EVIDENTIALITY IN THE TURKIC LANGUAGES: THE TYPOLOGICAL VIEW

В статье рассматриваются особенности выражения категории эвиденциальности в тюркских языках. Выделены значения достоверности, неочевидности и неожиданного обнаружения. Равномерное рассредоточение средств выражения по всем языковым уровням признано основным формальным признаком эвиденциальной системы тюркских языков. В этом смысле тюркские языки контрастируют с языками, в которых большая функциональная нагрузка ложится на лексические средства (как, например, в русском языке). Приводятся краткие сведения еще об одном типе языков по исследуемому признаку: его представляют языки, имеющие парадигму особого наклонения - эвиденциалиса (некоторые уральские). С типологической точки зрения весь представленный в тюркских языках комплекс искомых значений и средств их выражения признан особым типом эвиденциальной системности. The article deals with the features of the expression of the category of evidentiality in the Turkic languages. The values of confidence, non - obviousness, and unexpected detection are highlighted. The uniform distribution of the means of expression across all language levels is recognized as the main formal feature of the evidential system of the Turkic languages. In this sense, the Turkic languages contrast with languages in which a large functional load falls on lexical means (as, for example, in Russian). Brief information is given about another type of language according to the studied feature: it is represented by languages that have a paradigm of a special mood - evidentialis (some Uralic). From the typological point of view, the whole complex of the desired meanings and means of their expression presented in the Turkic languages is recognized as a special type of the evidential system.

The Structure of Scares: Art, Horror, and Immersion in Marisha Pessl's Night Film

Is immersion merely a subjective response to a work, or can it be an objective formal feature of the work itself? This article examines the unique situation of horror as a genre that demands a substantial level of immersion in order to be successful and will begin to answer this question through a close reading of Marisha Pessl's Night Film (2013). Through the novel's intricate staging of different forms of immersion that is made possible by its extended length, this article argues that Pessl and the horror genre more generally seek to establish a difference between something like literal immersion, which requires the engrossment of a reader or viewer in the world of the story, and immersion as a formal technique, which is for the most part indifferent to the actual engagement of the audience and instead produces a claim immanent to the work itself.

On the Integrated Descriptions of Metaphorical Sememes of Verbs

Cognitive metaphor is an important way and mechanism of semantic derivation of verbs, the resulting large number of verbal metaphorical sememes has different expressions in their semantic features, formal syntax, communicative structure and even modality and pragmatics. This paper thoroughly and carefully discusses the problem of semantic change of verbal metaphor in terms of the integrated description method of the Moscow Semantic School. Thus, we will create a unique and innovative framework and theoretical model of generalized formal feature analysis, we will also try to introduce formal semantic description and micro-level semantic interpretation into the analysis system of semantic change of the verbal metaphor. Furthermore, we will describe in detail and characterize a number of changes caused by metaphorical semantic change of Russian verbs from the perspective of multi-dimensional integration. This study breaks down the barriers between semantics, cognition, pragmatics and grammar and the traditional analysis pattern of semantic derivation which contributes to significant broadening of the theoretical semantic vision and deepening of the research of cognitive semantics problems of verbal metaphor. It also helps explore innovative analytical methods and strategies for the study of Russian lexical and syntactic semantics.

The texture of the age: Digital construction of unbounded Space in Birdman (Iñárritu 2014)

Like some of Alejandro González Iñárritu’s previous films, Birdman or (The Unexpected Virtue of Ignorance) (Iñárritu 2014) is an exploration of the place of individuals in the midst of various global forces, in this case, technological, social and cultural globalization. The film’s most relevant formal feature, the digitally created ‘long take’, also partakes of the director’s well-known penchant for technological and formal experimentation when telling a story. In Birdman, cinematic form is closely related to its thematic concerns, particularly the impact of technology on global processes. This article explores the confluence between form – digital cinema – and content in Birdman. It looks at the global virtual space created by the internet and social networks and how they affect our sense of being in the world. To this end, the film exploits the possibilities and connotations of the apparently uninterrupted single take that comprises most of the duration of the film and of the composited, digital-realistic space thus created.

A history of the development of the mathematics and statistics support community in the United Kingdom. Part 1: From alpha to sigma

In terms of the history of mathematics higher education, mathematics and statistics support (MSS) is a very recent development, existing as a formal feature for less than 50 years. However, in this short time, MSS has displayed its own characteristics. A particularly notable feature of MSS in the United Kingdom (and in other countries) has been the way in which practitioners have collaborated with each other, almost from the outset. This collaboration has led to the creation of a community (the sigma network) with a written constitution and formal membership. This two-part article traces the history of the development of the MSS community in the UK from its earliest incarnations to the present day. The first part of the article reviews the period from the early 1990s to 2005 during which time the key events were the rise and demise of the Mathematics Support Association and the creation of sigma, Centre of Excellence in University-wide Mathematics and Statistics Support.

How to begin a sequel?

Beginnings of fictional narratives apply various strategies to introduce their readers to the represented world, and even if they select a starting point in the flow of events as definitive, they tend to tell something about how the starting situation has been constituted by earlier events and circumstances. Some literary genres represent fictional worlds so different from the readers’ that a general description of the former is also needed in the beginning. A sequel may seem free of the burden of a descriptive introductory beginning, since readers (if they have read the previous work or works) have sufficient information to be able to cope with in medias res beginning. However, long series of many sequels have to be accessible for new readers as well, therefore they offer introductions for a double audience. The paper analyses several beginnings from Terry Pratchett’s Discworld novels. I show how the early novels use the description of the Discworld as a formal feature to begin the narrative; those descriptions fulfil the double purpose of introducing new readers and entertaining the trained ones by new ways of elaboration and adding some new traits.

Contemporary Experimental Translations and Translingual Poetics

This chapter attends to the nuances and difficulties in reading and translating contemporary translingual poetry, by focusing on the German poet Uljana Wolf, who has traversed the language barriers between English, German, Polish, and Belarusian in conceptually and linguistically innovative ways in her multilingual and politically engaged poetry and poetics. The chapter argues that Wolf’s work criticises national and linguistic borders and ‘mother tongues’ both thematically and poetically, i.e. by way of neologisms, unusual syntax and prefixes, and by splicing a number of languages into the texture and prosody of what Wolf calls her ‘other-tongued’ German poetry. Such an approach to multi- and translingualism as a formal feature with political stakes and a concomitant rejection of an idealised originality, the chapter goes on to argue, also invites a similarly rigorous playfulness and multilingual alertness from a translator. Suggesting that translation is generative and dialogic, in its ability to forge conversations and transnational communities, Wolf’s experimental translational practice is contextualised by reference to other innovative English-language and translingual poets, such as Rosmarie Waldrop, Theresa Hak Kyung Cha, M. NourbeSe Philip, and to the recent critical writing and anthologies of translation and anti-colonial discourses. In conclusion, the chapter argues that Wolf, along with these thinkers and poets, helps readers reconceive translation as a radically inventive and collaborative practice that complicates access to the ‘foreign’ it is usually supposed to facilitate.

The asymmetric behavior of English negative quantifiers in negative sentences

In this paper, the unexpected behavior of object negative quantifiers in some diagnostic tests of sentential negation is accounted for within a Minimalist framework assuming that: (i) negative quantifiers decompose into negation and an existential quantifier; (ii) negative quantifiers are multidominant phrase markers, as Parallel Merge allows the verb to c-select their existential part but not their negative part, thus giving negation remerge flexibility; (iii) tag questions involve or-coordination of TPs, and neither/so clauses involve and-coordination of TPs; (iv) two positions for sentential negation are available in English, one below TP (PolP2), and one above TP (PolP1). Activation of either PolP1 or PolP2 in the absence of other scope-taking operators corresponds to two distinct grammars. If PolP1 is active, the negative part of an object negative quantifier remerges in its Specifier valuing the [upol: ] feature of Pol1 as negative ([upol:neg]) while skipping the TP-domain. As no negative formal feature is present in the TP, a negative question tag is required, as well as so-coordination, too-licensing and Yes, I guess so ‘expression of agreement’. Conversely, if PolP2 is active, the negative part of the object negative quantifier remerges in the TP-domain (in Spec, PolP2), thus requiring a positive question tag, neither-coordination, either-licensing, and No, I guess not.

Zeit, Affekt und lange Form: David Foster Wallace und Karl Ove Knausgård

Wie organisieren, strukturieren und thematisieren lange Romane Zeitlichkeit? Und was erschließen Begriff und Erfahrung von Langeweile in Romanen der Gegenwart wie David Foster Wallaces Infinite Jest (1996) und Karl Ove Knausgårds Min Kamp (2009–2011)? Der Zusammenhang zwischen Lesezeit, ihrer narrativen Strukturierung und Zeitsemantiken wird mit dem Begriff der ästhetischen Eigenzeit beschrieben. Mit Sianne Ngais Konzept des Stuplimen lässt sich eine spezifische Ästhetik der Langeweile (als Resultat einer Überforderung durch eine wenig oder gar nicht strukturierte Detailfülle) auch als formales Merkmal des Langromans in der Tradition der Moderne und Postmoderne beschreiben. Ohne die Berücksichtigung der affektiven Dimension von Langeweile und ihrer Bewältigung (z. B. durch <?page nr="593"?>Leserituale und -routinen) sowohl im Leseprozess als auch auf der thematischen Ebene wäre eine solche formale Beschreibung aber nicht vollständig, wie die Analyse des Ineinandergreifens von Zeitsemantiken und der Ausgestaltung der langen Form bei beiden Autoren zeigt.How do long novels organise, structure, and address temporality? And what kind of diagnostic power do notions and experiences of boredom have for contemporary long novels like David Foster Wallace’s Infinite Jest (1996) und Karl Ove Knausgård’s Min Kamp (2009–2011)? This essay introduces the concept of ,aesthetic individual time (Eigenzeit)‘ in order to analyse the nexus of reading time, its narrative organisation and temporality as a topic. Sianne Ngai’s concept of ,stuplimity‘ can describe a specific aesthetics of boredom not only as a result of diegetic information overload without any structuring devices but also as a formal feature of long novels in the modern and postmodern tradition. In a comparative reading of the two works, the essay argues that a consideration of the affective dimension of boredom and its containment (for example by reading rituals or routines) – both on the formal and the thematic level – is a vital supplement to a formal analysis.