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Wyświetlanie 1-4 z 4
Tytuł:
Funkcja powtórzeń językowych w Uchu Igielnym Wiesława Myśliwskiego
The function of repetition in Ucho igielne of Wiesław Myśliwski
Autorzy:
Kowalska, Danuta
Pietrzak, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/1590806.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Szczeciński. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
Tematy:
stylistics
linguistic repetition
Wiesław Myśliwski
Ucho igielne
stylistyka
powtórzenia językowe
Ucho Igielne
Opis:
Celem artykułu jest ukazanie funkcji powtórzeń językowych w powieści Ucho Igielne Wiesława Myśliwskiego. Przedmiotem opisu są zarówno powtórzenia jednostek leksykalnych, jak i syntaktycznych oraz jednostek mniejszych od słowa (morfemów) w ciągu linearnym tekstu. Przedstawione analizy pokazują, że pisarz umiejętnie wykorzystuje je w różnorodnych funkcjach. Po pierwsze, są one wykładnikiem spójności tekstu, w którym zauważalne jest rozczłonkowanie treściowych segmentów. Repetycje ułatwiają śledzenie achronologicznej narracji, sygnalizują ciągłość danego tematu w obrębie danej relacji. Po drugie, wykorzystywane są jako zabieg stylizacyjny w monologu wypowiedzianym, a więc stylizowanym na język mówiony, służąc rozmaitym celom i realizując przede wszystkim funkcję impresywną oraz ekspresywną. Myśliwski za pomocą powtórzeń wydobywa także muzykę słowa, nadając tekstowi pewien rodzaj rytmiczności. Powtórzenia w widoczny sposób współtworzą także oralność utworu, sprzyjają bowiem memoryzacji i uobecnianiu pamięci. O nieprzeciętnej sile powtórzenia w warstwie stylistycznej analizowanego utworu, o jego atrakcyjności, decyduje również sposób, w jaki pisarz wykorzystuje ten środek stylistyczny. Myśliwski niesłychanie starannie, zgodnie z regułami retorycznymi, konstruuje kompozycję swego utworu. Oprócz paralelizmów składniowych, odnajdujemy przykłady kunsztownych poliptotonów i figur etymologicznych, obok anafor liczne są anadiplozy. Nierzadko repetycje kierują uwagę odbiorcy na sam tekst, są więc także jednym z nośników funkcji poetyckiej w utworze.
The purpose of this study is to demonstrate the function of linguistic repetitions in the novel Ucho igielne of Wiesław Myśliwski. The subject of description are the repetitions of both lexical and syntactic units, as well as the units smaller than a word (morphemes) in a linear sequence of the text. The presented analysis shows that the writer skilfully uses the descriptions in various functions. First, they are an exponent of coherence of the text in which fragmentation of the segments of content can be noticed. Repetitions facilitate to follow the non-chronological narration, they signal continuity of a given theme within a given relation. Second, they are used as a stylistic means in an uttered monologue, therefore stylized as a spoken language, serving various purposes and primarily performing an impressive and expressive functions. Myśliwski also uses repetitions to create music of words, he confers to the text a kind of rhythm. Repetitions also visibly co-create the orality of the text as they are conducive to memorizing and making memory present. The remarkable power of repetition in the stylistic layer of the analysed work, its attractiveness, is also determined by a manner the writer uses this stylistic means. Myśliwski extremely carefully, in accordance with the rhetoric rules, constructs the composition of his work. Besides the syntactic parallelisms, we find examples of polyptotons and the etymological figures, apart from anaphors there are frequent anadiploses. Quite often repetitions draw the reader’s attention to the text itself, therefore being also one of the vehicles of the poetic function in the work.
Źródło:
Studia Językoznawcze; 2020, 19; 219-245
1730-4180
2353-3161
Pojawia się w:
Studia Językoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Struktura a patogeneza chorób związanych z ekspansją powtórzeń CNG
Structure and pathogenesis of disorders releated to CNG repeat
Autorzy:
Kiliszek, A.
Rypniewski, W.
Powiązania:
https://bibliotekanauki.pl/articles/171982.pdf
Data publikacji:
2014
Wydawca:
Polskie Towarzystwo Chemiczne
Tematy:
struktura krystalograficzna RNA
TREDs
powtórzenia CNG
RNA crystal structure
trinucleotide repeat expansion disorders
CNG repeats
Opis:
CNG repeats (N stands for one of the four natural nucleotides) are a special class of microsatellite sequences of the human genome. They are most often found in exons, in their coding parts as well as in the 5’ or 3’ untranslated regions. Characteristic frequencies of their occurrence within the different parts of the genes suggest that they play a functional role. The number of CNG repeats in a block is usually below 30 but it can undergo abnormal expansion leading to the development of one of approximately 20 neurological diseases known as TREDs (Triplet Repeat Expansion Disorders). One model of pathogenesis proposes that the toxic factor is mRNA containing an expanded run of CNG repeats. The anomaly results in aberrant alternative splicing and/or accumulation of the RNA in the cell nucleus, followed by a sequestration of important regulatory proteins and formation of RNA/ protein aggregates known as nuclear foci. This is accompanied by a deregulation of vital cellular processes. In this paper we have focused on crystallographic studies of RNA oligomers with embedded CNG repeats. We describe briefly diseases associated with each type of repeat and present the crystal structures. All the CNG repeats form stable “hairpins” consisting of a small apical loop and a long double-stranded stem, in which the non-canonical N-N pairs are flanked by the standard C-G and G-C pairs. All CNG repeats form duplexes of type A, characteristic of RNA, but with local deviations from the typical geometry (Fig. 1). The duplexes are stabilised by the strong C-G and G-C Watson-Crick interactions, while the N-N pairs are accommodated within the helical context, each in a characteristic way (Fig. 2). The U-U pairs tend to form just one hydrogen bond, instead of two observed in other contexts. The interactions within the C-C pairs are even weaker, via one very weak hydrogen bond or none. On the other hand, accommodation of the bulky A-A pairs involves pushing the purine rings towards the major groove while in the G-G pairs one of the guanosine residues flips to a syn conformation. The unrealised hydrogen-bonding potential of the N-N pairs is externalised into the major and the minor grooves and can be assessed through interactions with ordered water molecules and other small ligands. The N-N pairs are associated with local distortions of the A-helix (Fig. 1). All the CNG repeats show a characteristic striped pattern of surface electrostatic potential in the minor groove (Fig. 3). Assessment of the different CNG structures allows us to identify the characteristic and the common features (Tab. 1).
Źródło:
Wiadomości Chemiczne; 2014, 68, 5-6; 563-585
0043-5104
2300-0295
Pojawia się w:
Wiadomości Chemiczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Znaki i powtórzenia w muzyce Augustyna Blocha – próba reinterpretacji
Signs and Repetitions in the Music of Augustyn Bloch – an Attempt at Reinterpretation
Autorzy:
Schiller-Rydzewska, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/2159821.pdf
Data publikacji:
2020-12-13
Wydawca:
Akademia Pomorska w Słupsku
Tematy:
Augustyn Bloch
znaki w muzyce
powtórzenia w muzyce
Gilles Deleuze
signs in music
repetitions in music
Opis:
This attempt to reinterpret the works of Augustyn Bloch is based on the philosophical thou-ght of Gilles Deleuze. The transfer of the philosopher’s thought, focused mainly on the analy-sis of literary works, into the scope of questions of music takes into account the peculiarity of a musical work – its ontological essence. Following the signs and repetitions in the music of Au-gustyn Bloch, I therefore distinguish two categories of phenomena. The first are borrowed signs. These are in fact quotations of the creative work of another. They bring the essence that grows from an outside source, and refer to group memory. The second are quotations of one’s own cre-ative work, original reminiscences, which most often symbolize earlier works; they also become a personal code of the artist’s compositional strategy. The nature of these is twofold – externally emotive, when the message of meaning is recognized by a wide group of recipients, and internal-ly emotive, recognizable only by a narrow circle of experts.Repetitions of characters in each of these categories are present both in the surface layer (stru-ctural) and deep (expression) differences. Their catalog is most often dependent on the message of the work. The essence of repetition is therefore the internal tension depending on the difference.
Źródło:
Ars inter Culturas; 2020, 9; 95-110
2083-1226
Pojawia się w:
Ars inter Culturas
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Transformacje translatorskie w przekładzie bułgarskiej bajki magicznej "Trzej bracia i złote jabłko" (kod estetyczny)
Преводни трансформации в превода на вълшебната приказка "Тримата братя, ябълката и ламята" (естетически код)
Translation transformations in Polish version of the Bulgarian fairy tale "Trzej bracia i złote jabłko" (Three Brothers and the Golden Apple) (aesthetic code)
Autorzy:
Mleczko, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/486777.pdf
Data publikacji:
2009-10-01
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
bułgarska bajka
transformacje translatorskie
kod estetyczny
powtórzenia
formuły
klisze
poziom składniowy
Bulgarian fairy tale
translation transformations
aesthetic code
repetitions
forms
clichés
syntactic level
Opis:
Обект на внимание в статията са трансформациите, извършени в полския превод на приказката "Тримата братя, ябълката и ламята", публикувана в сборника "Złota moneta za słowo. Bułgarskie bajki i legendy ludowe" (избор и увод Георги Минчев, Лодз 2006). Анализът се съсредоточава върху естетическия код на превода — начините, по които прeводачът предава в процеса на транслацията такива стилистични особености на устния стил като: повторителност, формулност и клишираност на езика. Особено внимание е посветено на преводните трансформации на ниво синтаксис: разискват се извършените при транслацията преобразувания в изреченските структури, промени в словореда, във вида на синтактичните връзки и в сегментирането на текста. Oт полския текст личи, че преводачът няма усет за превеждания жанр, в следствие на което преводът му е лишен от най‑важните присъстващи в оригинала черти, характерни за фолклорните текстове изобщо, както и за вълшебната приказка в частност.
The article discusses translation transformations in Polish version of the Bulgarian fairy tale "Trzej bracia i złote jabłko" (Three Brothers and the Golden Apple). The fairy tale has been published in the collection "Złota moneta za słowo. Bułgarskie bajki i legendy ludowe" (Golden Coin for a Word. Bulgarian Fairy Tales and Legends — selection and introduction by Georgi Minczew, Lodz 2006). The main subject of the analysis is aesthetic code of the translation — the ways the translator has shown specific features of the oral text such as repetitions, forms and clichés. The author of the article is particulary focused on traformations on syntactic level (transformations in statements structures, changes in words order and text segmentation). The choices made by the translator prove that he wasn’t fully aware what literature genre he is translating. As the result, the translation is lacking essential for folk texts, and for fairy tale in particular, stylistic features which appear in the original.
Źródło:
Przekłady Literatur Słowiańskich; 2009, 1, 1; 58-68
1899-9417
2353-9763
Pojawia się w:
Przekłady Literatur Słowiańskich
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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