Foreign accent as a means of creating the language features of a character

The purpose of the article is to identify the peculiarities of the actor's linguistic characterization using a foreign accent in the process of working on the role and to establish the dependence of the actor's ideas about the character's personal characteristics and social status on the degree of accent color. The methodology of researching a foreign accent as a means of creating a linguistic characteristic of a character is complex. The method of theoretical-conceptual and theoretical-linguistic analysis of special literature on accent issues, features of comparison of intonation systems of different languages are applied; typological method and method of system analysis, which contributed to the study of acting tools in the process of working on the linguistic characteristics of the character, etc. Scientific novelty. The foreign language accent in the context of the specifics of the actor's work on the creation of the image is studied; it is stated that the actor's imitation of a foreign accent involves the use of special phonetic tools with the addition of grammatical and/or lexical factors in order to enhance the effect; the complexes of articulation-acoustic features inherent in the Ukrainian language with French, English, British, Italian, Estonian, Jewish and Caucasian accents, as well as the peculiarities of the actor's work on their imitation are analyzed. Conclusions. Foreign language accent as a linguistic characteristic of a character is one of the most important means of identifying his personality because a person's speech skills create an idea of ​​the environment to which he belongs, can provide information about his origin. In stage speech, a foreign accent is used to give the character's language a sharp character, vivid imagery, and truthfulness and realism of his behavior - the accent is part of the character's "I", a familiar form of expression related to national and family life. Foreign accent, as well as the territorial type of pronunciation, is perceived by the viewer stereotypically and is an indicator not only of personal characteristics, but also a marker of his social status, and its level is associated with education, intelligence, leadership, and self-confidence. The actor’s strategies for developing foreign accents in the process of working on the linguistic characteristics of the character are to use appropriate deviations from the phonetic, lexical, and grammatical norms of the Ukrainian language. Keywords: stage speech, foreign accent, actor, artistic image, character, linguistic characteristic.

Movement Verbs as Discourse Markers in Spanish: The Case of Vamos in the City of Granada, Spain

The discourse marker vamos is the first-person present indicative plural of the verb ir (“to go”) and acts as a guide throughout the discourse. We studied its use in the PRESEEA corpus of Granada, analyzing 54 interviews and rescuing 270 occurrences of vamos. Mainly, we detected that its use was higher in the speech of people with only a primary education, while its use among the university educated represented 27% of cases. It was also used more frequently by young people, particularly females, although only age was found to be influential because of the intrinsic and original value of the first-person plural form, by which speakers are integrated and form part of a group. Among the pragmatic values of the marker is its use as a reformulator in more than 60% of cases; 22% as a structurer that helps to continue and conclude the discourse; and approximately 13% when used as a modalizer to convey the speaker’s attitude. Its main linguistic characteristic is its appearance preceded by conjunctions such as pero and y, and its main position is initial, as it accounts for 90% of occurrences.

Characteristics of Online Comments Following High-Profile Celebrity Suicide

Background: On the Internet, individuals can freely read about or talk to others about suicide. However, little is known about the nature of these online interactions and the potential impact on users. Aims: This study aimed to examine the characteristics of online comments following high-profile celebrity suicide, comparing top-rated comments with controversial comments. Method: Comments from a popular thread on Reddit made following the deaths of Kate Spade and Anthony Bourdain were examined using Linguistic Inquiry and Word Count and qualitative content analysis. Results: Top-scoring comments were associated with a higher level of authenticity, a higher word count, and a greater focus on the past. These comments were characterized by personal stories of experiences with suicidality or knowing someone who had attempted/died by suicide. Limitations: Our small sample size was underpowered for the linguistic characteristic analyses, and differences in some characteristics may not have been identified. Conclusions: Despite concerns over the potential dangers of the Internet on suicide, it can serve as a place for individuals to share personal stories and obtain support from others.

Pro-drop and subject pronouns in Assamese

In recent years a considerable attention has been given to the study of control and pro-drop. Languages with rich agreement patterns allow for phonetically empty subject which is called “pro”. This paper deals with the pro-drop phenomena of Assamese. The main objective of the paper is to give a descriptive analysis of the subject pronouns and their nature in the pro-drop phenomena. The paper also aims to give a basic idea of this pro-drop phenomenon and shows how certain subject pronouns behave differently in Assamese. Pro drop in Assamese is a major linguistic characteristic of the language. The findings of the study revealed that we can drop most of the subject pronouns in Assamese. Though Assamese is considered as a pro-drop language, this phenomenon is not acceptable in written language. The sentences should be in a full structural representation in written language. In other words, we can say that pro-drop is used in our daily conversations; it is more or less like informal conversations.

ЭВФОНИЯ В РУССКИХ НАРОДНЫХ СКАЗКАХ

Введение. В современной лингвистической науке в последнее время наметилась тенденция определять эвфонию как типичную языковую характеристику художественного текста. В данной статье рассматриваются специфические свойства слов, встречающиеся в сказках, и их звуковой характер, который связан с фонетическими и стилистическими особенностями фольклора. Комплексное рассмотрение функционально-ритмических особенностей эвфонии в тексте сказок дало возможность определить своеобразие стратегий эмотивного, художественного и функционального воздействия. Работа посвящена вопросам изучения эвфонии в русских народных сказках. Проанализирована ритмомелодическая организация повествования в зачинах, концовках и сюжетном развитии сказок. Представлены выявленные в ходе исследования речевые средства выразительности, выполняющие эвфоническую функцию, – аллитерация и ассонанс. Эвфония связывает между собой автора, текст и слушателя посредством повествования, и это триединство реализуется в тексте народных сказок. Важно, что автор сказок ориентируется на ритмические условия выражения мысли и чувств персонажа, учитывая определенные требования к языку в содержании сказок. Материал и методы. Материалом настоящего исследования послужили 623 текста народных русских сказок из издания «Народные русские сказки А. Н. Афанасьева». Использовались следующие методы и приемы исследования: описательный метод; метод наблюдения и обобщения; интерпретативный подход; метод систематизации и классификации; функциональный и сопоставительный методы. Результаты и обсуждение. Результаты данной работы подтверждают, что для русских народных сказок характерна многообразная эвфония как особый и типичный повтор звуков и ритмической организации, воплощающий определенный целенаправленный авторский замысел. В сказках А. Н. Афанасьева используются главные фонетические выразительные средства и художественные ритмические способы, целью которых является создание эвфонии – аллитерации и ассонанса. Подобная эвфония отмечена в зачинах, концовках, для представления развития сюжета сказки. Специфической особенностью использования данных средств и способов является то, что все они тесно связаны, дополняют, усиливают друг друга, эффективно содействуют реализации авторского художественного замысла. Заключение. При использовании эвфонии экспрессивность в текстах сказок, и прежде всего в их зачинах и концовках, может достигаться не только с помощью форм с фонетической и стилистической коннотацией, но и с помощью ритмической упорядоченности художественной формы, которую автор реализует в словах, словосочетаниях и абзацах сказки. Использование аллитерации и ассонанса в текстах русских народных сказок может усилить образность и выразительность речи, создать благоприятный звуковой музыкально-гармоничный эффект и позволяет читателям максимально представить поэтическую картину сказки.Introduction. In modern linguistic science, there has recently been a tendency of typical language-specific study in which euphonia is defined as a typical linguistic characteristic of a literary text. This article discusses the specific properties of words found in fairy tales, and their sound character, which is associated with the phonetic and stylistic features of folklore. The paper comprehensively reviews the functional and rhythmic characteristics of euphony in fairy tales and confirms the specific details of the emotional, artistic and functional impact strategies. The paper is mainly devoted to the study of euphonia in Russian folk tales.And thus, it can confirm the rhythm and melody of the narrative in the development of fairy tales and find that alliteration and resonance are typical expressions of folk tales. As a conventional phonological form, euphony, with a unique study of language style, links authors, fairy tale texts and listeners. This expression of trinity is well shown in the folk tales. Material and methods. The empirical base of the study is 623 titles of Russian folktales collected by A. N. Afanasyev in three volumes. The following research techniques and methods were implemented in the study: a descriptive method, observation and generalization, an interpretative approach; systematization and classification; functional, comparative and statistical analysis. Results and discussion. The results of this work confirm that Russian folk tales are characterized by a diverse euphony as a special and typical repetition of sounds and rhythmic organization, embodying a certain purposeful author’s intention. In the tales of A. N. Afanasyev, the main phonetic expressive means and artistic rhythmic methods are used, the purpose of which is to create euphony – alliteration and assonance. A similar euphony is noted in the beginnings, endings, to represent the development of the plot of the tale. A specific feature of the use of these tools and methods is that they are all closely related, complement, reinforce each other, and effectively contribute to the implementation of the author’s artistic design. Conclusion. Eventually, the author draws the following conclusion that, when using phonetic rhymes, the expressive power in fairy tale, especially the expressiveness at the beginning and ending, can be achieved not only through the use of phonetics and stylistic, but also through the use of rhythmic artistic expression of the author’s descriptions in words, phrases, and paragraphs. The use of alliteration and assonance in Russian folk tales can enhance the imagery and expressiveness of speech, create a favorable sound musical and harmonious effect and allow readers to present the poetic picture of the tale as much as possible.

Headedness and the Lexicon: The Case of Verb-to-Noun Ratios

This paper takes a well-known observation as its starting point, that is, languages vary with respect to headedness, with the standard head-initial and head-final types well attested. Is there a connection between headedness and the size of a lexical class? Although this question seems quite straightforward, there are formidable methodological and theoretical challenges in addressing it. Building on initial results by several researchers, we refine our methodology and consider the proportion of nouns to simplex verbs (as opposed to light verb constructions) in a varied sample of 33 languages to evaluate the connection between headedness and the size of a lexical class. We demonstrate a robust correlation between this proportion and headedness. While the proportion of nouns in a lexicon is relatively stable, head-final/object-verb (OV)-type languages (e.g., Japanese or Hungarian) have a relatively small number of simplex verbs, whereas head-initial/verb-initial languages (e.g., Irish or Zapotec) have a considerably larger percentage of such verbs. The difference between the head-final and head-initial type is statistically significant. We, then, consider a subset of languages characterized as subject-verb-object (SVO) and show that this group is not uniform. Those SVO languages that have strong head-initial characteristics (as shown by the order of constituents in a set of phrases and word order alternations) are characterized by a relatively large proportion of lexical verbs. SVO languages that have strong head-final traits (e.g., Mandarin Chinese) pattern with head-final languages, and a small subset of SVO languages are genuinely in the middle (e.g., English, Russian). We offer a tentative explanation for this headedness asymmetry, couched in terms of informativity and parsing principles, and discuss additional evidence in support of our account. All told, the fewer simplex verbs in head-final/OV-type languages is an adaptation in response to their particular pattern of headedness. The object-verb/verb-object (OV/VO) difference with respect to noun/verb ratios also reveals itself in SVO languages; some languages, Chinese and Latin among them, show a strongly OV ratio, whereas others, such as Romance or Bantu, are VO-like in their noun/verb ratios. The proportion of nouns to verbs thus emerges as a new linguistic characteristic that is correlated with headedness.

INTERJECTIONS IN SEMARANGAN JAVANESE: A SOCIOPRAGMATIC APPROACH

Interjections are widely applied in Javanese dialect and they characterize particular functions, especially in spoken communication. However, with the growth of economic, urbanization, and associated area depopulation, dialect anomaly will lead to two ways: first, a community will be vulnerable as dynamic urbanization occurs; second, its linguistic characteristic will lead to “linguistic salad-bowl” as the result of “linguistic melting-pots”. Therefore, it is important to study dialects before they disappear in certain areas. In addition, there is relatively little research that has been done on Semarangan Javanese in the area of interjections, as supported by Jovanović (2004), who claims that “Interjections, as one of the marginal and perhaps least discussed upon classes of words”. Semarangan Javanese has some distinct characteristics in its spoken form, especially in its lexical divergence. Consequently, different interjections appear. This research aims to discuss Semarangan Javanese interjections, in terms of the sociopragmatic function applied by Semarangan Javanese speakers in a certain communication context. The researchers applied Jovanović’s interjections classification as the basis of this research. Field research method was used to gather the data by conducting direct observation to research participants. Semarangan Javanese interjections can be explored into three components, namely form, position, and meaning. Based on the findings, the form of Semarangan Javanese interjections are realized from phonological, morphological, and semantic occurrences. These interjections are also recognized in the initial, final, and independent positions. Such variety of meanings from the interjections can be indicated through several contexts that take place in the communication.

A Wesleyan holiness theology and language world: a demonstration of holiness theology as a religious linguistic characteristic in the light of speech act theory

Holiness as the subject of Wesleyan holiness theology is not only God’s divine language but also an experiential language of humans. Despite this fact, research that considers the religious linguistic features of holiness theology as they relate to its meaning and effects in the real lives of believers seems to have been neglected. Thus, this article proposes to examine the language of holiness in terms of Wesleyan holiness theory by means of speech act theory. First, this approach solves the problem of overcoming the proposition principle of holiness theology. Second, it shows an understanding of the linguistic hermeneutics of the work of the Holy Spirit in believers. And finally, it presents the ways in which the religious divine language of holiness can be described as an ethical language characteristic of human experiential language.