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ДИСКУРСИВНЫЕ ПРАКТИКИ ТРАДИЦИОННЫХ И НОВЫХ МЕДИА
Get PDFThe paper analyzes the discursive practices of traditional and new media. The special attention is paid to the change of discourse paradigms within which we can observe the inevitable rotation of both discursive practices and the models of media discourse. Modern medialogy involves a variety of interdisciplinary approaches and methods of analysis. An important place among them is occupied by linguistic methodology, in particular, the discourse analysis, which allows conducting an authentic study of a variety of media phenomena operating in the framework of multi-level communicative models. These processes and mechanisms are especially clearly manifested in the comparative analysis of traditional and new media. Using the example of discursive organization of the journal Sovremennye zapiski ('Contemporary Notes'), the materials of the community of professional mass media Vysota 102 ('Height 102'), as well as public pages not associated with professional media, but oriented on dissemination of socially important content Tipichny Volgograd ('Typical Volgograd') and NEtipichny Volgograd ('Non-Typical Volgograd'), we've shown that media discursive practices, being heterogeneous structures, not only correspond, but also form the semantic potential of specific media. In the case of traditional media, transdiscursivity is the leading discursive practice, since it allows carrying out effective oscillation of meanings from one discourse to another. In the case of new media, such practices as polydiscursivity and interdiscursivity are priority ones. They form authentic communicative models in a situation of global transformation of the media space. At the same time, the media discourse, the consumer discourse, and the discourse aimed at the formation of identity in the sociocultural space, become dominant
The Art of Margins: The Croatian Political Poster in the 20th and 21st Centuries
No full textMonografia jest zogniskowana wokół fenomenu chorwackiego plakatu politycznego – jego genezy, transformacji w zakresie formy i estetyki, strategii retorycznych, uwikłań ideologicznych, polityczności i współczesnej kondycji. Plakat polityczny jest potraktowany jako lustro procesów artystycznych, sejsmograf przemian cywilizacyjnych, katalizator oraz zapis wydarzeń politycznych i towarzyszących im zjawisk społecznych. Przez jego pryzmat Autorka opowiada historię formowania się narodu chorwackiego jako wspólnoty komunikacyjnej oraz wyjaśnia skomplikowane związki wizualności i polityki, obecne w chorwackim dyskursie politycznym.The monograph is centred around the phenomenon of the Croatian political poster – its origins, transformations in formal and aesthetic terms, rhetorical strategies, ideological entanglements, interrelations with politics, and current condition. The political poster is seen as a mirror reflecting artistic processes, a barometer of civilizational change, a catalyser and a record of political events and the associated social phenomena. It is the prism through which the author tells the story of how the Croatian nation formed as a communicational community and explores the complex connections between the visual and the political in the Croatian political discourse.Publikacja sfinansowana ze środków na działalność statutową Instytutu Slawistyki Polskiej Akademii Nauk oraz z funduszu statutowego Fundacji Slawistyczne
Językowość kultury i kulturowość języka: Lingwistyka kulturowa i międzykulturowa. Antologia, red. Waldemar Czachur, Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2017, 337 s.
Get PDFA review of Lingwistyka kulturowa i międzykulturowa. Antologia, red. Waldemar Czachur, Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2017, 337 s
Pamięć językiem pisana: Pamięć w ujęciu lingwistycznym. Zagadnienia teoretyczne i metodyczne, red. Waldemar Czachur, Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2018, 263 s.
Get PDFA review of Pamięć w ujęciu lingwistycznym. Zagadnienia teoretyczne i metodyczne, red. Waldemar Czachur, Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2018, 263 s
Wspólnototwórczy wymiar przekładu. Casus XXI-wiecznych przekładów górnośląskich
Get PDFExistence of Upper-Silesian ethnic minority has been confirmed by two national censuses carried out in the years 2002 and 2011. It is also the largest minority residing in the territory of the Republic of Poland. However, the Polish state does not recognize the existence of Upper Silesians in legal terms. At the same time, for Upper Silesians themselves the struggle for recognition of their culture, language and community is a serious matter. In the present article the author discusses the role of creating and strengthening Upper-Silesian community played by culture, especially by literature and literary translation
SolováR. (2019). Przekład jako narzędzie propagandy. Miesięcznik „Polska: czasopismo ilustrowane” w latach 1954—1956 / Translation as a propaganda tool The monthly Poland: Illustrated Magazine in the years 1954—1956. Przekłady Literatur Słowiańskich, 9(2), 55-76. https://doi.org/10.31261/PLS.2019.09.02.04
No full textThe monthly Poland: Illustrated Magazine was published (with an interruption) from 1954 to 1999. In the period under analysis (1954—1956), apart from its Polish version, the magazine was also published in English, French, Spanish, German, and Russian. The periodical was a product of the export circulation of cultural goods, the aim of which was to export translations of texts published in the country and those specifically intended for foreign readers. The initial task of the monthly was to shape the image of socialist Poland abroad. Through an analysis of texts intended for export, we examine how the monthly was used for propaganda purposes in the years making to the end of Stalinism and the beginning of “the thaw” in Poland
Problematika glagolskih univerba u bosanskom jeziku (Koliko je zaista neupitno njihovo postojanje?)
Get PDFThis paper offers an insight on whether univerbation in the Bosnian language exists in verbs, or exclusively in nouns. Attitudes regarding the matter present in other linguistic literature are observed, since they include verbal suffixes -ira(ti), -isa(ti), -aša(ti). The paper examines the first two suffixes, as well as -ova(ti) and -a(ti), exclusively through examples from the corpus, consisting of written sources (journals, magazines, internet portals, dictionaries), as well as surveys - some conducted in the last couple of years for a research concerning the lexis of the spoken Bosnian language, others recently
Pojam „zdravlje” u srpskom jeziku – rezultati ankete
Get PDFMiędzynarodowa konferencja naukowa: Jedność w różnorodności. Wokół słowiańskiej aksjosfery. EUROJOS XIV (11−13 września 2018) ‒ zadanie finansowane w ramach umowy 800/P-DUN/2018 ze środków Ministra Nauki i Szkolnictwa Wyższego przeznaczonych na działalność upowszechniającą naukę
ПАРАМЕТРЫ ЯЗЫКОВОГО МОДЕЛИРОВАНИЯ ЭМОЦИОНАЛЬНЫХ СИТУАЦИЙ В ХУДОЖЕСТВЕННОМ ТЕКСТЕ
Get PDFThe paper reveals the main parameters of language modeling of emotions in the literary text, such as causation, temporal localization, intensity, external manifestation. Using the material of stories of the collection Dark alleys by I.A. Bunin, we analyze lexical and phraseological designates of emotion of fear which specify these parameters. Thus, the parameter of the causality of fear combines such particular characteristics as the 'objectivity of emotion', 'internal / external causation of emotion', 'connection with the intellectual and volitional spheres', etc.; time parameter – 'temporal actuality (episodicity) / timelessness (stability) of emotion', 'static / dynamic emotion', 'phasic flow of emotion', etc. It is revealed that I.A. Bunin's prose emphasizes not only individual aspects of emotions but also specific signs within these aspects. Thus, when portraying fear, the parameter of the external expression of emotion takes the leading place, and inside it – the sign 'physiological symptomatology'. The peculiarity of the linguistic expression of these parameters is determined, on the one hand, by the systemic relations of the emotions, which are projected onto the semantic space of the text, and, on the other hand, by the associative links of these units within the specific works. In the prose of I.A. Bunin fear is described not only as a simple emotional situation, but also as a component of complex emotions, denoted by oxymorons such as the rapture of horror, fear of happiness, etc. Due to the use of such multicomponent names, the boundaries of the emotional world of heroes are widened, and the possibility of "combining" different experiences is emphasized