“YOU SHOULD HAVE VISITED BORYSLAV THIRTY YEARS AGO…”: ANALYSIS AND INTERPRETATION OF IVAN FRANKO’S STORY “POLUIKA”

The paper analyzes the poetics of Ivan Franko’s story “Poluika” — the work that was included in the second thematic collection on the oil industry of Boryslav named “‘Poluika’ and other stories about Boryslav” (Lviv, 1899). The researcher focuses on the modern, in particular impressionistic, principles of displaying the working and industrial environment. The narration is performed through the life story of an old oilman who, being at the end of his life, recalls a custom of ‘poluika’, which existed among Boryslav oilmen thirty years ago. The new elements of “Poluika” poetics help in the deeper revealing of the inner world of a character, his values, and psychology. The story shows a number of new changes at the level of formal features of poetics. It presents still unknown aspects of Boryslav life and reflects the eloquent features of the modernistic type of I. Franko’s creative work. The story is based on retrospection of the events that happened thirty years ago, and this approach also makes its plot and composition peculiar. The origin, primary meaning, and expressive content of the word “poluika”, used as a title, have been clarified. The industrial landscape wasn’t new in contemporary literature but the writer tended to use it in an innovative way. The workers presented by Franko gain such new features as social, moral, and professional maturity. The researcher also pays attention to the peculiarities of applying the first-person form of narration tested by Ivan Franko in his works from 1870―1880. In general, “Poluika” has the genre features of a story but the structure of the work also reveals evident elements of a short story. Thus, the genre of “Poluika” is defined as a short story of social psychological content.

Structuring subjectivity: Pain of Salvation’s The Perfect Element: Part I (2000)

This article examines how Pain of Salvation’s album The Perfect Element: Part I (2000) develops narrative subjectivity through a range of compositional and performative parameters. We reveal a myriad of ways in which the music contributes to the expression of human subjectivity and offers significant moments of interpretive clarity. Attending to the expressive aspects of music, we focus in particular on how the song structures are articulated through the following elements: formal, harmonic, temporal, thematic and textural/timbral content. Contextualizing the concept album narrative within the genres of progressive rock and heavy metal and offering a framework for analysis derived from narrative theory, we interpret how the musical parameters convey the song lyrics and overall album concept. Pain of Salvation’s narrative of human trauma emerges through musical structures that are channelled to shape storyworld and subjectivity. Presenting analytic snapshots of the twelve album tracks, our aim is to create a sense of analytic ‘immersion’, whereby the reader engages actively with the multifaceted expressive content of words and music.

Jeremy is a... Expressive-relativism and expressives in predicative positions

Expressives are words that convey speakers’ attitudes towards a particular object or situation. Consider two examples: Attributive: That f**khead Jeremy forgot the turkey. Predicative: Jeremy is a f**khead. In both examples the word f**khead communicates some expressive content - the negative attitude of the speaker. However, only in Predicative does it appear to contribute to the truth-conditional content. The task is to explain the semantics of the word f**khead when it seemingly behaves wildly differently in different syntactic positions. In this paper I consider several good candidates for dealing with f**khead occurring in Predicative position: Expressivist and Descriptive approaches that treat f**khead in Predicative as purely descriptive; and Expressive-Contextualism that treats Predicative as communicating to both expressive and descriptive dimensions. I show that none of the options fully capture the meaning of f**khead. Treating Predicative as purely descriptive leaves out the highly important expressive element, whilst Contextualist semantics does not seem as a suitable descriptive theory for expressives. I finally present a novel hybrid account that combines Expressivist semantics with Relativism. I call this view Expressive-Relativism. I show that by adopting Expressive-Relativism we can not only explain the relationship of f**khead in Attributive and Predicative, but also give a suitable descriptive theory that captures the truth-conditions of Predicative.

"Life, Color, Warmth and Truth"

This paper proposes a mathematical model for expressive timing in German late Romantic organ music based on Riemannian phrasing principles. The model is built following the symmetric hierarchical motivic scheme and then applied to the organ work of Max Reger. It was shown that music expressive content is carried by the model parameter defined as temporal elasticity. Along with the standard analytical and empirical evaluation, the model was also evaluated in terms of its naturalness. We found that the correlation between model and human performance is comparable with the correlation between distinct professional human interpretations.

Epítetos e insultos de grupo en español: Sobre una ambigüedad y sus implicaciones sintáctico-semánticas

In this paper, we further elaborate on a syntactic ambiguity between slurs and epithets first noticed in Orlando, Eleonora & Andrés Saab. 2020b. A stereotype semantics for syntactically ambiguous slurs. Analytic Philosophy 61(2). 101–129. Here, we discuss in detail the large theoretical implications of such an ambiguity both for the proper analysis of binominal constructions in Spanish (e.g., el idiota de Juan) and for the way in which it is advisable to model the expressive content slurs and certain epithets (those deriving from slurs) have. As for the first aspect, we contend that mainstream approaches in terms of predicate inversion for binominal constructions cannot account for why slurs lose their predicative import when occurring as epithets in binominal environments. In consequence, we propose a new analysis for epithets both in simple occurrences and in binominal constructions. This analysis derives the above-mentioned ambiguity as a type of structural ambiguity, according to which certain slurs can occur in predicative and in non-predicative positions. When they occur as predicates, they have a mixed semantics (McCready, Eric. 2010. Varieties of conventional implicatures. Semantics & Pragmatics 3. 1–57) reflected both in the truth-conditional and the expressive dimensions, but when they occur as epithets, the truth-conditional dimension is lost and only the expressive content survives. As for the second aspect, we defend a stereotype semantics, according to which stereotypes are modeled as Kratzerian modal bases (i.e., set of propositions) in virtue of which stigmatizing theories of human groups are reflected in a parallel, expressive dimension of meaning. This way of modeling some kinds of expressive contents explains how different slurs and epithets manage to communicate different theories about particular human groups, which are the target of derogation.

Mirativity as Expressive Meaning: The Case of adiós

The study of mirativity as a semantic-pragmatic concept is the study of the status or expectation of knowledge (DeLancey 2012; Sánchez López 2017). In Spanish, mirativity is expressed by the use of strategies such as intonation, exclamatory sentences, focus fronting, and the use of mirative particles. This paper examines the mirative particle adiós (lit. ‘to god’) in Puerto Rican Spanish. I divide the paper into two parts: first, I examine the structural distribution of adiós and its various mirative values (cf. Aikhenvald 2012); second, I look into several properties of adiós that are characteristic of expressive meaning rather than truth-conditional meaning (cf. Potts 2007). The essential function of adiós is to signal that a proposition-at-hand is new and unexpected information to the speaker. As derived from this mirative value, adiós implicates a speaker-oriented perspective and the speaker’s concomitant surprise. Aside from its mirative role in the sentence, adiós does not alter the truth-value of the sentence. For this reason, the function of Spanish mirative particles is best captured within an expressive account of meaning. As I illustrate in the analysis, the use of adiós, and other mirative particles alike, is consistent with Potts’ (2007) characteristics of expressive content: independence, non-displaceability, descriptive ineffability, and repeatability.

Colorative Challenges in English Economic Terminology

The paper focuses on multicompound English economic terms with colorative components that constitute a large lexis group, creating constant challenges for translators of economic literature. The introductory part briefly outlines the cognitive aspects of terminology research and discusses advantages of descriptive approach toward economic terminology. Then, it is demonstrated that terminology displays emotive and expressive content by means of connotations as well as such tools as colour-related metaphors. The general trend within this terminological group is the diversity of metaphorical associations that influenced term-formation and the diversity of translating keys that can give the right semantic insight to the translator. Finally, colorative term compounds in economic terminology are regarded as a challenge posed in the context of translation.

AABA and Strophic Forms

This chapter investigates the structure and expressive content of rock songs without choruses. Those that contain verses and bridges follow AABA form, and those that contain only verses follow strophic form. The chapter looks at the types of verses found in these forms (overwhelmingly sectional verses, especially following an srdc layout), as well as methods of creating large-scale coherence without a focal chorus section. Finally, the chapter looks at issues in AABA form, including B A fusion, where a single section functions as contrasting bridge and recapitulatory A, and chorus-like B sections, where the functional bridge suggests some elements of chorus function.

The making of Jewish authenticity: The hybrid discourse of authenticity of New Age Judaism and the complexities of religious individualization

This article offers an ethnographically informed discussion of the hybrid discourse of authenticity of two New Age Judaism (NAJ) communities that were active in Israel in the beginning of the millennium. The article argues that the discourse of authenticity of the two communities was a hybrid discourse which interweaved two overlapping understandings of expressive authenticity: genealogical or historical (origin) and identity or correspondence (expressive content). The members of the communities aspired for self-realization and fulfillment by discovering their authentic self and at the same time articulated and legitimized their mission of renewal by referring to earlier, allegedly more spiritual time periods in Jewish history. This discourse is understood in terms of the “inward turn” and the “turn to tradition” of contemporary Jewish life as well as the penetration of consumer logic into Jewish forms of spirituality. As such it showcases the complexities of Jewish individualization whereby the focus on the self and self-authenticity is tightly linked to the cultivation of identity and communal belonging.

COMMUNICATIVE EFFICIENCY AS A FUNCTIONAL GOAL OF LINGUISTIC MEANS

The basis of all communicative processes is the language: it is the sign system that provides the communication process and serves as a kind of reservoir from which the communicative culture feeds on. Language is an imperative of communicative activity, communication par excellence. Language is a key means of realizing the communicative potential, namely: at the level of the language post factum and a posteriori, the communicative potential, firstly, acquires expressive content-functional characteristics, and secondly, it realizes itself in practice. Communication is not a simple process of transferring information from a source to a recipient. Its structure is formed by three elements: communication, information and understanding.