129 research outputs found
How children interpret disjunction under negation in Dutch, French, Hungarian and Italian: a crosslinguistic comparison
No full textIn English, a sentence like “The cat didn’t eat the carrot or the pepper” typically receives a “neither” interpretation; in Japanese it receives a “not this or not that” interpretation. These two interpretations are in a subset/superset relation, such that the “neither” interpretation (strong reading) asymmetrically entails the “not this or not that” interpretation (weak reading). This asymmetrical entailment raises a learnability problem. According to the Semantic Subset Principle, all language learners, regardless of the language they are exposed to, start by assigning the strong reading, since this interpretation makes such sentences true in the narrowest range of circumstances.). If the “neither” interpretation is children’s initial hypothesis, then children acquiring a superset language will be able to revise their initial hypothesis on the basis of positive evidence.
The aim of the present study is to test an additional account proposed by Pagliarini, Crain, Guasti (2018) as a possible explanation for the earlier convergence to the adult grammar by Italian children. The hypothesis tested here is that the presence of a lexical form such as recursive né that unambiguously conveys a “neither” meaning, would lead children to converge earlier to the adult grammar due to a blocking e!ect of the recursive né form in the inventory of negated disjunction forms in a language. We compared data from Italian (taken from Pagliarini, Crain, Guasti, 2018), French, Hungarian and Dutch. Dutch was tested as baseline language. French and Hungarian have – similarly to Italian – a lexical form that unambiguously expresses the “neither” interpretation (ni ni and sem sem, respectively). Our results did not support this hypothesis however, and are discussed in the light of language-speci"c particularities of the syntax and semantics of
negation
Women and Abolitionism: Hannah More's and Ann Yearsley's Poetry of Freedom
No full textThis article analyses Hannah More's and Ann Yearsley's antislavery poems enphaising the ways in which both poets challenged the authority and integrity of parliement, and adumbrated a demystification of the money nexus that underpinned slavery. Crisafulli's analysis highlights the ways in which 'British sons of murder', from traders to the ship's 'tars' in thier different roles, are seen to be engaged in a brutal and 'savage' activity. The author argues through careful close readings that the language of "Slavery: A Poem" and "The Sorrows of Yamba" is never simply complicit with colonialist discourse as some critics have suggested, but construct an uncompromising counter-discourse that is not only, and powerfully, humanitarian but also stringently political. Linking Yearsley's invitation that slave traders bring their own daughters to this market (together with their wives, aged mothers and ruddy boys) to Swift's "A Modest Proposal", these poets, Crisafulli suggests, used their rhetorical skills on behalf of the slave's humanity and against the greed of the commercial nature to critique and to refeminise Britannia. If this meant contributing to a formulation of women and domesticity as key to the nation as family, at this moment and on this issue, the challenge was radical on several fronts
The two faces of "Lilla HJärtat" : A discourse analysis of the debate on a children's book character
No full textIn the autumn of 2012 the fictional character “Lilla Hjärtat” created by the Swedish author and illustrator Stina Wirsén, became a much-discussed topic in Swedish media. This following the premiere of the children’s film “Liten Skär och alla små brokiga”. Stina Wirsén is an established and well-acclaimed name in children’s literature. “Lilla Hjärtat”, a jet-black doll, had become one of many popular characters in her books. However, two years later at the time of the film release, social media picked up on the idea that “Lilla Hjärtat” resembled a racist stereotype, a so-called picaninny or a blackface. According to Wirsén, her intention was to deflate an outdated stereotype and refill it with a new and positive meaning. The purpose was to offer children of all skin colours and all backgrounds an empowering role model to identify with. Those who were opposed argued that using a racist stereotype in a children’s book or film was inappropriate and harmful. On the other hand, those in favour did not view the character as racist and believed it would contribute to openness and diversity. The purpose of the thesis is to make an analysis of the debate and the arguments that were presented. As a result I could find two discourses, one that argued against “Lilla Hjärtat”, and one that argued that “Lilla Hjärtat” was a positive character. In the discourse against Lilla Hjärtat, debaters maintained that small children were unable to distinguish between the different meanings of stereotypical pictures, and also that a privileged white person does not have the interpretative prerogative to change a stereotypical image that has been discriminating black people for generations. In the other discourse, debaters meant that the character could be an important and strong role model for young dark-skinned children. They also discussed that the real problem was that there were so few characters of children of other nationalities in children’s literature
Modernist writers’ dialogues with “Lilla Weneda” by Juliusz Słowacki
No full textThis article analyses connections between the romantic idea of spiritual development and modernist search for the truth of existence. The patron of activities directed in this way was Juliusz Słowacki, whose works and life inscribed in artistic-philosophical actions of modernist artists and the text which most fully expressed the analysed issues was the drama entitled “Lilla Weneda”. Modernist writers, for whom the problems of the strength of the character, the will, inner transformation or lack of it, initiated a dialogue with the tragedy by "Balladyna"’s author in their texts (W. Berent “Próchno”, M. Wolska “Swanta”, A. Lange “Wenedzi”, J.A. Kisielewski “Sonata”). This dialogue took place along several lines (fate, symbolism of a ritual, the figure of a priestess, mysterious objects, the figure of the Bride, the idea of wedding, the desire to be reborn). The present analysis has indicated strong semantic-symbolic connections between the text by Juliusz Słowacki and his modernist ‘interlocutors’
Modernist writers’ dialogues with “Lilla Weneda” by Juliusz Słowacki
No full textthis article analyzes connections between the romantic idea of spiritual development and modernist search for the truth of existence. the patron of activities directed in this way was Juliusz Słowacki, whose works and life inscribed in artistic-philosophical actions of modernist artists and the text which most fully expressed the analyzed issues was the drama entitled Lilla Weneda. Modernist writers, for whom the problems of the strength of the character, the will, inner transformation or lack of it, initiated a dialogue with the tragedy by Balladyna’s author in their texts (w. Berent Próchno , M. wolska Swanta, a. Lange Wenedzi, J.a. kisielewski, Sonata). this dialogue took place along several lines (fate, symbolism of a ritual, the figure of a priestess, mysterious objects, the figure of the Bride, the idea of wedding, the desire to be reborn). the present analysis has indicated strong semantic-symbolic connections between the text by Juliusz Słowacki and his modernist ‘interlocutors’
Lilla Esop
No full textLike the original Danish version, which is in this collection, this book was published just after the war. I now have the book in three languages, including English. This paperbound version has a loosening spine. This book has become a favorite of mine. As I wrote of the English version, the book did not appear until after the liberation in 1945, though a number of copies had been distributed privately with a duplicate T of C that emphasized the topical application of the fables. Thus OF (#1) was titled Great Germany and The Lion, the Ass, and the Fox (#59) was titled The Fate of the Informer. The artwork, which usually adds one color to black, is delightful. BW (#14) involves a repeated cry that wolves are coming and a fact that plural wolves do come. Fable #15 on the war of the birds and beasts gives a good example of the book's excellent silhouette art. LS (#29) has a wonderful illustration of a bloody stag divided into four equal parts! The following fable's illustration shows graphically with its separated human limbs what would happen to the man if a lion created the sculpture! Zieler does a creative job of making faces out of the rivers and the sea for #40. In fable #51 the mule kicks the wolf in the forehead while the latter is trying to read what kind of horse his father was. There are no titles and there is no T of C.Language note: SwedishDe gamla djurfablerna berättade av R. Broby-Johansen; Oversättning frän danskan av Gunnar Ekelö
Lilla Weneda by Juliusz Słowacki and the theory of conquest. The problem with historiosophical understanding of drama
No full textThe author of this article tries the revision of the historiosophic interpretation of the piece read in the light of the so called theory of the conquest.
The analysis of the language spoken by the figures of the drama reveals that Lilla Weneda by Juliusz Słowacki is not alone the vision of the 19th century theory of the genesis of Polish country and nation, but alongside the romantic myth puer-senex narrated by the poet.
The interpretation of the author of this article, the above myth emerged from the transformation of the traditionally understood topos puer-senex (its characteristics was presented basing on the thesis forwarded by Hillman and Curtius) that has been performed on the instance of the replicas of the Mythology of the North.
The author’s estimation is, that Słowacki does not determine who embodies puer and who embodies senex in the drama (Lechi/Lachi or Venedi) or who embodies both puer and senex in the same time. The complete texture of the drama indicates the conclusion that Słowacki abandons the theory of Lewestam and did not declare to follow any historiosophic interpretations. On the contrary he endows both, the Lechi and Venedi, with the features of the people of the North creating his own vision of historiography derived from the poetry. Having adopted such interpretation the problem with the text of Lilla Weneda, read solely from perspectives of the romantic theory of the conquest, remains supposedly in the accordance with the fantasy of the poet – sine solutione
Múlt, jelen és jövő Guluban
No full textThe author guides us into Gulu, Northern Uganda, to the opening ceremony of a centre for child-mothers. The tragic past and the optimistic future of these young mothers – whom were once kidnapped, exploited, dishonoured and forced to sex slavery by mercenaries – appears in this story. Among the shocking life stories there is a civic initiation with Hungarian participation which promotes the raise of life standards of the mothers and their children. Under extreme poverty and despondency that surround them, the centre represents the place of peace and safety, which residents are sincerely grateful for. The article is about the heart-warming preparations of their thanksgiving feast.Schumicky Lilla írása az észak-ugandai Gulu régióban zajló „Ne sírj többet” - az Afrikai-Magyar Egyesület (AHU) és a Respond ReNEW általt indított - projektről, amely gyermekanyák, korábbi gyermekkatonák és szexrabszolgák támogatására és a fiatalok reintegrációja irányul, segítséget nyújtva pszichológiai támogatással, jövedelemszerző tevékenységek megszervezésével és mikrohitel-rendszerrel. A cikk kitér a résztvevők traumáira, különös tekintettel a Lord’s Resistance Army (LRA) általi terrorra és a menekülttáborok nyomorúságos körülményeire is
“Let’s Murder!”: Deconstruction of the Polish National Identity in Lilla Weneda by Juliusz Słowacki and Theatrical Reception of the Drama
No full textThe article analyses the concept of Polish national identity in Juliusz Słowacki’s Lilla Weneda. The author argues that Słowacki shows in the drama the genesis of Poles as a nation which came into being as a result of the bloody conquest of the Venedians by the Lechits. By doing that, the poet uses irony to deconstruct Polish identity based on a sense of injustice and marked by unprocessed trauma. In his considerations, he takes into account the theatrical reception of the tragedy, which proves its ambivalent [email protected]ł Filologiczny, Uniwersytet w BiałymstokuArystoteles (1988), Retoryka–Poetyka, przeł. i komentarzami opatrzył H. Podbielski, Warszawa: Państwowe Wydawnictwo Naukowe.Balicki Witold Stanisław (1946), Odwiedziny teatralne, „Odrodzenie”, nr 9, http://www.encyklopediateatru.pl/artykuly/115737/odwiedziny-teatralne [dostęp 2.01.2021].Bończa-Szabłowski Jan (2015), Patos jest zbędny, „Rzeczpospolita”, nr 200, http://www.encyklopediateatru.pl/artykuly/207426/patos-jest-zbedny [dostęp 10.01.2021].Chojnacki Herionim (1998), Polska „poezja północy”, Gdańsk: Wydawnictwo Uniwersytetu Gdańskiego.Flaszen Ludwik, Bieda z tym Słowackim, „Echo Krakowa” 1961, nr 109, http://www.encyklopediateatru.pl/artykuly/143402/bieda-z-tym-slowackim [dostęp 10.01.2021].Gieysztor Aleksander (1986), Mitologia Słowian, Warszawa: Wydawnictwo Artystyczne i Filmowe.Janion Maria (2001), Żyjąc tracimy życie, Warszawa: Wydawnictwo W.A.B.Jauss Hans Robert (1972), Historia literatury jako wyzwanie rzucone nauce o literaturze (fragmenty), tłum. R. Handke, „Pamiętnik Literacki”, z. 4, s. 271–307.Jodłowski Marek (1974), „Lilla Weneda” czyli Polacy, „Opole”, nr 5, http://www.encyklopediateatru.pl/artykuly/143900/lilla-weneda-czyli-polacy [dostęp 2.01.2021].Kellner Irena (1957), Legenda z morałem, „Teatr i Film”, nr 57, http://www.encyklopediateatru.pl/artykuly/143364/legenda-z-moralem [dostęp 10.01.2021].Kleiner Juliusz (1925), Juljusz Słowacki: dzieje twórczości, t. 2, Lwów: Ossolineum.Kyzioł Aneta (2015), Grzęzawisko polskości, „Polityka”, nr 37, http://www.encyklopediateatru.pl/artykuly/208054/grzezawisko-polskosci [dostęp 10.01.2021].Kyzioł Aneta (2010), Hamlet po przejściach, „Polityka”, nr 47/20.11, http://www.encyklopediateatru.pl/artykuly/106608/hamlet-po-przejsciach [dostęp 10.01.2021].Leszczyński Adam (2020), Ludowa historia Polski, Warszawa: Wydawnictwo W.A.B.Liskowacki Artur D. (1981), Na wysoką nutę, „Jantar”, nr 5, http://www.encyklopediateatru.pl/artykuly/143600/na-wysoka-nute [dostęp 2.01.2021].Maciejewski Jarosław (1962), Joachim Lelewel w świetle emigracyjnej poezji, w: Z badań nad pracami historycznymi Joachima Lelewela. Referaty i glosy z sesji naukowej UAM zorganizowanej ku uczczeniu setnej rocznicy śmierci, red. J. Pajewski, Poznań: Wydawnictwo Uniwersytetu im. Adama Mickiewicza w Poznaniu.Niemcewicz Julian Ursyn (1986), Piast, w: J.U. Niemcewicz, Śpiewy historyczne, Warszawa: KAW.Piwińska Marta (2001), Lilla Weneda, w: Dramat polski. Interpretacje, t. 1, red. J. Ciechowicz, Z. Majchrowski, Gdańsk: Słowo/Obraz Terytoria.Piwińska Marta (1992), Juliusz Słowacki od duchów, Warszawa: Wydawnictwo PEN. Rudaś-Grodzka Monika (2013), Sfinks słowiański i mumia polska, Warszawa: Instytut Badań Literackich PAN.Rudaś-Grodzka Monika (2013), Sfinks słowiański i mumia polska, Warszawa: Instytut Badań Literackich PAN.Schiller Anna (1995), A młodzieży się podoba!, „Sztandar Młodych”, nr 235, http://www.encyklopediateatru.pl/artykuly/143437/a-mlodziezy-sie-podoba [dostęp 10.01.2021].Schlauch Margaret (1960), „Edda” w poezji Słowackiego, „Przegląd Humanistyczny”, nr 1, s. 33–44.Shibata Yasuko (2012), Fantazmat „Niewinnej ofiary” w „Lilli Wenedzie” Juliusza Słowackiego w świetle koncepcji Deleuze’a, „Pamiętnik Literacki”, z. 3, s. 7–22.Skuczyński Jacek (1986), „Lilla Weneda” z „ariostycznym uśmiechem”, „Pamiętnik Literacki”, z. 3, s. 41–78.Słowacki Juliusz (1927), Grób Agamemnona, w: J. Słowacki, Lilla Weneda, Kraków: Ossolineum.Słowacki Juliusz (1983), Genezis z Ducha, w: J. Słowacki, Poematy, Wrocław: Ossolineum.Słowacki Juliusz (1989), Balladyna, w: J. Słowacki, Dzieła wybrane, red. J. Krzyżanowski, t. 3, Ossolineum, Wrocław.Słowacki Juliusz (1990), Lilla Weneda, w: J. Słowacki, Dzieła wybrane, red. J. Krzyżanowski, t. 4, Wrocław: Ossolineum.Słowacki Juliusz (1990), Listy do matki, w: J. Słowacki, Dzieła wybrane, red. J. Krzyżanowski, t. 6, Wrocław: Ossolineum.Szturc Włodzimierz (2015), Ironia – stan po destrukcji, w: W. Szturc, Dotkliwe przestrzenie. Studia o rytmach śmierci, Kraków: Znak.Turowski Stanisław (1909), Geneza narodu polskiego w „Lilli Wenedzie”, „Pamiętnik Literacki”, z. 1/4, s. 170–188.Weintraub Wiktor (1977), „Balladyna”, czyli zabawa w Szekspira, w: W. Weintraub, Od Reja do Boya, Warszawa: Państwowy Instytut Wydawniczy.Wierzbicki Andrzej (2019), Jak powstało państwo polskie? Hipoteza podboju w historiografii polskiej XIX i XX wieku, Warszawa: Instytut Historii PAN.1920722
Measuring and factors influencing mathematics teachers’ technological pedagogical and content knowledge (TPACK) in three southernmost provinces, Thailand
No full text- …
