Stilogenost vremenski raslojene leksike u Rječniku bosanskog jezika autora Dževada Jahića

The paper initially discusses some theoretical aspects of functional-stylistic stratification of vocabulary, with an emphasis on spoken language and its impact on standard language in terms of generating new stylistic values. Spoken language belongs to the colloquial style, so given its great potential in creating the connotative meaning of words, its boundaries are not clearly set, and in the communicative act almost every word can undergo semantic modification, resulting in special semantic or stylistic nuances. Stylistic nuance of vocabulary finds its foundation in filling communicative gaps, which, through different use in different contexts, can activate the desired effects in an effort to obtain a nuance of meaning that is appropriate to the circumstances in which it occurs. Furthermore, the paper pays special attention to the stylogenic values of time-layered vocabulary, ie passive vocabulary in the Dictionary of the Bosnian Language by Dževad Jahić. By using vocabulary that has gone out of use in the text in the modern sense, its functional orientation comes to the fore, which, given the context in which it is used, can have different degrees of stylistic expressiveness. Thus, the stylistic character of lexemes with the qualifier of archaism, historicism, historical and obsolete lexicon is considered, taking into account the examples excerpted from the material given with each entry. After conducted analysis, the stylistic function of passive vocabulary is nothing but the expression of the historical originality of an event. Using terms from the former era of existence helps writers to get their literary work on a truer and more convincing painting of a certain period, thus transmitting historical, social and cultural patterns and material culture of a region.

Wielojęzyczność w literaturze dokumentu osobistego: funkcje wykładników transkodowych

Multilingualism in the Literature of Personal Document: Functions of Transcode Markers The article is dedicated to semantic functions of transcode markers in Polish émigré literature. Two diaries, written respectively by Gustaw Herling-Grudziński and Jan Lechoń, constitute the exemplification material. The diary genre, similarly to letters and memoirs, lends itself to introducing this kind of markers. Their presence reflects the multilingual competence of the author, as well as his mental, social, and psychological experience. The second language enables broadening the referential space of the first language and conveying emotions. The strategy of code switching depends on the motivation and goal of writing a given text. In Herling-Grudziński’s Journal Written by Night, foreign words from different languages abound. They fulfill several functions in the text, namely: metalinguistic, index and stylistic function. Their presence is justified by the content and by the role adopted by the author – the one of an interpreter of the political and social reality. The Diary by Lechoń is different in terms of types of predominant functions which can be distinguished in his text. Besides commenting on the émigré life, the author focuses on his emotions and experiences. Therefore, index and metalinguistic functions turn out to be the most important. Pointing out different strategies of introducing transcode markers in a text by its author is fundamental for the research on bilingualism in émigré writing.

CAN FIGURES PERSUADE? ZEUGMA AS A FIGURE OF PERSUASION IN LATIN

Use of rhetorical figures has been an element of persuasive speech at least since Gorgias of Leontini, for whom such deliberate deviations from ordinary literal language were a defining feature of what he called the ‘psychagogic art’. But must we consider figures of speech limited to an ornamental and merely stylistic function, as some ancient and still many modern theorists suggest? Not according to contemporary cognitive rhetoric, which proposes that figures of speech can play a fundamentally argumentative role in speech by evoking a level of shared meaning between speaker and listener, and simultaneously by affording the possibility of reorganizing this common ground. This paper argues that, in Latin literature, zeugma—the ‘linking together’ of two elements (usually nouns or prepositional phrases) with a third (usually a verb) that is semantically compatible with only one of them—can and very often does operate argumentatively, and that it does so by surfacing figurative relationships that normally remain below the conscious awareness of Latin speakers and by imparting a certain structure to these relationships. What very often motivates the selection of elements within zeugma—and what makes zeugma more than simply a stylistic device—are in fact metaphorical structures that are highly conventionalized in Latin's semantic system. In tapping into symbolic associations that are deeply entrenched in the language and thought of Latin speakers, zeugma therefore provided a ready-made device for constructing arguments in context.

Adesp. 741 K.-A. Some Aspects of Comic Stylistics

This article explores the thematic and stylistic function of the anaphora in the anonymous fragment of Old Comedy (741 K.-A.). It also analyses an interpretation of Plutarch’s comment on these lines.

Analytical forms of expressing the category of certainty / uncertainty in modern Slovenian fiction

This article examines the analytical approach towards expressing the category of certainty / uncertainty in Slovenian fiction. The analytical forms are comprised by the unchangeable article-type particle “ta”, which is commonly used in the Slovenian colloquial language, but at present is also actively used in the literary language. Special attention is given to the modern Slovenian fiction. The author analyzed ten Slovenian novels published between 2008 and 2018, and revealed all instances of using the article-type particle with both, substantive adjectives and together with adjectives and nouns. The following conclusions were formulated: colloquial elements in fiction perform a stylistic function; therefore one of the key tasks of the article-type particle consists in speech characteristic of the character, including indicating his dialect, since all instanced of using the particle are in the dialogical speech or first-person narrative. However, it is important to note that in most instances, the particle is used with substantive adjectives, which indicates lexicalization of combination of the particle and the adjective, which is used for mentioning a known person/object or indicating a characteristic feature.

ENJAMBMENT IN THE SONNET POEM

This article contains a short overview of theory and practice of the poem text, dealing with the phenomenon of enjambment. It should be stressed that Ukrainian poetry (both classic and modern) widely uses the figure of enjambment. There is a number of recently published articles by Ukrainian authors offering the study of this poetic figure in different aspects of different individual styles. But for obvious reasons there are no such studies about sonnet texts in particular. Regarding the sonnet poem, since the times of the first French theorists of the 17-18 th centuries up to modern reference editions, genre definitions of its figurative structure almost always contain a number of restrictions. There should be no repeated words, the rhymes should be exact and voiced, every stanza - with the relevant rhyming system - has to be a complete syntactic entity etc. The author (using as example a number of sonnets of Ukrainian poets) tries to show that the enjambement accented word in the sonnet text is as natural as in any other poetic text. And as in any other poetic text (depending on the author’s intention) it can play an important semantic and stylistic function. The main meaning and functional shift of enjambement word on the structural level is being studied here both in the system of simple and compound sentence of the sonnet. Quite often we can observe the phrase shift from one stanza to another, from quatrain to tercet. An example of such enjambement structure of the poem where the shift is being observed in every line and every stanza is a sonnet of Dmytro Pavlychko "Слова”. Another rare phenomenon of syllable shift in the sonnet poem can be found here: Дихнуло весною, Десною... Над супер- / крутою урбанню.Над біль./У долі моєї чебрець і канупер / З чернігівських піль / (А. Мойсієнко).

Subjectlessness in «Solitary Thoughts» by V.V. Rozanov as a Means of Expressing the Subjective

The article examines the expression of subjectlessness in « Solitary Thoughts» by V.V. Rozanov, a work of an innovative language and genre form. The genre peculiarities of the work determine a significant number of one-part sentences that are used by the writer in the traditional language function. At the same time, the author's style is most characterized by the combination of different types of these sentences in one paragraph. A very important function of these structures in the text is the stylistic function. The reception of anaphora is based on one-part sentences; expressive antonymy in their structure; on the basis of these constructions, a rhetorical question and a language game are built; an original and unexpected metaphor; examples of the author's word creation are also noted on the basis of one-part structures. This type of sentences is also used to create an ironic effect. The methods of using one-piece structures reflect the uniqueness and originality of the artistic world of V.V. Rozanov. Subjectlessness acts as a means of expressing the intimate author's principle, deep personal experience, which has a mystical, metaphysical nature of «truly Russian, Russian element». On the basis of the explication of the leading compositional-speech dominants and the specifics of their linguistic embodiment at the syntactic level of the language, innovative fiction is represented in the work. This allows us to consider the work of V.V. Rozanov as a high example, which reflected the richest intellectual and emotional world of the author himself.

O tabu no discurso cinemático: tradição, funções e reflexões

Although taboo has become an ever-increasing widespread linguistic resource within audiovisual contexts (Sapolsky et al. 2010; Bednarek 2019), and despite the importance sociolinguistic profiles hold in cinematic products, little research has been carried out on the topic.Thus, this study aims at examining the role taboo language plays in the movies. In order to do so, the presentation will combine a theoretical approach - geared towards the cinematic tradition of how taboo is used in the movies, the stereotyping of fictional characters through taboo and the relationship established between the use of taboo and the multimodal and ephemeral nature of cinematic products, with an applied approach – which presents the frequency of taboo words in six North-American movies as well as their functions. Based on the findings, this study suggests that taboo in cinema discourse can be disclosed in two different layers of functions: an intratextual function, concerning the role taboo plays within the narrative; and an extratextual function, related to the role taboo plays beyond the story, i.e. between the movie and the receivers. Further, more detailed, analysis showed that taboo is used intratextually, with an expletive, offensive, social or stylistic function, and, extratextually, with a mimetic, comic or ideological function; the frequency of each will help us characterize taboo in this audiovisual corpus.

Communicative phenomenon of the old Ukrainian miracle play “Oleksiy, the man of God”

The subject of this research focuses on the communicative and pragmatic structure of dramatic texts of the 17–18th centuries. The aim of this article is to analyse the miracle play “Oleksiy, the Man of God” (Alexius, the Man of God) as a communicative act. The method of semantic-stylistic analysis was used to elicit the semantic and stylistic peculiarities of the language means and patterns of their use. Context and situational analysis, as well as interpretative analysis, were used to identify textual elements with additional pragmatic meaning; the analysis of actual material was conducted in line with the principle of historicism, i.e. taking into account the correspondence of the linguistic and lingual stylistic system of the texts to the time of their creation. The Results of the Study. The dramatic text holds a specific place in the system of artistic communication, since it stands as a meaningful reproduction of the communicative process. A key feature of any dramatic text is dramatis personae that are put at the beginning of the play and who, as a rule, can be related to real people in real situations. The old Ukrainian baroque drama mainly takes the forms of drama mystery play and miracle play. The character system in “Oleksiy, the Man of God” reflects the social structure of society at that time, and the characters’ speech correlates with the speech of real people and stands as its textual embodiment. The process of author’s describing the real picture of the world is the main author’s intention, which coincides with the illocution in the dramatic text. The article analyses the communicative past and communicative future of certain characters. The analysis concentrates on the stylistic means used by the author to enhance the impact on the addressee and create the intended communicative effect, in particular wordplay techniques. The role of extratextual elements that help decode the author’s idea and achieve a perlocutionary effect has been determined. The prospects for further research include studying pragmatic and stylistic function of the phenomenon of variability of the speech genres in old Ukrainian texts of the 17–18th centuries.

Language aggression in the information space: Between style norm and destruction

This article investigates theoretical issues as well as functional and stylistic manifestations of language aggression in the information space. A genus-species connection is established between the terms ‘evaluation’ and ‘language aggression’. The term ‘evaluation’ refers to the critical analysis of socio-political, economic, and cultural processes and indicates the dynamics of stylistic norms and language aggression which affects genre and style of mass media, aesthetic criterion of standard language norms, and a universal and national values scale. The author analyzes a philosophical and evaluative paradigm of the means of negative axiology to denote the concepts of ‘state,’ ‘power’, and ‘war’ relevant to the conditions of today’s Ukraine. The article concentrates, in particular, on the dynamics of the language aggression expression in the 20th — early 21st century, namely on expanding the role of genre in using the language aggression in which a status of communication participants is shifted to a journalist and its reader. In this sense, the modality of the mass media’s duty is addressed to the processes and phenomena within the state, in particular to the authorities and external challenges of the Russian-Ukrainian war. A special emphasis is placed on the implementation in the mass media of the current functional and stylistic potential of language to express the socio-political and philosophical confrontation of hostile parties in the context of the division of values into their own and others. The paper examines vocabulary, phraseology, metaphors, epithets, means of expressive syntax, the phenomenon of desymantization of terminology, and formation of new synonymous series, which are indicative in modern texts and express linguosophy of universal and national social consciousness. Keywords: language aggression, evaluation, negative evaluative language means, semantics, semantic and stylistic function, synonyms.