предлагается авторская модель изучения кинотекста, фундаментом которой является оригинальная теория когнитивно-прагматических программ (КПП). Теория КПП синтезирует различные подходы и обладает широким спектром применения. КПП – концептуальная матрица осмысленной деятельности, опорная система когнитивно-прагматических установок (КПУ). Это универсальное понятие, связывающее когнитивные механизмы личности / коллектива / народа с прагматикой когнитивно обусловленного поведения / действия. КПП, в отличие от абстрактных моделей, обнаруживается в самых различных областях и сферах человеческой активности – это не отвлеченная схема, а каждодневное (в случае обыденных действий) или, напротив, «стратегическое» (например, для политика или художника) программирование и самопрограммирование, необходимая для жизнедеятельности направленная рефлексия целей, средств, результатов, сопровождаемая самоидентификацией. В контексте данной теории кинотекст рассматривается нами как специфическая синтетическая (креолизованная) форма воплощения и передачи (трансляции) одной / нескольких КПП, получивших статус фундамента субъективированной реальности (т. е. определяющих сознание, самосознание и поведение персонажей фильма). В статье обосновывается типология кинотекстов по типу доминирующей КПП, построенная по принципу «перевернутой пирамиды» (от абстрактной концептуально-смысловой «вершины» к широкой конкретике). Подробно исследуется система прецедентно-персонифицированных политических маркеров – особая система концептуальных кодов политического дискурса, обладающая в его пространстве прецедентным статусом. Данные маркеры активно участвуют в сюжетообразовании, дифференциации и сегментации всего пространства доминирующей в фильме КПП, являются резкими психологическими индикаторами сознания субъектной среды кинотекста. Роли конкретных маркеров различаются, однако все они характеризуют агрессивно-деструктивную внутреннюю природу доминирующей отраслевой КПП (советской идеологической модели), генетическую и «стратегическую» однородность ее вариантов, одинаково требующих для своей реализации манипуляций с сознанием, перманентной борьбы с «врагами» и тотального террора. В целом же система прецедентно-персонифицированных политических маркеров в пространстве политического (идеологического) кинотекста способна воплощать многослойную семантику и может задавать его определяющие свойства. The article offers an authorial model for studying film construct based on cognitive-pragmatic programs. The cognitive-pragmatic program (CPP) theory synthesizes various approaches and has a wide range of applications. CPP is a conceptual matrix of meaningful activity and a support system of cognitive-pragmatic sets. This is a universal concept linking the cognitive mechanisms of an individual/collective/people with the pragmatics of cognitively conditioned behavior/action. CPPs, unlike abstract models, are found in the most diverse areas and spheres of human activity: they are not abstract schemes, but everyday (in the case of daily actions) or, on the contrary, “strategic” (for example, for a politician or artist) programming and self-programming, a vital reflection of goals, means, and results accompanied by self-identification. In terms of this theory the author considers the film construct as a specific synthetic (creolized) form of embodiment and transmission (translation) of one or several CPPs that have received the status of the foundation of subjective reality (i.e., they determine the consciousness, self-consciousness, and behavior of the characters of the film). The article substantiates the typology of film constructs according to the type of the dominant CPP built on the principle of an “inverted pyramid” (from an abstract conceptual-semantic “peak” to broad specifics). The system of precedent-personified political markers—a special system of conceptual codes of political discourse that has a precedent status in this discourse—is studied in detail. These markers are actively involved in the plot formation, in the differentiation and segmentation of the entire space of the CPP dominating in the film; they are sharp psychological indicators of the consciousness of the subjective environment of the film construct. The roles of specific markers differ, but they all characterize the aggressive and destructive internal nature of the dominant industrial CPP (Soviet ideological model), the genetic and “strategic” homogeneity of its options, which equally require manipulations with consciousness, a permanent fight against “enemies” and total terror. In general, the system of precedent-personified political markers in the space of the political (ideological) film construct is capable of embodying multi-layer semantics and can set its defining properties.