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Journal articles on the topic 'Stylistic manners'
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1
Eftimova, Andreana. "Styles of Political Populism: Plain Languages for Ordinary People." Filosofiya-Philosophy 33, no. 3S (2024): 47–59. https://doi.org/10.53656/phil2024-03s-05.
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The report draws attention to the lack of a single and exclusive populist style, as populism can manifest itself on both the left and the right political spectrum. The existence of more than one populist style is defended by arguing that in different sociocultural contexts meanings are produced by mobilizing a range of different stylistic resources. The styles of political populism are analyzed in the text as discourse practices in different contexts of interaction, i.e. Linguistic and contextual analysis is applied. The paper examines the use of various stylistic resources in the core and periphery of stylistic fields. A distinction is made between styles of good manners and styles of bad manners. Each of these fields is filled with different stylistic devices of populist speaking, since the influence of the sociocultural context is essential in the selection of alternative semiotic resources.
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Bezrukov Nikolaevich, Andrey. "Reception of Individual Stylistic Manners the Lyrics of K.D. Balmont." Issledovatel'skiy zhurnal russkogo yazyka i literatury 11, no. 1 (2018): 115–37. http://dx.doi.org/10.29252/iarll.11.1.115.
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Gajda, Stanisław. "The faces of style and stylistics." Journal of Linguistics/Jazykovedný casopis 73, no. 1 (2022): 7–26. http://dx.doi.org/10.2478/jazcas-2022-0024.
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Abstract The starting point for the author’s considerations is the conception of style as the humanistic structure of text, which he uses as the foundation of integrating stylistic synthesis. The synthesis is to be characterized by the following: 1) holism (moderately and functionally directed, brought down to a system in which relations connecting different manners of the existence and functioning of language in text are exposed); 2) integrationism (integrating knowledge of language reality, primarily of the functioning of language in text); 3) intermethodologism and transdisciplinariness. Acceptance of this conception of style offers – regarding the understanding of it – a very broad and open cognitive space. There may appear in it different frameworks which present diverse faces of style and stylistics. Their cognitive use enriches the integrative synthesis.
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Al sunboly, Entisar, and Mirza Sultan Baig. "A Stylo - Pragmatic Analysis of Nadia Hashimi’s ‘The Pearl That Broke Its Shell’." Social Science and Humanities Journal 8, no. 07 (2024): 4197–202. http://dx.doi.org/10.18535/sshj.v8i07.1180.
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Abstract: Linguistic features are intended to be investigated in some literary works as carried out in the current study. This study conducted a stylo-pragmatic investigation of linguistic characteristics in the debut work of Nadia Hashimi, The Pearl that Broke Its Shell. The primary objective of this research is to focus on the pragmatic analysis of the chosen speech acts in various contexts, in addition to exploring the stylistic techniques utilized in those specific texts. Pragmatics elucidates that the utilization of language in unconventional manners is deemed permissible, on the condition that language users possess an understanding of their actions. Linguistic stylistics delves into the linguistic characteristics of a given text, focusing predominantly on the utilization of language and its impact on said text. Hence this paper investigates the selected contexts in the mentioned novel by Hashimi where the texts are analyzed pragmatically besides the stylistics investigation. The study spots light on the enriched style of Nadia Hashimi in the novel “The Pearl That Broke Its Shell”.
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Majhad, Khalid, Chakib Bnini, and Mohammed Kandoussi. "Style Translation in an English Version of Tunisian Mustapha Tlili’s novel The Lion Mountain: A Cognitive Basis to Assessment." Journal of English Language Teaching and Linguistics 4, no. 1 (2019): 21. http://dx.doi.org/10.21462/jeltl.v4i1.177.
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<em>Style is every literary author’s identity marker. No translation can ever claim success if it does not reflect the marked stylistic features of the original. This paper assesses the English translation of Tunisian Mustapha Tlili’s novel Lion Mountain in terms of its reproduction of the spirit of the source text, that is the totality of effects generated by the author’s stylistic manners. A cognitive basis to assessment means that the author’s style is a direct expression of his state of mind, his attitudes and beliefs. This model, inspired by the work of Chinese translator and theorist Jin Di (2003), uses a hermeneutic four-stage analysis of literary texts (i.e. penetration, acquisition, transition and presentation), that makes it possible to deal in a rather systematic manner with every aspect of the literary text, namely its spirit, substance, overtone, flavor and imagery. The assessment will demonstrate how translating successes or failures result directly from successes or failures in applying one or more of these hermeneutics-inspired four stages. </em>
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Syed, Ali Furqan, Muhammad Junaid, Muhammad Usman Haider, Rabia Hashim, and Muhammad Akram Khan. "Critical Discourse Analysis of Pakistani Foreign Minister Qureshi’s Speech at UN in 2021: A Sociopolitical Perspective." International Journal of Linguistics Studies 1, no. 2 (2021): 22–28. http://dx.doi.org/10.32996/ijls.2021.1.2.4.
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This paper is based on the Critical Discourse Analysis approach to explore Pakistani Foreign Minister Shah Mehmood Qureshi’s speech at the UN in 2021 in a sociopolitical context. The researchers, by applying Fairclough’s 3D model, investigate Arab Israel community reflection through textual or stylistic strategies in speech and explore the level of Islamic ideology reflected in Shah Mehmood Qureshi speech through linguistic choices. The study further explores the representation of stylistic features in a speech that depicts the political and socio-cultural relationship between Palestine and the Israeli community. Findings of the study suggest that Foreign Minister Shah Mehmood Qureshi used different devices like textual and stylistic to give his ideology more explicatively. The sophisticated manners of ideology are propagated through the speech with all its prerequisites. It was syntactically well organized and produces a thematic message that was based on religious sociocultural and political discrimination and biased as well as inequality in cohesion. The expressive speaker values and relational indications were ordered according to the situation.
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Smărăndescu, Săndel. "THE CONTRABASS. THE PROCESS OF HIS APPEARANCE AND CONSECRATION IN ROMANIAN MUSIC." Review of Artistic Education 28 (April 1, 2024): 361–68. http://dx.doi.org/10.35218/rae-2024-0041.
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The plurality of aesthetic-musical currents such as French impressionism, Austro-German expressionism, national schools of composition focused on modal sound languages (initially ethnophonic and later totally “personalized”), to which will be added the acutely contemporary returns to already recognized compositional manners such as neo-baroque, neo-classical sound projects, etc., emerging from the great trunk of European post-romanticism, outline a practically unlimited stylistic horizon, offered to the creative imagination of artists through new sound vibrations, dedicated to the contrabass instrument.
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Bontea, Adriana. "Conceptual Invention." Paragraph 34, no. 2 (2011): 217–32. http://dx.doi.org/10.3366/para.2011.0018.
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By taking into account those operations of modernity initiated by Stendhal and Cézanne, Manet and Proust, which were continued by Merleau-Ponty and Lévi-Strauss, this paper considers Claude Imbert's writings from the perspective of the formative role that literature and painting had and still have in mapping a new rationality. The aim is to show how the philosopher reintegrates such priceless experiences, captured by peculiar literary forms, syntagms, and juxtaposition of genres or pictorial manners, into a conceptual and stylistic invention affecting the very core of philosophical activity.
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Rutkowska, Hanna. "Stylistic Devices in The Schoole of Vertue, an Early Modern Manual of Good Conduct for Children." Studia Anglica Posnaniensia 51, no. 3 (2016): 95–124. http://dx.doi.org/10.1515/stap-2016-0016.
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Abstract This paper is a case study examining the choice and interaction of stylistic devices employed in The Schoole of Vertue, Francis Segar and Robert Crowley’s manual of good manners for children issued between 1582 and 1687. It was designed to convince its readers that particular patterns of behaviour were socially beneficial and worth following. In order to enhance the attractiveness, persuasiveness, and mnemonic qualities of the text, several stylistic devices are employed in the manual, including, for example, rhymes, acronyms, as well as binomials. It is generally agreed that repetitive patterns (especially binomials) are typical of formal registers, and particularly plentiful in legal and literary texts in Early Modern English, but the present study shows that similar rhetorical devices were also readily employed in the less formal and elevated style of manuals of good behaviour. Another rhetorical device frequently used in the manual under consideration consists in addressing the reader directly with the second person singular pronoun, especially in imperative constructions, thus creating an ambiance of emotional closeness, characterising the relationship between the master and the pupil.
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ECKERT, CLAUDIA M., and ELLEN YI-LUEN DO. "Special Issue: Understanding, representing, and reasoning about style." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 20, no. 3 (2006): 163–65. http://dx.doi.org/10.1017/s0890060406060148.
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Style is a word that people think they understand. Most people recognize artifacts like buildings and clothes as being exemplars of particular styles, and they know words like Rococo and Art Deco as names for styles. They can recognize stylistic similarities not only in one sort of artifact but also across wide ranges of different things, such as buildings, furniture, artworks, clothes, music, and even manners. However, “style” is a slippery notion: the word has been used in a variety of senses since the ancient Greeks first thought about the differences in how people wrote or painted, and it is still used to refer to different things.
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Korolkova, Elena Fiodorovma. "Siberian Animal Style: Stylistic Features as Generic Indication." Arts 12, no. 1 (2023): 19. http://dx.doi.org/10.3390/arts12010019.
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This paper is devoted to the problems of differentiation of stylistic variants in the common phenomenon of the so-called Scythian and Siberian animal styles, which is one of the main distinctive features of Eurasian nomadic art. The animal style is a concept of more scale than an artistic style proper which distinguishes with some formal characteristics and depends directly on generic traditions and ethnic and cultural roots of art. Together with the technical-technological methods these formal features could be evidential indications of the origin of works of art. The Siberian collection of Peter the Great includes some different groups of golden ornaments decorated in animal styles of different origins. The paper focuses on a compact group of items originating from various mostly unknown sites from different territories in Asia including the Oxus treasure, several items from the Siberian collection of Peter the Great from Southern Siberia, a few jewelry pieces from other collections of the world museums as well as items made of leather and felt coming from the First and the Second Pazyryk kurgans. A distinctive feature of this group of zoomorphic images are colored inlays that accentuate a hind-leg or a shoulder of the animal; such inlays have the form of an intricate figure made up of a circle and a curvilinear triangle abutting to it or elongated round brackets. Genetically, such an ornamental motif, which is not generally typical for Persian art, may be linked to a periphery area of the Iranian world and nomadic culture, while the group of sites can be dated back to the 4th–3rd centuries BC. The paper considers a bracelet from the Siberian collection of Peter the Great which is the only item in this category of jewelry type of bracelets. It represents a rare type of ornament with a multi-component structure. It consists of three open-work strips with zoomorphic compositions in an animal style similar to the above-mentioned stylistic group. All three parts of the bracelet are created in a unified style, but obviously in different individual manners. There is no doubt, that the zoomorphic images show three different authors’ hands, and were made by different artisans. So, there is evidence of collective work on the object when each artisan makes his own operation to create a unique jewel at a workshop. Some parts of the composition on the bracelet are similar in style to zoomorphic images from kurgan Issyk in Kazakhstan which perhaps were made in the same workshop. This fact confirms the assumption of the origin of some of Siberian jewelry.
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Pavliv, Yarema. "TRANSMISSION OF FIDDLER TRADITION EXEMPLIFIED BY THE WORK OF HUTSUL TRADITIONAL FIDDLER IVAN MENIV." Problems of music ethnology 19 (October 24, 2024): 31–49. https://doi.org/10.31318/2522-4212.2024.19.319752.
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The proposed article highlights the creative activity of the renowned Hutsul fiddler Ivan Meniv ("Meniuk") (1910– 1984). The study encompasses: biographical information about the musician; an analytical review and genre classification of his repertoire; an ethnomusicological analysis of selected multi genre samples recorded from the fiddler; a characterization and comparison of the performance manners practiced by I. Meniv. Parallels are drawn between various interpretations of works within the same genres, identifying the common and distinctive qualities of playing among representatives of a single tradition. Based on a comparison of older and newer performance manners, the article substantiates I. Meniv's inclination toward adapting his interpretations of the "Hutsulka" dance to the contemporary artistic and stylistic norms of his time, as well as the evolution in tonal structuring and performance techniques of this dance. Equally significant is the role of I. Meniv in preserving and transmitting to younger generations the thematic elements and artistic stylistic aesthetics of rare genres within the Hutsul fiddler tradition. The author posits a hypothesis regarding the transformation of a significant corpus of Hutsul dance-song kolomyika melodies from the "dance" genre group into the "song" genre group. Emphasis is placed on the value of preserved samples of these melodies performed in the ancient style, which were recorded by the music folklorist M. Tymofiiev from I. Meniv in 1975. Ivan Meniv developed as a musician within the context of a robust instrumental tradition that, in the second quarter of the 20th century, was undergoing active genre functional and aesthetic stylistic transformations. He taught himself to play the violin at the age of seven or eight and gained his first practical experience shortly thereafter, accompanying caroling groups. In the 1930s, I. Meniv began his career as a fiddler and kapellmeister, perform at weddings and other celebrations in the villages of the Kosiv district, Ivano Frankivsk region, until the onset of World War II. For more than a decade, the Meniv family lived in hiding due to Ivan’s involvement in the Ukrainian Insurgent Army (UPA), where he served as a medic under the pseudonym "Skrypka" ("Violin"). After leaving the underground, I. Meniv, together with his wife and son, moved to Kolomyia. In this city, they led a highly productive life. The fiddler worked in a municipal musical instrument workshop, significantly expanding his circle of musician acquaintances. Simultaneously, I. Meniv resumed performing at weddings. His musical activities extended across Kolomyia, Kosiv, Nadvirna, and Verkhovyna districts and, less frequently, to certain villages and towns in the Ivano Frankivsk, Chernivtsi, and Ternopil regions. I. Meniv was sought after by fiddlers from the villages of the Kosiv district as a leading expert and master performer of the traditional Kosmach Brustury repertoire. Among the most notable multi instrumentalists who adopted examples of traditional ethnomusical works and performance manners from I. Meniv were Ivan Labachuk ("Shevchuk") (1927–2009), Mykola (born 1944) and Yuriy (born 1951) Danyshchuks ("Palagniuks").
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Čanović, Ana. "LINGUISTIC AND STYLISTIC MEANS IN THE FUNCTION OF (NON)COMMUNICATION IN THE NOVELS OF ERNESTO SABATO." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (2022): 69–85. http://dx.doi.org/10.46630/msae.1.2022.05.
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The subject of the paper is the research of linguistic and stylistic aspects of prose texts of the Argentinian novelist Ernesto Sabato, with the aim of presenting the impossibility of communication between the heroes of the novels: “El Túnel” (“The Tunnel”), “Sobre héroes y tumbas” (“On Heroes and Tombs”) and “Abaddón, el Exterminador” (“The Angel of Darkness”). This paper will consider (non) communication as a result of loneliness, mistrust and lack of understanding of the heroes of Sabato’s novels; it will provide an overview of the discourse features, i.e., speech used by Sabato’s heroes and their stylistic choices, in order to point out the frequency of certain lexical and syntactic forms in their speech, as well as the meaning hereof in the text. The aim of this paper is to examine the manners in which the text comprehension is slowed down by exploring the discourse of the heroes of Sabato’s novels, whereas the process of text comprehension also includes experiencing the (un) spoken in narrative communication, as well as the aspect of redundancy in linguistic expression. In addition, the paper reveals the presence of certain figures of syntax in Sabato’s novels as an additional tool in the research of (non)communication at the syntactic level, whereas collecting indicators of the character of Sabato’s heroes in the text, have led to the conclusions on individual and stereotypical character-traits.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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Liu, Ziang. "Comparative Analysis of British and American Poetic Traditions: A Study of Hardy, Frost, Bishop, and Schuyler." Journal of Education, Humanities and Social Sciences 51 (May 8, 2025): 15–20. https://doi.org/10.54097/nv2p7363.
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The purpose of this essay is to compare British and American poets to identify their common features through the examples of works b y Thomas Hardy, Robert Frost Elizabeth Bishop, and James Schuyler. Each poet exemplifies unique cultural and stylistic traits: Whereas Hardy’s deterministic outlook and focus on the nature of fate is formalized in the manners of Britain, Frost relies on the transcendentalist sense of American individualism ingrained by nature. Bishop spans the two traditions, thus incorporating the British tradition’s measured tone with the American tradition’s observational approach. Schuyler, in her desire to be modern, rejects formalism in order to give voice to the mundane world in free verse. Collectively, these poets present the history behind the various poetic structures and contents within different cultures, and how a transatlantic exchange enlivens contemporary poetry.
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Spânu, Daniel. "Kantharos cups in Sâncrăieni-hoard: restoration and manufacturing issues." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 3 (2012): 11–21. http://dx.doi.org/10.47950/caieteara.2012.3.02.
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The technological and stylistic differences of the kantharos cups elements in Sâncrăieni allow us to identify several distinct artisans: (1) the artisan of the engraved bowls (the bowls of cups no. 4-8); (2) the artisan of the imported cup no. 1; (3) the artisan of cups no. 2 and 3, probably of the 3rd type of stems as well and (4) the artisan of the 2nd type of stems. Artisans 1, 3 and 4 are local, whereas the 2nd one is Greco-Roman. One can also assume that there is a chronological gap between craftsman no. 1, on the one hand, and the 3rd and 4th, on the other – it’s probably a matter of one generation. In any case, the less than harmonious collaboration of a number of craftsmen with different manners of ornamentation, led to a lack of unity in style of the elements constituting the kantharos cups that were produced in a “barbaric” environment (cups no. 2-8). This lack of stylistic unity, as well as the disassembling of the cups in Sâncrăieni prior to their burial brought forth dilemmas that proved insurmountable to modern restoration. It would have been preferable, therefore, to avoid interventions of an irreversible nature and to preserve the separate elements of the kantharos cups in the state in which they had been discovered.
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Kononenko, V. I. "THE LANGUAGE AND AESTHETIC PARAMETERS OF A NEW STYLE IN UKRAINIAN FEMALE WRITERS’ PROSE TEXTS." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 11–24. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-11-24.
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The article deals with the features of the use of language aesthetic means of novostyl’ in the prose texts of the Ukrainian writers, representatives of postmodernism in fiction. In the creative work of the authors (I. Rozdobudko, I. Karpa, Tanya Maliarchuk) the typological features of the renewed idiolect were reflected, a number of changed norms in the system of text creation and image creation were recorded, and innovational processes in modern literary speech were reproduced. The following features are characteristic for their artistic discourse: the updating of the lexicon, the use of non-normative and slang language practices, and the destruction in the organization of the language use.
 The writers' texts are in close connections, in the language-stylistic sense, while denoting the individual-authorial differences of the idiostyle, the search for peculiar language-literary manners of writing.
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Sarango, Jaramillo Cristhian. "The linguistic identity lojana seen from the lojanismos in The exodus of Yangana of Ángel Felicísimo Rojas [Los lojanismos en El éxodo de Yangana de Ángel Felicísimo Rojas]." Analysis. Claves de Pensamiento Contemporáneo 21, no. 12 (2018): 1–9. https://doi.org/10.5281/zenodo.3244254.
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The present work has as objective to study the loranisms, from a dúplice perspective: sociolinguistic and anthropological-cultural, in the novel The exodus of Yangana. Therefore, the Lojana culture moves linguistically by the use of lojanismos, which persist in the collective memory: by the daily conversational use of the Lojano speakers and by the literary use of their writers and intellectuals. In a special way, these expressive forms shine in The Exodus of Yangana, an archetypal fictional narrative in the stylistic use of lojanismos, given that this particularity corresponds to a type of realistic literature-manners. Ángel Felicísimo Rojas, through the mouths of his characters, transmits Loja’s native speech, reproducing a dialect that highlights the lexical singularities and semantic competences of the inhabitants of the southern region of Ecuador.
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Portnova, Irina. "A Concept of Nature in the Modern Animalistic Art of Russia: An Environmental Aspect of the Genre." Space and Culture, India 7, no. 4 (2020): 219–27. http://dx.doi.org/10.20896/saci.v7i4.558.
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The study deals with the concept of nature in modern local wildlife art from the perspective of environmental thinking. It is significant in both cultural and artistic aspects. Modern wildlife art has become a vehicle for pressing issues in nature studies and has demonstrated a variety of artistic solutions, creative manners, and approaches, from traditional realistic variants to stylistic interpretations in the spirit of previous epochs. The study reports that the passage of time has caused changes in the historically established genre structure; its boundaries have become vague and the very structure of an artistic image has become polysemic. Nowadays, local art criticism does not cover this issue adequately.
 Meanwhile, modern wildlife art represents a bright example of the thematic and stylistic variety of artistic techniques and has a fresh look at the world of animals in its entirety, which refers to a new perception of nature, human attitude to it and supplements the picture of the development of the entire local arts. Against this background, the study of current wildlife issues is quite relevant. The historical and artistic methods allow us to evaluate the originality of animalism, its different sides, in particular genre, species and stylistic diversity, as a characteristic and an iconic phenomenon of modern art, reflecting the concept of “nature" in its ecological perspective. The significance of wildlife art is stressed in moral respect. It is wildlife art, which is closest to nature that organically reflects the picture of the modern world with its current environmental issues and dire ecological situation. The wildlife art of the end of the 19th Century to the beginning of the 21st Century is characterised by the exploration of new vital issues of its time. Therefore, the material given in the article is important for art criticism since it enriches it with a unique perspective of study and in a wider cultural meaning, and, thus, forms a modern philosophical picture of human-nature-animals interrelations.
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Boiko, Tetiana. "Yosyp Hirniak's Stage Practice in the Berezilian System Context in an Actor Education." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 1, no. 2 (2018): 114–24. https://doi.org/10.31866/2616-759x.2.2018.153237.
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The purpose of the article is to highlight the key moments in the universal performance manner formation by Y. Hirniak and to emphasize the importance of the artist’s the creative intelligence development, to popularize the Hirniak figure as a representative in the actor education Berezilian system among young scientists, scene practitioners, student-actors, etc. Research methodology. The process researches have been carried out by an analytical (Y. Hirniak meaningful figure within the actor education Berezil system), historical and biographical (analyzed socio-political preconditions and aesthetic and artistic vectors at that time which influenced on the artist creative personality formation) and comparativetypological (differentiated performer advances on the existence in a role principles) methods. The scientific novelty consists in expanding the notions about the formation processes in the Y. Hirnyak on the Berylslav stage performing manners. Particular attention is paid to the those imperatives-guidelines Les Kurbas analysis, which influenced on the intellectual and cognitive factors development in the actor’s work. Conclusions. The acting language by Y. Hirniak in the Berezil period (1922-1933) has been characterized by a special stylistic flexibility that allowed the artist to work in different genres, dramatic realities, and aesthetic systems. Consideration of the actor’s creative path has shown that his stage practice reflected the educational process the bridges on the theatrical pedagogy Les Kurbas principles.
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Stavilă, Tudor. "Auguste Baillayre – director şi fondator al colecţiilor de artă basarabeană." Akademos 2 (August 9, 2019): 161–66. https://doi.org/10.5281/zenodo.3364383.
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The beginning of the 20th century was one of the most contradictory and controversial periods of modern European art, which spread artistic values all the way to peripheries, including Basarabia. To be sure, the new styles and trends were not promoted by some mechanical transfers of ideas and concepts, but rather by specific people. Such a person in Basarabia was Auguste Baillayre, whose work and influence left a mark on the main stages of evolution of the national art between the wars. The artist was born on May 1, 1879 in Besiers, a community in the Pyrenees on the border between France and Spain; he spent his childhood in France (1879–1885), the adolescence in Georgia (1885–1898), went to school in Amsterdam (1899–1902), St. Petersburg (1903-1907) and Grenoble (1913) and became the most outstanding personality of the arts of the time in the Basarabia of 1918–1940. A. Baillayre’s work evolved through three distinct stages, which coincided with his residence in Holland and Russia (1899–1918), in Basarabia (1918–1943) and in Bucharest (from 1943 to his death on December 16, 1961), and reflected his interest in constructivism, impressionism and post-impressionism. The artistic environment in which A. Baillayre evolved is worth noticing – his friends and acquaintances in Russia (brothers V. and D. Burliuk, V. Mayakovsky, M. Larionov, N. Goncharova, M. Chagall, V. Tatlin, A. Lentulov), France (P. Picasso, A. Renoir, H. Matisse). He had remarkable professorial achievements, as he managed to educate a brilliant cluster of artists, such as N. Bragalia, O. Hrşanovschi, E. Barlo, E. Ivanovsky, M. Gamburd and others, who then continued their education in major European centers – Paris, Drezden and Brussels. This article is just a recovery of the remarkable past Bessarabian personalities, such as A. Baillayre, who this year was 140 years from birth and 80 years from the foundation of the future National Art Museum of Moldova.
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Whissell, Cynthia. "How the Titles of Popular Songs have Changed over the Last 60 Years." Studies in Linguistics and Literature 5, no. 4 (2021): p140. http://dx.doi.org/10.22158/sll.v5n4p140.
Full textAbstract:
Billboard magazine has been keeping track of the 100 hottest (most popular) songs of the year since 1958. Lists of the Hot 100 titles from 1960 to 2019 (6001 titles) were used to study the way in which popular song titles changed over time. Based on significant polynomial regression trends and significant results from a discriminant function analysis, it is concluded that there were three main phases in titles (early, middle, and late) and that these phases differ in predictable manners in terms of stylistic features such as length, abstraction, activity, and the use of the word “love”. Early phase titles are longer, more concrete, more passive, and they do not use the word “love” often; middle phase titles are of medium length, more abstract, of medium activation, and use the word “love” frequently. Titles of the last phase are shorter, more concrete, more active, and do not often employ the word love. A possible factor contributing to these differences is the rise in popularity of rock and roll and hip-hop respectively and their different periods of ascendency.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
Full textAbstract:
Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Fran&#231;aix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Fran&#231;aix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Kovmir, Nataliia. "Oleksii Chumakov’s Creative Activity." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (2021): 296–303. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245820.
Full textAbstract:
The article analyzes various aspects of Oleksii Chumakov’s creative activity. Oleksii Chumakov’s activity can be considered as striking in its variety of creative manifestations. His singing career is harmoniously combined with his work as a composer and arranger. The purpose of the article is to identify the specifics of stylistic dimensions of O. Chumakov’s work. The article analyzes various aspects of O. Chumakov’s activity, which impresses with the variety of creative manifestations. The artist harmoniously combines the singer’s career with composing and arranging skills. The research methodology consists oftheoretical methods (analysis, synthesis, generalization, biographical method), as well as empirical ones to observe the multifaceted work of O. Chumakov. The scientific novelty of the research is that the main features of O. Chumakov’s work are revealed, it is found out that the artist’s vocal skill is manifested in the use of soul singing. The style of Chumakov's compositions makes it possible to use the traditions of the gospel. The dominant directions in which his songs were written are funk, fusion, pop. Conclusions. It is noted that singers, who combine performance with composing, arranging, working in a recording studio, can rightly be considered professionals in their field. Having practical vocal skills, the composer takes into account the technical capabilities of singers, trying to emphasize their strengths. Oleksii Chumakov is also a presenter, writer and actor. All these qualities testify his versatility and high professionalism. In the concert performances of the singer, there is no bright effect or extraordinary scenography, because the performer prefers the ‘classical’ type of stage behaviour when the main emphasis is on the musical side of the compositions. Vocal skill, which manifests itself in the use of various vocal manners, intonation accuracy and stylistic sophistication, are the dominant elements of O. Chumakov’s performances.
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A. M., Omisakin, Olofin O. L., Abobarin A. A., and Adesiyan O. F. "Discourse Markers, Coherence and Its Impact on Cognitive Interpretation of Texts." International Journal of Literature, Language and Linguistics 7, no. 2 (2024): 28–37. http://dx.doi.org/10.52589/ijlll-pugjfqwz.
Full textAbstract:
A successful communication is evaluated by the ability of the audience to effectively comprehend the essence of a communication and to respond accordingly. Meanwhile, a communicative discourse is considered effective in its characteristics of demonstrating natural pauses and fillers, among others, which helps to communicate ideas more easily and naturally. Engaging any kind of discourse in coherent and fluent manners to enhance effective communication is sacrosanct to a communicator. This study focuses on the system of how discourse markers are instrumental to text fluency, coherence and, above all, how they function and are consciously structured to aid effective interpretations of a discourse. The study also attempts to examine the functional complexity of discourse markers in cohesive texts. The work relies on the views of many discourse and stylistic analysts not only to investigate the relationship between discourse markers and textual composition but to also address how instrumental they are to the effective comprehension of a text. The study reveals that Discourse Markers are not only characterised with linguistic devices that enhance textual coherence and fluency but also provide discourse clues that are instrumental to effective organisation of ideas and effective comprehension of meanings in a text.
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Buchok, L. V. "Pianoforte compositions “Etude” by D. Zador and “Impromptu” by I. Marton in the context of the problem of analysis and interpretation of the creative idea." Aspects of Historical Musicology 13, no. 13 (2018): 113–26. http://dx.doi.org/10.34064/khnum2-13.09.
Full textAbstract:
Background. In the time of Ukraine’s state independence, the interest of scholars in reproduction of a coherent historically formed image of regional cultures arose. The thing is, that almost throughout the twentieth century the priority issue was that the term «international» was considered as «assimilated». However, in the second half of the 20th century signifi cant processes took place in Transcarpathia, which manifested the formation of a professional Transcarpathian composer’s school – a movement led by Dezyderiy Zador and picked up by other composers, in particular Ishtvan Marton. In particular, the interest of Transcarpathian composers in piano compositions is of considerable interest as one of the segments of the European professional tradition: on the one hand, it is a testimony to the higher level of professional training and the practice of possession of classical experience; on the other hand, a geographically designated vector of stylistic modelling in the context of the intonational fund and the semantic fi eld of the European academic piano music in its inextricable connection with historically contemporary European-style stylistic phenomena. In its turn, the style shaping initiatives of the Transcarpathian composers of the second half of the 20th century caused signifi cant changes in their theoretical understanding – in accordance with the change of the mental paradigm of artistic creativity from the classical to the post-classical, when the method of tracing “style features” (the initial model of the formation of the method of style analysis) can no longer clarify the essence of the author’s concepts and requires orientation to methodologically predetermined transformations in the basis of the theory of style (for example, the human-dimensional nature of style). The problem, therefore, is that, on the example of selectively taken piano compositions of Transcarpathian composers of the period of the second half of the 20th century to present methodologically updated position of their stylistic analysis and executable interpretation – in view of the achievements of musicological thought at the border of the 20th – 21st centuries concerning the interpretation of stylistic phenomena of the modern age as a certain innovation project and its development in the conditions of post-traditional professionalism. Thus, today the task is to expand the perceptions of the piano creativity of the composers of Transcarpathia in the context of the whole 20th century, which includes the phases of modernism, modernism and avant-garde, united by the idea of the ultimate autonomy of the style. The scientifi c novelty of the conducted research is the broadening of the ideas of the pianoforte art of the Transcarpathian composers in the context of the intonation fund and the semantic fi eld of the European academic piano music of the whole 20th century, which contains the phases of modern, modernism and avant-garde, united by the intention of extreme style autonomy. Objectives. The purpose of the work is to comprehend the specifi cs of the analytical elaboration and performer’s interpretation of the «Etude» by D. Zador and «Impromptu » by I. Marton as such that, given the characteristic of the Transcarpathian region, the priority of choral compositions in the fi rst half of the 20th century testifi es to the formation of the original style initiatives, namely instrumental, in particular piano music in the middle of the twentieth century. Methods. The comparative, phenomenological and functional methods of research are used, which in aggregate gav e an opportunity to relate to the realities of the development of the national (Ukrainian) musicology, to reveal the world-view specifi cs and the vectors of individual stylistic modeling in the pianoforte art of Transcarpathian composers of the middle of the twentieth century, to provide knowledge of the semantic structure of the studied musical works. Results. It has been found out that on the background of changes in the mental paradigm of musical creativity from classical to post-classical, the analysis and interpretation of real musical text requires its semantic decoding in the intention of an accurate explanation of the idea and the intention of a particular musical work. However, as it has been established, there is an urgent need to focus on the immanent property of the semantic structure of innovative musical «projects», which exactly in the second half of the 20th century mostly show heterogeneity of style modelling – in the version of the active associative of correspondence range in the space of historical styles. This will provide an opportunity to eliminate the disadvantages of the formal-logical analysis method, which usually provokes the establishment and description of purely stylistic values of the real musical text without attempts at their fi gurative and semantic interpretation, and even provides an approximate summary of the analysis data at the level of the creative idea and the composer’s plan. It is proved that «Etude» с-moll of Dezyderiy Zador is a brightly modern (secessionist) stylistic model based on the characteristic of post-romanticism author’s stylization of historically known stylistic systems, and at the same time it has a distinctly individual, characteristic image concept, whose dynamic structure is determined by dramatic (semantic) perspective of the inclusion of various sorts of allusions and reminiscences concerning the manner of piano music; in turn, «Impromptu» by I. Marton is an example of mastering modernist trends with their expressionist (pathologized) expression of their perception of themselves in a spiritually declined world, when the declamative articulation of sound forms and their crystalline fragility, which are intended to recreate the ratio of the vulnerability of the alienated subject and inexorably terrible destructive power from the outside. Instead, it has been observed that not always the performers of the mentioned works read their idea and decode the image system. In general, this indicates an inability to adequately respond to styling in the version of the neo-stylistic formation (neo-romanticism, neoclassicism, etc.) – when the attachment of auditory experience to a historically known style (like manners – romantic, classical, etc.) tends to subconsciously ignore the transition to a hierarchical level of renewal (neo – renewed) by introducing innovations (sonorism, abstractly tuned block model of themes etc.) and the search for a stylistic centre of gravity using the allusion way of style development (allusion as the kind of indirect quoting) that ensures the existence of the concept of the so-called mixed style. Conclusions. The comprehension of the stylistic character of the creative ideas and intentions of piano art of Transcarpathian composers of the second half of the 20th century based on methods of semantic decoding of the real notations is heuristically productive for their hermeneutic reception – in order to maximize the probable approximation to the essence and concept of a musical composition and its adequate (meaningful) reproduction by the performers.
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Kovmir, Nataliia. "Oleksii Chumakov's Creative Activity." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (2021): 296–303. https://doi.org/10.31866/2616-7581.4.2.2021.245820.
Full textAbstract:
The article analyzes various aspects of Oleksii Chumakov’s creative activity. Oleksii Chumakov’s activity can be considered as striking in its variety of creative manifestations. His singing career is harmoniously combined with his work as a composer and arranger. The purpose of the article is to identify the specifics of stylistic dimensions of O. Chumakov’s work. The article analyzes various aspects of O. Chumakov’s activity, which impresses with the variety of creative manifestations. The artist harmoniously combines the singer’s career with composing and arranging skills. The research methodology consists oftheoretical methods (analysis, synthesis, generalization, biographical method), as well as empirical ones to observe the multifaceted work of O. Chumakov. The scientific novelty of the research is that the main features of O. Chumakov’s work are revealed, it is found out that the artist’s vocal skill is manifested in the use of soul singing. The style of Chumakov's compositions makes it possible to use the traditions of the gospel. The dominant directions in which his songs were written are funk, fusion, pop. Conclusions. It is noted that singers, who combine performance with composing, arranging, working in a recording studio, can rightly be considered professionals in their field. Having practical vocal skills, the composer takes into account the technical capabilities of singers, trying to emphasize their strengths. Oleksii Chumakov is also a presenter, writer and actor. All these qualities testify his versatility and high professionalism. In the concert performances of the singer, there is no bright effect or extraordinary scenography, because the performer prefers the ‘classical’ type of stage behaviour when the main emphasis is on the musical side of the compositions. Vocal skill, which manifests itself in the use of various vocal manners, intonation accuracy and stylistic sophistication, are the dominant elements of O. Chumakov’s performances.
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Head, Matthew. ""If the Pretty Little Hand Won't Stretch": Music for the Fair Sex in Eighteenth-Century Germany." Journal of the American Musicological Society 52, no. 2 (1999): 203–54. http://dx.doi.org/10.2307/831998.
Full textAbstract:
The image of the young lady at music is part of the mythology of the eighteenth century, nostalgically summoning a bygone era in European manners. How should such images be read, and to what uses are they put in the construction of the past and the present? Richard Leppert appeals to eighteenth-century iconography to argue the disciplinary function of music on women. This article extends Leppert's arguments in a newly uncovered repertory of songs and keyboard works published in eighteenth-century Germany "for the fair sex." Moving between prescriptions about musical practice specifically and women's character and place in the world more broadly, this music evinces cautionary and disciplinary rhetorics that accord with Leppert's readings. But whereas Leppert deals with paintings-more or less official representations-musical performance and reception complicate the picture. In performance, music offers possibilities for negotiation. On closer examination, instrumental music for the fair sex reveals a complex web of generic and stylistic motifs that undermine the manifest rhetoric of easiness and simplicity in the repertory and invoke the professional and public spheres. Questioning as well as espousing virtue, and haunted by the figure of the rake, songs for ladies reflect the instability in the emergent discourses of bourgeois femininity and the private sphere.
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Aliyu, Mohammed. "The Significance of Architectural Styles in Glapsides Residential Settlement." Journal of Advanced Research in Construction and Urban Architecture 6, no. 3 (2021): 42–49. http://dx.doi.org/10.24321/2456.9925.202108.
Full textAbstract:
his broad understanding of style as a social and study of distinctiveness has some precedents in sociology, architecture, language, art and many other works which provide a framework that accommodates theories among other semiotic forms. Architectural style is a by-product of the understanding of artifacts that distinguish products or period in to distinct, and consequently, people perceived it as a unique or popular tendency. Glapsides contemporary individual-built area in Famagusta district is characterized by outstanding appearance of architectural styles in a contextual manner within the post-modern cycles. The representation of the diverse architectural styles creates an avenue for reach post-modern settlement that even the environmental values, history and a culture can be read easily. Thus, contemporary residential buildings with stylistic architectural appearances displayed some qualities of classical models as well contained traditional heritage. This research aimed at discussing the significances of architectural styles in contemporary residential buildings of Glapsides in Famagusta district. The paper focused its scopes on single-family residential buildings, with regard to the physical categories of their architectural fashions (façade). It will further explore the general contributions of architectural styles as means of creating contextual continuity, from the neighborhood to the district as a whole. In this research, the significance of architectural style will be evaluated based on their historic references, aesthetics and design characteristics as well as the visual contextual manners in the categories. In order to succeed and achieve this aim, twelve (12) case studies was selected within Glapsides area (region) and it was divided categorically based on their architectural styles. However, based on the selected cases a personal observation, effective site survey studies, and related literatures are the techniques adapted to source supportive data. The paper focused on the physical appearances only, plan scheme and measurement of component will not be discussed.
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Hassan , Asst Prof Nagham Ali . "Semantic Analysis of Proverbs: A Conversation Analysis." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 61, no. 3 (2022): 598–616. http://dx.doi.org/10.36473/ujhss.v61i3.1847.
Full textAbstract:
Proverbs are considered as a major source of ancient events and happenings. Similar to other past events related to life, proverbs have many important and famous values in people's life. This study will shed lights on the use of proverbs as short sentences based on long experiences. The aim of the study is to explicate the roles, and the importance of proverbs in our life and how they are used to convey thoughts to people throughout simple words with denotation. Thus, proverbs explicate the truth and experience of our grandfathers when directed for criticism. Few proverbs were used by writers to criticize, mimic and reprint their personalities. Hence, proverbs will achieve portions of the unique roles of understanding. The model to be used accordingly is an eclectic model by Leech (1974), Odebunmi, (2002) and Udofot (1999). The results of the analysis have shown different scores of occurrence of semantic meanings as the following: Denotative meaning as 100%, Connotative meaning as 100%, Thematic meaning as 100%, Affective meaning as 92.307%, Stylistic meaning as 92.307%, Collocative meaning as 76.923%, Reflexive meaning as 30.77%. Referential theory as 92.307% ,and Image theory as 92.307%. Proverbs have been and keep highly and essential tools for the illustration of culture, social morality, manners and behaviors of insisters from one era to another. Proverbs may work as impersonal tool for personal interrogation. Parents can use proverbs to control their sons' behavior or ways of thinking.
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Hassan , Asst Prof Nagham Ali . "Semantic Analysis of Proverbs: A Conversation Analysis." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 61, no. 3 (2022): 598–616. http://dx.doi.org/10.36473/alustath.v61i3.1847.
Full textAbstract:
Proverbs are considered as a major source of ancient events and happenings. Similar to other past events related to life, proverbs have many important and famous values in people's life. This study will shed lights on the use of proverbs as short sentences based on long experiences. The aim of the study is to explicate the roles, and the importance of proverbs in our life and how they are used to convey thoughts to people throughout simple words with denotation. Thus, proverbs explicate the truth and experience of our grandfathers when directed for criticism. Few proverbs were used by writers to criticize, mimic and reprint their personalities. Hence, proverbs will achieve portions of the unique roles of understanding. The model to be used accordingly is an eclectic model by Leech (1974), Odebunmi, (2002) and Udofot (1999). The results of the analysis have shown different scores of occurrence of semantic meanings as the following: Denotative meaning as 100%, Connotative meaning as 100%, Thematic meaning as 100%, Affective meaning as 92.307%, Stylistic meaning as 92.307%, Collocative meaning as 76.923%, Reflexive meaning as 30.77%. Referential theory as 92.307% ,and Image theory as 92.307%. Proverbs have been and keep highly and essential tools for the illustration of culture, social morality, manners and behaviors of insisters from one era to another. Proverbs may work as impersonal tool for personal interrogation. Parents can use proverbs to control their sons' behavior or ways of thinking.
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Doronin, Dmitrii Yu. "LOCAL TRADITIONS OF THE SOVIET ICON. FIELD RESEARCH METHODOLOGY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2024): 70–91. https://doi.org/10.28995/2686-7249-2024-4-70-91.
Full textAbstract:
Since 2021 The Educational and Scientific Center for Visual Studies of the Middle Ages and Modern Times of the Russian State University for the Humanities carries out research on a still little-studied phenomenon – Soviet folezhnyi (foil) icons. These are prayer images of various types (most often photographic or chromolithographic), placed under glass in a homemade kiot (icon case) and variously decorated with foil and paper decor. In the Soviet decades, during the era of the illegal existence of icon craft, different areas and “handicraftsmen” of villages developed their own artistic manners and traditions of creating icons in kiots with different technologies, ornaments and types of decor. One of the main tasks for researchers of the Soviet icon is to identify and describe these local traditions, their characteristic stylistic and material features. The article is intended as methodological guidelines for the organization of field research in local traditions of the Soviet icon. It article complements the previously developed thematic guide questionnaire and D.I. Antonov’s methodological article on the principles and general program of work on the study of Soviet icons in different regions. The order of presenting methodological recommendations in the article is consistent with the course and tasks of organizing expeditionary work. The following stages and directions of field research of Soviet icons are consistently considered: a) planning a research expedition; b) the specifics of fieldwork with local communities; c) the specifics of fieldwork with local traditions; d) the research ethics of fieldwork with Soviet icons.
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Khan, Fateh, Zahir Jang Khattak, and Gulzar Ahmad. "Stylistic Strategies of M.R Kayani’s Speech, “Misfortunes Come Not Alone”." Qlantic Journal of Social Sciences and Humanities 6, no. 1 (2025): 163–74. https://doi.org/10.55737/qjssh.vi-i.25308.
Full textAbstract:
Malak Rustam Kayani (M. R. Kayani) has adopted a unique style in his speeches, addresses, and columns, as mentioned in his texts. Stylistics is the application of linguistic techniques and an objective method of interpretation to explore the style of an author. Through stylistics, critics analyze a literary piece and derive meaning from it. An intellectual titan in the fields of linguistics and cognitive science, Paul Simpson played a vital role in analyzing the style of an author. Style tells us about the manner of expression and how ideas and philosophy are depicted through this manner of expression. Besides manner of expression, choice of words, usage of literary devices, rhythm, the elements of composition, the structure and length of a sentence are also considered integral parts of style. This study is about the stylistic strategy of Kayani's speech, "Misfortunes Come Not Alone" for which Paul Simpson's Stylistics is used as a theoretical framework. The speech is replete with subtle attacks on dictatorship, despotism, and raising voices for civil supremacy. His usage of metaphor, simile, and irony can be put under the barometer of the tools of stylistics in this research paper.
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ȘERBAN, Henrieta. "LUCIAN BLAGA: THE HUMAN BEING DESTINED FOR MYSTERY, CREATIVITY AND KNOWLEDGE." Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology and Theology 10, no. 1-2 (2022): 80–98. http://dx.doi.org/10.56082/annalsarsciphil.2022.1-2.80.
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Lucian Blaga (May 9, 1895 – May 6, 1961) is a Romanian philosopher of knowledge, history and anthropology with a “metaphysical vision of the totality of existence” (as he explains in 1938, aged 43, in his work entitled The Sketch of a Philosophical Self-Presentation) was influenced since his youth by Kant, Schopenhauer, Bergson, in structuring his antireductionist and anti-positivist perspective in philosophy. The main concepts of his philosophical system are the mystery, the style, the culture, the metaphysical and creative being, the Great Anonymous, the unconscious and the abyssal categories. We are going to address here mainly the historicity of the human being and the concept of mystery. This philosophical investigation is guided by the metaphysical principle, the problem of mystery and the problem of style, correlated in specific manners with the concept of a creative human being destined for mystery and capable of knowledge, dynamic, as well historical as spiritual, becoming onto being. The study addresses briefly the similarities and differences of the philosophical categories employed by Lucian Blaga against the Kantian categories. Also, we approach the relation of Lucian Blaga’s philosophy to Rortian philosophy and to certain ideas expressed by Michael Polanyi. The thesis of this paper is the idea that human expression overlaps human existence (and historicity), with her manifestations of knowledge through creativity; fashioned by the “stylistic matrix”, generated by the “abyssal categories,” with “ontological functions” correlated to the structure of the unconscious human spirit. Although not a personalist, Lucian Blaga emphasizes to such an extent the ontological difference of spiritual and creative nature between the human beings and other beings, that the perspective described is close to the area of personalist studies.
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Abramciuc, Margareta. "Valenţe ale ironiei în proza literară a lui Mihail Kogălniceanu." Limbaj şi context = Speech and Context : Rev. de lingvistică, semiotică şi şt. literară 2012 (1) (May 10, 2017): 210–15. https://doi.org/10.5281/zenodo.573699.
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Abstract In the article, we attempt to evaluate some manifestations of irony in literary prose of Mihail Kogalniceanu. Being a figure of rhetoric, which implies a false praise which shows that the addresser says the opposite of what he thinks, giving the receiver a pretext for reflection, irony is a trademark of the forty-eighter prose writer. Moralizing intentions of his narrative justify the presence, in sketches of manners, "Soirées dansantes" ("Dancing parties") and "Phisiology of a provincial in Iasi", or in short story writing "Lost Illusions ... A first love" of irony and self-irony insertions, combined with humor and sometimes with sarcasm, by which the author finally reveals ridiculous aspect of the reality evoked. In this regard, Mihail Kogalniceanu, having lucid mind, being conscious of imperfections of the Moldovan society and its congeners, opts for ironic register of discourse for illustrative purposes or for purely stylistic reasons. Rezumat În articol, ne propunem să evaluăm unele manifestări ale ironiei în proza literară a lui Mihail Kogălniceanu. Figură a retoricii, care presupune un elogiu fals şi care denotă că emiţătorul afirmă contrariul a ceea e gândeşte, oferindu-i receptorului un pretext de reflecţie, ironia devine o marcă a prozei scriitorului paşoptist. Intenţiile moralizatoare ale naraţiunii sale justifică prezenţa, în schiţele de moravuri, „Soirées dansantes” („Adunări dănţiutoare”) şi „Fiziologia provincialului în Iaşi”, sau în scrierea nuvelistică „Iluzii pierdute... Un întăi amor” a inserţiilor ironice şi autoironice, conjugate cu umor şi, uneori, cu sarcasm, prin care autorul dezgoleşte, în fine, aspectul derizoriu al realităţilor evocate. În acest sens, Mihail Kogălniceanu, spirit lucid, conştient de imperfecţiunile societăţii moldave şi ale congenerilor săi, optează pentru registrul ironic al discursului în scopuri ilustrative sau din considerente pur stilistice.
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Kushch, N. V. "STYLISTIC MARKING OF SECONDARY ADVERBIAL PREPOSITIONS OF MANNER." Тrаnscarpathian Philological Studies 11, no. 1 (2019): 21–28. http://dx.doi.org/10.32782/tps2663-4880/2019.11-1.4.
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Rasha Tareq Awad Al-Zubaidi, Lect Dr. "A Socio- Stylistic Study of the Role of Social Identity in Selected Feminist Texts." مجلة واسط للعلوم الانسانية 20, no. 4 (2024): 586–66. http://dx.doi.org/10.31185/wjfh.vol20.iss4.745.
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The current study explores the relationship between social identity and stylistic features in the context of contemporary feminism with reference to gender, race, and class variables. Although many studies have been conducted concerning the concept of feminist language, the relationship between social identity and linguistic features has not received enough attention, which is why the present study aims to identify the specific strategies that are used to address the goals of feminism. This research seeks to fill this gap through an analysis of twenty four contemporary Feminist texts in articles, speeches and social media posts. Employing socio-stylistic eclectic approach, the research analyses the patterns of stylistic elements in various media contexts and analyses how such elements work with the audience as well as embody different social roles. The results of the study advance the theoretical macro-socio-linguistic paradigm of socio-stylistics by identifying the link between language and social status. In addition, the study is helpful for the leaders of feminism to know how language can be utilized in a constructive manner to advance the cause of feminism.
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Husiev, Serhii. "Zoomorphic Images of the BII Stage Trypillia Settlements in the Middle Buh River Region." Archaeology, no. 3 (September 22, 2021): 36–46. http://dx.doi.org/10.15407/arheologia2021.03.036.
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Widely known in Trypillia archaeological culture various zoomorphic images clearly represent multisided spiritual world of farmers of Eneolithic period, in particular the spread of domestic animals cult. While retaining common features of zoomorphism throughout the whole range of Trypillia, from the early to later stages, there are certain distinctive features for each region and time of existence. Their study allows us to understand the peculiarities of formation and development of the animal image, manners and styles of its performance. It is important to study the embodiments of the animal image in various types of archaeological materials of Trypillia settlements of the Middle Buh River region at BII stage (plastics, pottery, dwelling models) and determine the territorial and temporal features in comparison with other areas of the Trypillia spread. At the settlements of Voroshylivka, Sosny, Selyshche, Nemyriv and Karolina, the most found plastic items are statuettes of domestic animals, which were made in realistic or stylistic manners. Small and medium-sized figurines, which are classified as bovidae/ovis, dominate here. They had paired legs, small horns and a tail. Sometimes an udder or a penis was imitated, indicating the sex of the animal (cow, bull). Of particular interest are the statuettes and zoomorphic bowls, which had cross holes in their coupled legs. It is possible that they were supplemented with wheels and used in rituals as movable figurines. Common are zoomorphic bowls on four legs with a horned head and a tail on rims, as well as peculiar oval or rectangular bowls on four legs, reminiscent of cattle feeding troughs. They were painted in a zoomorphic ornament, resembling the spine or fur of an animal. It is important to note that no “dog”, “deer” or “bird” ornaments, known in other regions of the Trypillia culture, have been found on the tableware of the Middle Buh local group. There are also zoomorphic features on the cooking ware. The pots had four legs on the bottoms, and small horned heads were stuck on the rims. The zoomorphism can be traced on a well-known dwelling model from Voroshylivka, where the roof timbers above the front and back walls are designed like the horns of a domestic animal. Considering that the model had four high legs, it is reasonable to assume that it could have been used in rituals honoring the dwelling and livestock. The comprehensive analysis of zoomorphic images from the settlements of the Trypillia BII stage of the Middle Buh local group showed some regional differences as well as general trends in the development of ideological views of the ancient agricultural population of the Right-Bank Ukraine. The image of animals, especially cattle, deeply penetrated into consciousness of the holders of Trypillia culture, and the cult of the horned bull became one of the leading in their ideology.
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Simyan, Tigran S. "The world of Hutsuls through the eyes of Sergei Parajanov: semiotic translation, film language, existential invariants." Rusin, no. 67 (2022): 375–89. http://dx.doi.org/10.17223/18572685/67/21.
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The article analyses Parajanov's reflections on semiotic translation, on the example of the life, traditions, and customs of the Hutsuls, as recorded in his article “Eternal Movement” about his film Shadows of Forgotten Ancestors. Shadows of Forgotten Ancestors became a stylistic and semantic invariant for Parajanov's subsequent films. In fact, it became a manifesto movie. Parajanov found his own thematic language and creative constants, such as rituals, traditions, customs, and sacraments. By focusing on the creative invariants of the lives of different peoples (Hutsuls, Armenians, Turks, Tatars, etc.), Parajanov began to aesthetically conjecture and reveal their inner worlds, customs, and more. Shadows of Forgotten Ancestors is based on a deep love of Hutsul culture, as well as I. Savchenko's “method” that assumes a direct cognition and absorption of the object-culture, nature, and the sensual world on different communication channels (visual, auditory, olfactory). Based on the deep knowledge of the Hustsul culture, Parajanov works with the world of values, by translating the text into a visual image, as well as fantasizing visual customs. Through the bearer of culture, an elderly woman, he began to look at the world of the Hutsuls and absorb their spirit for the correct reconstruction of the material in the transnational language of beauty and recoding denotative codes into connotative ones. Parajanov's reflection on the film showed the transition from the amorphous cinematic language of socialist realism to the language of auteur cinematography: the rejection of clear plot reproduction, photographic reproduction of everyday life, manners and customs, “notorious canons”, “old habits, and impressions”. The emergence of the author's cinematic language made his conflict with the Soviet cinematic system and nomendaturai “elite” even clearer. This is evidenced by the fact that Parajanov still had to defend his position and argue against dubbing his film, since in that case, the viewer would lose the authentic auditory world of the Hutsuls.
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Amna, Saeed Aadil Ahmed Rabia Saeed. "Poetry in Style: A Stylistic Analysis of Rizwan Akhtar's Poems." Multicultural Education 7, no. 5 (2021): 454. https://doi.org/10.5281/zenodo.5760059.
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<em>The current article is an attempt to carry out the stylistic analysis on two poems from Rizwan Akhtar’s collection of poetry, Lahore, I Am Coming. The stylistic analysis has been meticulously presented in a way that readers get to know the pattern and levels on which it has been laid out. The study combines the stylistics features along with devices (Figurative devices, stylistics devices and Rhetorical expressions) in it. The main emphasis has been focused on the use of diction of poet and certain other figurative devices. This article makes its contribution towards the devices such as, simile, metaphor, personification, assonance, consonance, and alliteration. The poems have been selected for analysis are illustrated stylistically. Moreover, this article also encompasses the themes of the poems which afflict the nature of the poems. The questions related to the diction and the rhetoric devices used by Akhtar have been acknowledged and addressed employing the formalist framework. The study may take readers into the depth of writer’s feelings and his ordeal experience of love and other trivial issues on which he has magnificently talked about. The analysis of the selected poems Love Signs In and Love in Times of Load Shedding provide a systematic insight about the manner and nature of Akhtar’s use of diction and rhetoric devices. The undertaken study may assist the students, scholars, and the researchers who are particularly interested in the field of language and literature.</em>
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Pavliv, Yarema. "„ШЕПІТСЬКА ГУЦУЛКА” БРАТІВ ПАЛАГНЮКІВ: СТРУКТУРА, ДРАМАТУРГІЯ, ВИКОНАВСЬКА СТИЛІСТИКА". Ethnomusic 19, № 1 (2023): 55–78. http://dx.doi.org/10.33398/2523-4846-2023-19-1-55-78.
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The article is devoted to the investigation of the performance version of “Hut- sulka”, audio-recorded in 2007 by the band of the Palagniuks brothers from the vil- lage of Shepit of Kosiv district, Ivano-Frankivsk region. The musical-textological and performance analyzes of the piece were carried out on the basis of the violin part transcribed by the author of the article from the bandmaster Yuriy Danyshchuk “Palahnyuk” (b. 1951). The history of the formation of the most common composi- tional dance model in the Kosmach-Brustury tradition in the last quarter of the 20th – the first quarter of the 21st centuries is traced. It was found that this model served as the basis for Yu. Danyshchuk’s performance of a specific version of “Hutsulka”. Features of the structure and dramaturgical development of the work have been re- vealed, among which there are canonical traditional and individually stylistic ones. The consideration of the performance style of the band is based on the ethnophonic investigation of the violinist manner of playing, and the textural analysis of the com- mon sound of the band. The purpose of the texture analysis is to determine the role of the violinist, cymbal player and tambourine player in the creative tandem of the three Danyschuk brothers “Palahnyuks”. The version considered in the article is not as extended as possible, because it was not performed in the context of musical tradition, but for recording to represent the most canonical melodies of the dance. Its musical form is through-and-through with signs of tripartiteness and tonal reprise within the second, Kozachok section. The dramaturgy of the piece can be traced at the compositional (tonal and tessitura move- ments, the logic of the sequence of themes) and performance style (tempo, rhythmic organization, manners of articulation and ornamentation, dynamics, timbre, character of sound) levels. The Palahniuk brothers recreated a dramaturgical concept through the prism of their interpretation. The creative ideas of the violinist Yuriy Danyshchuk, who “led the band”, were immediately supported by his brothers - a cymbalist Mykola Danysh- chuk and a drum player Mykhailo Danyshchuk. The synergetic effect of the playing of the three Palahniuk brothers is exceptionally strong. It arises due to the perfect en- semble coherence of the participants, based on a deep understanding of the piece, the emotional compatibility of the musicians, common dramaturgical and aesthetic style ideas. Palahniuks brothers played a significant role in the preservation, transmission and performance evolution of the traditional repertoire of the Kosmach-Brustury re- gion. Their creative achievements in the genre Hutsulka were adopted and developed by talented musicians of the younger and youngest generations.
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KRIVOKAPIĆ, Miloš. "FREQUENCY OF THE VERB FORMS IN THE LANGUAGE OF STEFAN MITROV LJUBIŠA." Lingua Montenegrina 5, no. 1 (2010): 61–66. https://doi.org/10.46584/lm.v5i1.134.
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Stefan Mitrov Ljubiša, a talented narrator and stylist, has achieved a complete harmony between motifs, themes and the manner of narration. He has achieved not only a vertical harmony, but also a horizontal one which relates between the sound and the meaning of a word. Various verb forms, their synonyms as well as great possibilities of their combining have significantly enabled creation of this harmony. The language of Stefan Mitrov Ljubiša has a very significant stylistic potential. The various meanings and multi-layered structures of the verb forms are the product of the affective attitude of the narrator which stems from the aspiration of the narrator to use the most expressive verb form (the verb form and its synonym). The subtle shading of the logical and grammatical and stylistic functions of the verb forms creates a very strong expression and rhythmicity.
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Muminov, V. I. "THE ORIGINALITY OF V.G. KOROLENKO’s LINGUISTIC AND STYLISTIC MANNER(BASED ON THE STORY “SOKOLINETS”)." Bulletin of Udmurt University. Series History and Philology 31, no. 5 (2021): 875–90. http://dx.doi.org/10.35634/10.35634/2412-9534-2021-31-5-875-890.
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In this article based on the story “Sokolinets”, the peculiarities of linguistic and stylistic manner of V.G. Korolenko are reviewed, the author’s preferences in the choice of means of expression and intensification of features which provide stylistic effect are observed. First of all, the denominative vocabulary expressing the extreme (ultimate) psychological and emotional states of the characters is marked and classified. The pronoun words and particles, which often interact with each other, creating expressive constructions with the meaning of gradation, high degree of feature manifestation, etc., are considered separately. The word-formation means, participating in the realization of author’s emotionality, strengthening of substantial and expressive sides of the utterance, are singled out. Some peculiarities of V.G. Korolenko's idiostyle are examined; the stylistic means which increase the expressiveness of the work, optimize the rhythmical-intonational structure of the poetic speech, saturate it with the semantic and stylistic information are classified. The types of repetitions attracted by the writer for the realization of his creative task and their role in the realization of the stylistic effect are determined.
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Mamatkulov, A. L. "Euphemism asA Stylistic Device inPolitically Correct Communication." Current Research Journal of Philological Sciences 6, no. 4 (2025): 28–31. https://doi.org/10.37547/philological-crjps-06-04-07.
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This paper explores the qualitative characteristics of euphemisms and their role in creating politically correct language. Itexamines euphemisms as a stylistic tool that softens or masks negative connotations through various linguistic mechanisms, such asperiphrasis, hypernyms, litotes, and abbreviations. The study emphasizes the impact of temporal, social, and national factorson the evolution and usage of euphemisms. Additionally, it highlights how political correctness leverages euphemistic strategies to frame information in a more neutral and socially acceptable manner.
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OYELAKIN, Gbenga Samson. "The Place of Grammar in a Stylistic Study: An Analysis of Niyi Osundare’s Open letter to President Goodluck Ebele Jonathan." Kampala International University Journal of Education One, One (2021): 29–39. http://dx.doi.org/10.59568/kjed-2021-1-1-003.
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This study examined the role of Grammar in the Linguistic Stylistic analysis of Niyi Osundare’s Open Letter to President Jonathan. The study identified, analyzed, and related the prominent grammatical components in the letter to its socio-political context. The study employed both primary and secondary sources of data. Additionally, the data were analysed using the purview of the linguistic approach of stylistics. It was discovered that the grammar of the language of the text was deployed in a manner of appealing to President Jonathan to willingly and graciously accept the outcome of the 2015 General Elections in Nigeria. The study equally demonstrated that grammatical devices employed in the letter illuminated the style of language use of Osundare in political discourse. The study concluded that grammar has an important role to play in studying political discourses as it enhances the discovering of their intentions.
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Brinzila-Cosleț, Zinaida. "The violinist Serghei Lunchevici and the stylistic dimensions of his interpretative manner." Akademos, no. 4(63) (March 2022): 139–44. http://dx.doi.org/10.52673/18570461.21.4-63.17.
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The research of the stylistic originality of the interpretation of folk musical pieces by Serghei Lunchevici is an operation involved in the general analytical approach of our research, which aims to highlight maestro’s performing art and its specific features in general and, ultimately, its intrinsic value, their expressive and aesthetic valences. This article offers an analysis of the most important pearls in the folk repertoire of the formidable artist, whose interpretation for sure won the hearts of many listeners around the world.
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Grimstad, Knut Andreas. "The manner and the meaning: Stylistic mingling in Nikolaj Leskov's novel Soborjane." Scando-Slavica 44, no. 1 (1998): 85–96. http://dx.doi.org/10.1080/00806769808601116.
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Orgoňová, Oľga. "Contours of style and stylistics from Jozef Mistrík to the digital era." Journal of Linguistics/Jazykovedný casopis 73, no. 1 (2022): 40–50. http://dx.doi.org/10.2478/jazcas-2022-0026.
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Abstract The aim of the study is to follow the metamorphoses of the notion of style (above all) in Slovak stylistics within the last about 30 years. From the initial recapitulation of the traditional ideas of structural linguistics as a science aimed at non-contextual linguistic models of the manners of shaping the texts, the perspective of viewing style is being shifted to viewing it as a socially conditioned speech lingual activity. The culmination is represented by the profiling of style as a construction of a contextually conditioned cultural reflection of text in context. The current communicatively conditioned concepts of style anchored in discourse reality reflect the updated needs of people of the digital era. A non-negligible prerequisite for effectively grasping style (especially in interaction) is the competence of the acting people to interact optimally and in an assimilation-accommodation manner with the surrounding world in the name of harmony, understanding and inclusive behaviour.
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Putrayasa, Ida Bagus. "Political language variation: stylistic based study." Linguistics and Culture Review 5, no. 1 (2021): 1–9. http://dx.doi.org/10.37028/lingcure.v5n1.45.
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This study aimed at finding out the figures of speech used by the government in the political language variation and the purposes to which they serve. On the basis of the data analysis, it was found that there are sixteen types of figures of speech contained in the political language variation, for example, euphemism, repetition, parallelism, personification, parable, anticlimax, sarcasm, trope, hyperbole, pleonasm, climax, antithesis, synecdoche, anaphor, allusion, and metonymy. The purposes of their uses are to vary sentences, to show respect, to express something in a polite manner, and to give an emphasis or stress meanings. The suggestion made in relation to the uses of the figures of speech in political language variation is for the authority (government) to use words or phrases that are simple to make it easy for the people to understand.
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Putrayasa, Ida Bagus. "Political language variation: stylistic based study." Linguistics and Culture Review 5, no. 1 (2021): 1–9. http://dx.doi.org/10.21744/lingcure.v5n1.45.
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This study aimed at finding out the figures of speech used by the government in the political language variation and the purposes to which they serve. On the basis of the data analysis, it was found that there are sixteen types of figures of speech contained in the political language variation, for example, euphemism, repetition, parallelism, personification, parable, anticlimax, sarcasm, trope, hyperbole, pleonasm, climax, antithesis, synecdoche, anaphor, allusion, and metonymy. The purposes of their uses are to vary sentences, to show respect, to express something in a polite manner, and to give an emphasis or stress meanings. The suggestion made in relation to the uses of the figures of speech in political language variation is for the authority (government) to use words or phrases that are simple to make it easy for the people to understand.