Johann Fichte: moral-legal order

Discussed are views of the known German philosopher J. Fichte about foundations of organization of society. J. Fichte has offered a variant of formation of the bases for the sustainable functioning of society. This variant is connected with criticism which was carried out by the philosopher concerning of his epoch. Research has shown that features of an epoch of the Fichte's epoch are peculiar to an epoch of a postmodern. J. Fichte’s philosophical views on the organization of society are reconstructed in the form of a model of the moral-legal order. Prominent feature of model is structure and orderliness of intrinsic elements of the order. The model characterizes communications of interaction, functioning and management. The typological characteristic of the links allows us to define specific characteristics of the order. First, this is presence of the certain type of attitudes which have moral-legal character. Secondly, this is presence of the factor which forms hierarchical structure of the organization of the order. Thirdly — presence of a coordination between members of a society; in-fourth, it is the factor of detection of the order. According to the author, the model of the moral and legal order is an option for the sustainable functioning of society.

TEACHING NOUN-PHRASE COMPOSITION IN EAP/ESP CONTEXT: A CORPUS-ASSISTED APPROACH TO OVERCOME A DIDACTIC GAP

Attributive noun phrases, namely noun + noun constructions (NNCs), is an essential typological characteristic of academic style. However, errors in their production and use are not uncommon even in the writing of advanced Russian users of academic English. As such errors slow down reading and, in some cases, lead to misinterpretations, they may be a hindrance to the publication of research results in international journals. Aiming at facilitating NNC instruction, the study focuses on linguistic and didactic aspects of this construction. It highlights NNC complexity and a lack of consensus among researchers as to their linguistic status and semantic nature. The research demonstrates that NNCs do not find proper interpretation in EAP/ESP teaching literature, which results in their misuse by non-native English contributors to international scientific journals. Based on some published practice and personal experience in teaching academic skills, the research lays down a corpus-assisted approach to teaching students to master the grammar and use of NNCs in their own discipline texts. The principal advantage of this approach is that it provides students with patterns of NNP expert use and aids EAP/ESP instructors to develop discipline-specific didactic materials based on reliable and up-to-date facts on generating NNCs.

In the Case of Protosemiosis: Indexicality vs. Iconicity of Proteins

The concept of protosemiosis or semiosis at the lower levels of the living goes back to Giorgio Prodi, Thomas A. Sebeok and others. More recently, a typology of proto-signs was introduced by Sharov and Vehkavaara. Kull uses the term of vegetative semiosis, defined by iconicity, when referring to plants and lower organism semiosis. The criteria for the typology of proto-signs by Sharov and Vehkavaara are mostly based on two important presuppositions: agency and a lack of representation in low-level semiosis. We would like to focus on an alternative approach to protosign classification. In particular, we aim to provide a sign-typological characteristic of proteins (in analogy to Maran’ s classification of environmental signs). Our approach is focused on representation, that is, we only consider the relation between a sign and its object. We are considering representation independently from the role of interpretant and interpretation (which is an epiphenomenon of agency). Two hypotheses are investigated and accordingly evaluated in this paper: (I) Proteins are indexical protosigns. (II) Proteins are iconic protosigns. The conclusion our argumentation leads to supports the hypothesis (II).

THE ROLE OF PLASTIC SYMBOLS IN A DRAMATIC PERFORMANCE (TO THE EXPERIENCE OF COMPARATIVE ANALYSIS)

In modern drama theater directing, there is a tendency to translate literary or verbal idioms into the language of the stage. In the space of the scene, every day, familiar expressions are recreated in the literal sense, and are read in the figurative sense. Drama theater directors strive to give symbolic meanings to the associative characteristics of certain events and situations. The theater has long used plastic and/or dance in its arsenal of artistic means to symbolize artistic images. Symbolists of stage art affirm the search for inner meanings in expression and attempts to make super reality visible. The desire of dramatic art to form a new stage language, which is based on the reorganization of the action, character, time and space, and the speech component of the play, becomes natural. The appeal of directors to the plastic nature of the actor, as one of the bright means of artistic expression in the structure of a dramatic performance, is supported by the nature of the multi-valued artistic and figurative specificity of the choreographic art’s language, which is a set of visual signs. Such visual and acoustic forms of stage action make it possible to trace the process of transformation of visible objects in the mind of the viewer before their projection into the subconscious. A symbol expressed in plastic language and focused on identifying internal emotional processes that are usually summarized in a dramatic performance by a word can be called the main typological characteristic of the interweaving of plastic and dance in the canvas of stage action. The modern theater considers the role of semantic physical activity, plastics and dance fundamental in the formation of the language of symbols. The authors offer an attempt to comprehend and compare the works of "Othello" by the Lithuanian director E. Nyakroshus and "Block" by the Kazakh director D. Zhumabayeva, where the role of plastic symbols in the formation of a special semantic performance’s structure is revealed through the prism of multi-episode, open play and physical actors action. The expressive symbol’s language of the analyzed performances of each director has its own characteristics and way of expression. The active appeal to the principles of performance organization and plastic symbolization of artistic images remains common for all. The completeness and autonomy of each individual scene together make the multi-episode performance, where there is no causal relationship between such independent acts. Involving the viewer in the situation of an open game used in the works of the mentioned directors allows the viewer to see the material in an unexpected angle, to engage in a situation of meaningful activity, in which the motive is not the result, but the gameplay itself. Specific physical actions of actors aimed at their direct application, without any additional subtext or intent, allow the actor to live these feelings in performances as their own, without any artificial addition. This all shows the similarity of directing techniques of Lithuanian and Kazakh theater figures. Along with acting, metaphors and symbols in plastic embodiment act as a constructive and semantic means in the context of the dramatic canvas. Appealing to the viewer's subconscious through plastic symbols, which play a huge role in creating the performance, contributes to the generation of complex associations, it appeals to the feelings of the viewer.

Infographics of Online Media in Krasnoyarsk and Omsk: Features of Creation and Functioning, Typological Characteristic

This article reflects the results of studying the infographics on the sites of large cities in Siberia – the second stage of infographics studying in regional media, specifically of the most cited Internet mass media of Krasnoyarsk and Omsk cities with a population of over 1 million people in the Siberian Federal District. During the first stage it was shown how this format was developed chronologically and how many infographics were published on these sites over the years. At the second stage of the study, the content analysis method and the typological method were applied to the generated empirical database, and the audience indicators of the respective projects were analyzed. As a result, the article provides quantitative characteristics of different types of infographics. The typology was carried out for various reasons: autonomy from the accompanying text, interactivity, type of presentation of data (processes, objects), which corresponds to the created information graphics. The text also describes the various editorial features of creating infographics in seven analyzed online media, answers to questions: do the editors create their own infographics or borrow it for information or advertising purposes, which topics are visualized in this way, what data sources are used, in which programs do they work and etc. And the analysis of audience indicators allows us to conclude whether the presence of infographics in the text helps to increase the number of readings.

Shaping typology through grammaticalization: North America

North America shows great genealogical diversity, yet many of the languages share a fundamental typological characteristic: elaborate morphology. Certain kinds of elaboration show areal distributions, suggesting contact effects. Many bound morphemes show the kinds of meanings expected of grammatical affixes, such as the Wintu perfective suffix -suk. But others show surprisingly concrete meanings, like the Kutenai suffix ‑quwaʔt ‘fur’. A well-known effect of grammaticalization is the loss of concrete lexical content, with abstraction and generalization over time. But other factors can come into play as well. One is the sequencing of grammaticalization processes, whether semantic/pragmatic changes precede univerbation or follow. Another is the moment at which contact enters in. Here pathways of development exemplifying these variables are traced, with first grammaticalization via auxiliation in Northern California, and second grammaticalization via compounding in the Northwest and elsewhere. Both can be seen to have spread in contact-induced grammaticalization.

The Oxford Handbook of Ergativity

As any quick survey of the syntactic literature will show, there are almost as many different views of ergativity as there are so-called ergative languages (languages whose basic clause structure instantiates an ergative case-marking or agreement pattern). While ergativity is sometimes referred to as a typological characteristic of languages, research on the phenomenon has made it more and more clear that (a) languages do not fall clearly into one or the other of the ergative/absolutive vs. nominative/accusative categories and (b) ergative characteristics are not consistent from language to language. This volume contributes to both the theoretical and descriptive literature on ergativity and adds results from experimental investigations of ergativity. The chapters cover overview approaches within generative, typological, and functional paradigms, as well as approaches to the core morpho-syntactic building blocks of an ergative construction (absolutive case and licensing, and ergative case and licensing); common related constructions (anti-passive); common related properties (split-ergativity, syntactic vs. morphological ergativity, word order, the interaction of agreement patterns and ergativity); and extensions and permutations of ergativity (nominalizations, voice systems). While the editors all work within the generative framework and investigate the syntactic properties of ergativity through fieldwork, and many of the chapters represent similar research, there are also chapters representing different frameworks (functional, typological) and different approaches (experimental, diachronic). The theoretical chapters touch on many different languages representing a wide range of language families, and there are sixteen case studies that are more descriptive in nature, attesting to both the pervasiveness and diversity of ergative patterns.