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Wyświetlanie 1-4 z 4
Tytuł:
Chopping the fuzzy logic of the active ↔ passive opposition in English verbs
Autorzy:
Măciucă, Gina
Powiązania:
https://bibliotekanauki.pl/articles/577132.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
passivehood
verbhood
syntactico-semantic constraints
intensive complementation
statal/dynamic passive
Opis:
With a plethora of factors at work blurring the notoriously tenuous distinction between active and passive interpretations of verb constructions, one might with good reason express doubt as to whether establishing hard and fast principles for differentiating them is at all a sensible task. After a brief survey of passivum tantum- and basically passive verbs, as well as of chameleon-like, statal and dynamic passives, the author of the present contribution takes it upon herself to closer investigate the verbal or adjectival status exhibited by a series of -ed forms – as cited by various linguists (Stein, Quirk et al, Downing & Locke, Dixon) – with a view to advancing a more rigorous classification of -ed forms based on the syntactico-semantic description of their individual behaviour in the various combinations analysed. The table submitted shows -ed forms located on an imaginary scale spanning passivehood from bona fide dynamic passives to copular complementation, with four further partitions in between. In the concluding section the author further glosses the subcategorization proposed, in that she provides the semantico-pragmatic motivation underlying the rather difficult choices made in the process.
Źródło:
Linguistica Silesiana; 2011, 32; 19-32
0208-4228
Pojawia się w:
Linguistica Silesiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
THE DECADE OF FEAR (LA DÉCADA DEL MIEDO. DRAMATURGIAS AUDIOVISUALES POST-11 DE SEPTIEMBRE), red. M. Fernández Morales, Peter Lang AG, International Academic Publishers, Bern 2013, 398 p.
Autorzy:
Máciucá, Gina
Powiązania:
https://bibliotekanauki.pl/articles/615569.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Opolski
Źródło:
Stylistyka; 2016, 25; 561-569
1230-2287
2545-1669
Pojawia się w:
Stylistyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Semantic Shifts and Stylistic Overtones as Conveyed by Function Verb Phrases. Comparative View: English, German, Rom
Autorzy:
MÁCIUCÁ, GINA
Powiązania:
https://bibliotekanauki.pl/articles/953875.pdf
Data publikacji:
2008-12-31
Wydawca:
Uniwersytet Opolski
Tematy:
function verb phrase
marginal verb
Aktionsart
ingressive
egressive
stylistic synonymy
implicit/explicit passive/reflexive
time/space-saving function
minor performer
decomposition of idiomatic meaning
linguicomedy
translatability
Opis:
After painstakingly anatomizing in a previous book (s. DIP) the function verb phrase (FVP) in German and tracking down English combinations which display the morpho syntactical pattern, comply with the lexicosemantic criteria and assume the stylistic features, characteristic of “Funktionsverbgeflige” (FVGs), I resume in the present contribution my relentless quest for lexicomorphological conveyors of FVGs, this time in Romaniana Romance language - and then, in a second stage, try to go with a fine tooth-comb through the semantic and stylistic shifts following in the wake of FVPs as employed by the three languages at issue (German, English and Romanian). The opening section of the paper at hand searches in a first phase through the samples of Romanian FVPs extracted from various sources and assigns them to the aspect subcategories which they most fittingly illustrate: ingressive, punctual, iterative and egressive. In a second phase the analysis focuses on type a-§i ie$i din rábdári FVPs which convey a transition from one state to another and, consequently, admit of a double-barrelled interpretation, i.e. both egressive and ingressive - hence the labels ‘contradiction in terms’ and ‘transitive aspect’ I put forward as indicative of their idiosyncratic behaviour. The third and final phase of my survey is devoted to investigating stylistic synonymy as well as defending such intriguing FVPs as fa ll in love and fa ll out o f love. The approach in the middle section is roughly the same, i.e. descriptive in the beginning, with copious illustration of various semantic shifts (active / reflexive > passive, active > reflexive) as well as of the contrasts and similarities observed when comparing the three languages at issue, and interpretive in the second stage, with the focus on two most challenging cases: the ‘implicit’ passive with a subject acting semantically as a ‘minor performer’; the surprisingly divergent semantics of two at first blush similar FVPs {be thrown into ecstasies and go into ecstasies). The third section investigates the involuntary as well as premeditated decomposition of idiomatic meaning in FVPs, which more often than not is to be held accountable for comic effects. The technique at work here is the superimposition of nonidiomatic meaning on the idiomatic one, which in turn triggers off the reaction phase of the listener/reader confronted when least expected with the real intentions of the speaker/writer. The effects of the interference at issue range from ambiguity through a smack of ridicule - when decomposition is unintentional - to the most sophisticated linguistic humour - when decomposition is premeditated. Since the approach is also a contrastive one, the final conclusions would only naturally relate to the rendering into another language of linguicomedy samples. Unfortunately the translatability of interference-effects-generated linguistic humour has been found to be minimum at best in most cases.
Źródło:
Stylistyka; 2008, 17; 313-326
1230-2287
2545-1669
Pojawia się w:
Stylistyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Recreating “Holy Simplicity”'. Romanian Renditions of Jacques Prévert's Alicante
Autorzy:
MĂCIUCĂ, GINA
Powiązania:
https://bibliotekanauki.pl/articles/954182.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Opolski
Tematy:
style simplicity
French modern poetry
sexuality vs. spirituality
translation
Romanian
true-to-genius-of-target-language rendition
setting poetry to music
Opis:
While still under the spell of Jacąues Prevert’s intriguingly unsophisticated Alicante, and in relentless pursuit of uncovering novel strategies for creating literary beauty, I decided to subject the poem to a minutę scrutiny in the hope of ferreting out the secret stuff “holy simplicity” is madę of. Much to my surprise, “lurking” behind this sancta simplicitas I fo- und a fine network of complex pattems, each carefully designed to interact with the rema- inder in a flawless manner, thus considerably enhancing the potency of the ensemble. The following are several of the major pattems involved: dichotomous partition into sexuality and spirituality; colour-related symbolism; word play; dual-nature semantic pattem of keywords (signalling interweaving of libido-related and spirit-related zones); interplay of inherent and non-inherent readings of adjectives, of regular and irregular rhymes, or of verses with different-numbered feet (even and odd); effective intermingling of lexemes which synergetically appeal to four human senses.In the second phase, my research was steered away from fathoming the miracle of creating “holy simplicity” towards investigating the sustained toil of recreating it in a diffe- rent language: Romanian. The two subsections devoted to the topie in question submit to the reader Gellu Naum’s translation of Alicante, and the one originating with nonę other than the author of this contribution respectively. A brief comparison of the two renditions has yielded the following points of dissimilarity: a) Naum’s is a true-to-spirit translation, whereas minę has been created with the genius of the target language in mind. Herefrom stem the main contrasts listed below. b) Naum keeps on the fruit (Fr signifier orange, Rom signifierportocala), while I madę so bold as to replace it by the equally exotic mango for reasons specified under 111.2 below (s. also substitution of noptiera (= bedside ta- ble) and dormitory (= bedroom) for masa (Fr table) and pat (Fr lit) respectively. c) Naum completely disregards the pun in linę 4, whereas I did not think twice about slightly modi- fying the rhythmic pattem in order to be able to render the former into Romanian.d) Likewise, Naum translates in utter defiance of the rhyming pattem, whereas to me ob- serving it is a matter of prime importance.Needless to say, I am quite willing to take both the blame and the credit - if any — for the vast array of meanings I took the liberty to read into Prevert’s poem, as well as for the translational licences resorted to in the hope of successfully putting these unique connota- tions across to the reader.The concluding section discusses still a further possibility of recreating Prevert’s Alicante, namely by setting it to musie. In this respect, Chuck Perrin’s rendition has the ad- ded advantage of enhancing its lyricism, while concurrently taking the poem to that ma- gical space hovering above the spiritual.
Źródło:
Stylistyka; 2009, 18; 301-321
1230-2287
2545-1669
Pojawia się w:
Stylistyka
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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