To see the other types of publications on this topic, follow the link: Word plays.
Journal articles on the topic 'Word plays'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Word plays.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Budden, Julian, and Sandra Corse. "Word Plays." Musical Times 129, no. 1742 (April 1988): 188. http://dx.doi.org/10.2307/965317.
Full text
2
King, Rosamond S. ""Word Plays Well With Others"." Callaloo 26, no. 2 (2003): 536–38. http://dx.doi.org/10.1353/cal.2003.0050.
Full text
3
Harrington, Gary. "Word/Play: Death of a Salesman." Arthur Miller Journal 17, no. 1 (2022): 4–20. http://dx.doi.org/10.5325/arthmillj.17.1.0004.
Full textAbstract:
abstract In Timebends, Miller discusses the “liberating” effect that seeing Streetcar had upon his own writing, and particularly upon that of Salesman. One of the effects of this liberation of language upon Miller’s play is the incorporation into Salesman of plays on words that contribute substantially to the motifs and themes of the play. In this regard, “Word/Play” contributes to the ongoing interest in the careful and imaginative use of language in Salesman, which was neglected for so many years, by exploring comprehensively Miller’s use of wordplay, essentially arguing that he employs the device to such an extent that recognizing its presence provides an additional key to the understanding of the play’s many rich meanings.
4
Farber, Walter. "Associative Magic: Some Rituals, Word Plays, and Philology." Journal of the American Oriental Society 106, no. 3 (July 1986): 447. http://dx.doi.org/10.2307/602104.
Full text
5
Barber, R. "Function Word Adjacency Networks and Early Modern Plays." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 33, no. 2-3 (September 15, 2019): 204–13. http://dx.doi.org/10.1080/0895769x.2019.1655631.
Full text
6
Onič, Tomaž. "Translating Recurrences in Pinter’s Plays." ELOPE: English Language Overseas Perspectives and Enquiries 2, no. 1-2 (June 22, 2005): 293–99. http://dx.doi.org/10.4312/elope.2.1-2.293-299.
Full textAbstract:
Certain elements of language often repeat in all genres and at all levels of formality, whether spoken or written. This phenomenon, either premeditated or applied intuitively, always has a reason, despite the fact that the speaker (or writer) is not necessarily aware of it. A re-appearance of a certain word or word cluster is called recurrence. According to various definitions, it can be the direct repetition of a textual element which has appeared before in the text, the re-appearance of a certain word in the form of a different part of speech, or the repetition of a word cluster in which at least some elements of the original sentence repeat in the same or similar form. The term repetition is not used because only seldom is a repetition of a part of a text a real repetition, carrying exactly the same meaning potential of the repeated phrase as did its first appearance. This element of language is often disregarded in translation. It’s importance is even greater in texts where recurrences are common or, as in Pinter’s plays, they represent one of the important elements of the author’s style. Hopefully, this paper will raise awareness of how important it is to consider this element in translation.
7
Zhang, Y., and C. Gao. "Towards creativity in ELT: from word plays to drama." ELT Journal 68, no. 4 (March 12, 2014): 453–56. http://dx.doi.org/10.1093/elt/ccu014.
Full text
8
Nairne, James S., Ian Neath, and Matt Serra. "Proactive interference plays a role in the word-length effect." Psychonomic Bulletin & Review 4, no. 4 (December 1997): 541–45. http://dx.doi.org/10.3758/bf03214346.
Full text
9
Sullivan, Michael B. "MIND YOUR TONGUES: HORACE (WORD)PLAYS APOLLO (CARM. 3.1.1–4)." Classical Quarterly 66, no. 1 (April 14, 2016): 402–6. http://dx.doi.org/10.1017/s0009838816000239.
Full textAbstract:
odi profanum uulgus et arceo.fauete linguis: carmina non priusaudita Musarum sacerdosuirginibus puerisque canto.I hate and spurn the unversed crowd.Mind your tongues: songs yet unheardI sing to boys and virgin girls,the Muses' priest.
10
EILBERG-SCHWARTZ, HOWARD. "WHO'S KIDDING WHOM?: A SERIOUS READING OF RABBINIC WORD PLAYS." Journal of the American Academy of Religion LV, no. 4 (1987): 765–88. http://dx.doi.org/10.1093/jaarel/lv.4.765.
Full text
11
Ojha, Sandeep. "SIMILARITIES BETWEEN COLOR AND WORD COMPOSITIONS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3552.
Full textAbstract:
Painting and English Literature depict different aspects of nature and human life. Each color in painting and each word in literature plays an important role in this depiction but a single color or a single word in a work of art is not an absolute entity.The color and the word gain their complete artistic appeal and symbolic significance in a painting or a work of literature when combined and arranged coherently with other colors and words. Great painters and literary writers have dexterity in selection of colors and words of apt meaning and intensity as well as an ability to create the right composition of colors and words to produce an integrated effect.
12
Segarra, Santiago, Mark Eisen, Gabriel Egan, and Alejandro Ribeiro. "Attributing the Authorship of the Henry VI Plays by Word Adjacency." Shakespeare Quarterly 67, no. 2 (2016): 232–56. http://dx.doi.org/10.1353/shq.2016.0024.
Full text
13
Rytting, C. Anton. "An iota of difference: Attitudes to." Journal of Greek Linguistics 6, no. 1 (2005): 151–85. http://dx.doi.org/10.1075/jgl.6.08ryt.
Full textAbstract:
AbstractThe factors controlling synizesis and hiatus in Modern Greek have long been debated. Some accounts, e.g., Kazazis (1968, 1992), suggest that a speaker’s knowledge of a word’s origin (or alternatively, its appropriateness in a formal setting) plays a role. Other accounts, e.g., Nyman (1981), discount this factor. Petrounias (1987) cites word frequency as a factor, claiming that “rarer words follow [the synizesis rule] less frequently” especially if the words seem more formal. <br /> To test the influence of frequency and perceived formality of {-ια} words on their pronunciation, two experiments were conducted, in which ten native speakers of Modern Greek heard 40 words pronounced with hiatus (e.g., σχέδια /sxeðia/ “plans”) and synizesis (e.g., πόδια /poðja/ “feet”). They rated these words on (1) word familiarity, (2) appropriateness of the word in informal conversation, and (3) appropriateness of the word in formal proceedings. In the first experiment, they heard the canonical pronunciations of each word. In the second they also heard non-canonical pronunciations, e.g., [sxe.ðja] and [po.ði.a]. In a third experiment, speakers produced the words in question in a sentence-reading task. The results of these experiments suggest that speakers still have an awareness of the connection between hiatus and formality (contra Nyman 1981), and that this awareness may play a role in favoring hiatus not predicted by declensional class for less frequent items, consistent with Petrounias’ (1987) predictions.
14
Pancheva, Svetlana. "Words as Diagnosis: The Plays of Konstantin Iliev." Theatre Research International 25, no. 2 (2000): 147–48. http://dx.doi.org/10.1017/s0307883300012967.
Full textAbstract:
The playwright Konstantin Iliev (b. 1937) states: ‘The theatre, in its origins, is an art form recreating human relationships and, certainly, the most human means of communication is language. The colour red, for example, influences both the bull and the spectator in a specific manner but the word “blood” leaves the animal indifferent.’ Indeed language in each of Iliev's plays has a special function, both constructive and opening up the richness of human characters into their multiple parts. Iliev's plays are exploring the tangle of human relations, almost with a scientific method of analysis, man's ‘disease’ and his life, man and his surrounding world.
15
Fuster, Joaquín M. "Hebb's other postulate at work on words." Behavioral and Brain Sciences 22, no. 2 (April 1999): 288–89. http://dx.doi.org/10.1017/s0140525x99291820.
Full textAbstract:
The correlative coactivation of sensory inputs, Hebb's “second rule,” probably plays a critical role in the formation of word representations in the neocortex. It is essential to the acquisition of word meaning. The acquisition of semantic memory is inseparable from that of individual memory, and therefore the two probably share the same neural connective substrate. Thus, “content” words are represented mainly in postrolandic cortex, where individual perceptual memories are also represented, whereas “action” words are represented in frontal cortex, with executive memories. The activation of a memory network may not necessarily entail the high-frequency oscillatory firing of its cells, though reverberation remains a plausible mechanism of short-term memory.
16
Cafiero, Florian, and Jean-Baptiste Camps. "Why Molière most likely did write his plays." Science Advances 5, no. 11 (November 2019): eaax5489. http://dx.doi.org/10.1126/sciadv.aax5489.
Full textAbstract:
As for Shakespeare, a hard-fought debate has emerged about Molière, a supposedly uneducated actor who, according to some, could not have written the masterpieces attributed to him. In the past decades, the century-old thesis according to which Pierre Corneille would be their actual author has become popular, mostly because of new works in computational linguistics. These results are reassessed here through state-of-the-art attribution methods. We study a corpus of comedies in verse by major authors of Molière and Corneille’s time. Analysis of lexicon, rhymes, word forms, affixes, morphosyntactic sequences, and function words do not give any clue that another author among the major playwrights of the time would have written the plays signed under the name Molière.
17
Renuga Devi, S. "Sprezzatura in Postmodern Perspective." Shanlax International Journal of English 8, no. 2 (March 1, 2020): 32–36. http://dx.doi.org/10.34293/english.v8i2.2100.
Full textAbstract:
Fashion in contemporary time is a prominent part of the art. In the status of fashion, Postmodernism plays a huge role in the art world. In this research paper, the researcher deals with the idea of Sprezzatura in the modern world, and it plays a vital role in the concept of Sprezzatura in work The Book of the Courtier by Baldassare Castiglione in Postmodern perspective. In recent times people misunderstand the word Sprezzatura, and it changed people’s inner thought and outer appearance through this concept.
18
BUTLER, Joseph, and Sónia FROTA. "Emerging word segmentation abilities in European Portuguese-learning infants: new evidence for the rhythmic unit and the edge factor." Journal of Child Language 45, no. 6 (June 6, 2018): 1294–308. http://dx.doi.org/10.1017/s0305000918000181.
Full textAbstract:
AbstractWord segmentation plays a crucial role in language acquisition, particularly for word learning and syntax development, and possibly predicts later language abilities. Previous studies have suggested that this ability develops differently across languages, possibly affected by the languages’ rhythmic properties (Rhythmic Segmentation Hypothesis) and target word location in the prosodic structure (Edge Hypothesis). The present study investigates early word segmentation in a language, European Portuguese, that exhibits both stress- and syllable-timed properties, as well as strong cues to both higher-level prosodic boundaries and the word level. Infants aged 4–10 months old were tested with target words located in utterance-medial and utterance-final positions. Evidence for word segmentation was found early in development but only for utterance-edge located target words, suggesting the more salient prosodic cues play a crucial role. There was some evidence for segmentation in utterance-medial position by 10 months, demonstrating that this ability is not yet fully developed, possibly due to mixed rhythmic properties.
19
Penke, Martina, and Kathrin Schrader. "The role of phonology in visual word recognition." Written Language and Literacy 11, no. 2 (March 24, 2009): 167–90. http://dx.doi.org/10.1075/wll.11.2.04pen.
Full textAbstract:
The goal of this paper is to investigate the role phonology plays for visual word recognition and the change this role undergoes in the course of reading acquisition by providing data on German readers at different stages of reading proficiency. Erroneous responses in a semantic decision task, which employs words that are either homophonous or graphemically similar to a word of a previously introduced semantic field, were compared at different stages of reading development (i.e. in second- and fourth-grade school children and adults). In all age groups, subjects committed significantly more errors with homophones than with words graphemically similar to a word related to the given semantic field. The results show that phonological recoding plays an important role for visual word recognition not only with beginners but also in skilled readers and, hence, corroborate phonological models of reading.
20
Inčiuraitė, Lina. "Cognitive Approach to Word Formation." Taikomoji kalbotyra, no. 2 (October 25, 2013): 1–24. http://dx.doi.org/10.15388/tk.2013.17257.
Full textAbstract:
Structural approach to word formation in Lithuanian is still dominant, meanwhile cognitive insights have not been applied yet. The object of this paper is the aspects of cognitive grammar to word formation. In the article, cognitive semantic notions and their application to the morphological analysis of cognitive grammar are introduced.In the cognitive theory of grammar, symbolicity plays a significant role. The essence of cognitive grammar is based on the idea that language units are bipolar language signs. A linguistic unit consists of phonological and semantic poles which are linked by a symbolic structure.A category is a network of meanings of a derivational morpheme, which, as in the case of lexical category, is structured in terms of prototype and periphery. The prototype of a category is considered to be the most typical member, whereas other senses of the prototype comprise the periphery.Morphological expressions are closely related to each other and comprise cognitive domains. A domain is perceived as knowledge in terms of which derivational morphemes can be interpreted.Compositionality is a process when the composite structure is determined by the meanings of its constituents. This process plays an integral part in understanding the senses of new morphological expressions. Full and partial compositionality types are typical of morphological expressions. In compounding, full compositionality is endocentric, meanwhile partial compositionality is exocentric.A large number of units are pertinent to each other by schema and instance relations. A schema is defined as a general model made of instances. The schema reflects the general meaning of instances. Due to further elaboration the instance becomes a basis for a new schema and its elaborating elements become new instances.
21
Thao, Nguyen Van. "The Comparison of Using Words between Enlightenment Online and Vietnamese Buddhist Temple." IJECA (International Journal of Education and Curriculum Application) 1, no. 2 (December 30, 2018): 19. http://dx.doi.org/10.31764/ijeca.v1i2.2132.
Full textAbstract:
Vietnamese vocabulary is divided by different criteria, such as: word classes by origin; according to the scope of use; by using style and by positive and negative criteria, specifically, the native word class is the core class in Vietnamese vocabulary, which is a prop and plays a controlling role, controlling the activities of other word classes. Identifying a word as a native word is no easy task. Because Vietnamese has a common origin with Mon - Khmer languages. Therefore, there are words that still share common words. Finding the exact origin is extremely difficult, even for linguistic historians. In addition, the scope of words usage, the southern Buddhist press is heavily influenced by the Southern dialect, this is understandable because the writers (Buddhist reporters) often come from the South and one more thing is written for southern readers. In contrast, the current use of Buddhist jargon requires an exchange, that is: speaking of the Buddhist press language, it is impossible not to mention the word class (jargon) that has its own particularity. Buddhist jargon plays a tremendous role in preserving and promoting the values of Buddhism. It is inconceivable if the Buddhist language did not have these jargon
22
Oncins Martínez, José Luis. "Shakespeare and Chess Again: A Proposal for an Alternative Reading of pawn(s) in King Lear, King John and The Winter’s Tale." Sederi, no. 21 (2011): 29–47. http://dx.doi.org/10.34136/sederi.2011.2.
Full textAbstract:
commented on and annotated. However, there still remain quite a few obscure passages and complex words which continue to puzzle and cause debate as to their precise meanings. One such word is pawn, glossed as a pun in some editions of King Lear, and passed over in silence in other plays where it appears in similar contexts. This essay proposes an alternative reading of the word in King Lear, King John and The Winter’s Tale. The hypothesis put forward is that Shakespeare was indeed hinting at the various senses of this word and exploiting its punning potential in these three plays. This suggestion is supported by a series of examples of similar rhetorical exploitation of this polysemic word as found in several contemporary authors. These examples will demonstrate that the various senses of the word were indeed very much alive in Elizabethan England – and quite probably in Shakespeare’s mind.
23
Lyu, Xiang. "The phonological word in the Ningbo dialect." International Journal of Chinese Linguistics 6, no. 1 (July 2, 2019): 119–61. http://dx.doi.org/10.1075/ijchl.19004.lyu.
Full textAbstract:
Abstract This paper examines the domain of the prosodic word in the Ningbo dialect. The goal of this paper is to provide a critical review of the studies on the prosodic word (PW) in various languages of the world, and to investigate the phonological phenomena within the domain formed by morpho-syntactic words in the Ningbo dialect as well as discussing the role that the prosodic word plays in the phonological rule application in the Ningbo dialect. This paper provides a complete survey on various types of morpho-syntactic formation in the Ningbo dialect as well as examining the application of phonological phenomena with reference to the different types of morpho-syntactic words. It will show that the lexical tone sandhi rule (LTS) applies within the domain formed by the major types of morpho-syntactic words in Ningbo dialect. However, pure phonological information may also affect the application of LTS.
24
Lee, Chang H. "Test of the Phonological Recoding Hypothesis Using a Letter-Delay Task." Perceptual and Motor Skills 95, no. 2 (October 2002): 487–90. http://dx.doi.org/10.2466/pms.2002.95.2.487.
Full textAbstract:
In some English words is a silent letter in the letter strings, e.g., PSALM, This type of word provides room to manipulate phonological similarity against the words with a nonsilent letter in the corresponding position, e.g., PASTA, to test the phonological recoding hypothesis. Letter strings excluding the silent letter or the sounding letter, e.g., _salm and a phonological condition, _asta as an orthographic condition, were presented. A “psalm-type word” was processed faster than “pasta-type word,” indicating that phonology plays a leading role in word recognition.
25
MORINI, Giovanna, and Rochelle S. NEWMAN. "Dónde está la ball? Examining the effect of code switching on bilingual children's word recognition." Journal of Child Language 46, no. 6 (August 13, 2019): 1238–48. http://dx.doi.org/10.1017/s0305000919000400.
Full textAbstract:
AbstractHearing words in sentences facilitates word recognition in monolingual children. Many children grow up receiving input in multiple languages – including exposure to sentences that ‘mix’ the languages. We explored Spanish–English bilingual toddlers’ (n = 24) ability to identify familiar words in three conditions: (i) single word (ball!); (ii) same-language sentence (Where's the ball?); or (iii) mixed-language sentence (Dónde está la ball?). Children successfully identified words across conditions; however, the advantage linked to hearing words in sentences was present only in the same-language condition. This work hence suggests that language mixing plays an important role on bilingual children's ability to recognize spoken words.
26
Sasao, Yosuke, and Stuart Webb. "The Word Part Levels Test." Language Teaching Research 21, no. 1 (August 2, 2016): 12–30. http://dx.doi.org/10.1177/1362168815586083.
Full textAbstract:
Knowledge of English affixes plays a significant role in increasing knowledge of words. However, few attempts have been made to create a valid and reliable measure of affix knowledge. The Word Part Levels Test (WPLT) was developed to measure three aspects of affix knowledge: form (recognition of written affix forms), meaning (knowledge of affix meanings), and use (knowledge of the syntactic properties of affixes). A total of 118 derivative affixes were selected based on frequency data from the British National Corpus. First, data was collected from 417 Japanese university students to revise poorly working items using Rasch analysis. Second, the responses of 1,348 people representing more than 30 different native languages were analysed to determine the affix difficulty levels. A description of the test, justification for its design, and practical implications are provided.
27
Ackermann, J., and F. U. Gast. "Word Design for Biomolecular Information Processing." Zeitschrift für Naturforschung A 58, no. 2-3 (March 1, 2003): 157–61. http://dx.doi.org/10.1515/zna-2003-2-313.
Full textAbstract:
The design of DNA sequences plays a fundamental role for many biomolecular applications and is one of the most important theoretical tasks to fathom the potential of molecular information processing. Optimization strategies have been based on the model of stiff “digital” polymers by counting the number of base mismatches (Hamming distance and related distances). In this work we show the limitation of such a combinatorial approach because of the ability of DNA to build more complex structures. We develop a model platform to optimize word sets according to all possible secondary structures occurring for the relevant word-word interactions. The fidelity of the hybridization reactions can be improved significantly and as an example of a set of 24 words of 16-mers we show that the optimal set has unique physical properties, such as binding energy, melting temperature, and G+C content.
28
Woodruff, Graham. "Community, Class, and Control: a View of Community Plays." New Theatre Quarterly 5, no. 20 (November 1989): 370–73. http://dx.doi.org/10.1017/s0266464x00003687.
Full textAbstract:
‘Community’ has, suggests Graham Woodruff, a friendly ring: yet it is also a weasel word, lending a stamp of often spurious togetherness to bodies politic or theatric. Thus, the use of ‘community’ in the geographical sense is often drained of any true meaning, where it is not a cover for the avoidance of contentious political issues. ‘Communities of interest’ had some success in speaking theatrically in the 'seventies, but now, Woodruff claims, the political situation is such that ‘community theatre’ can and should seek to express the common interests of the increasingly beleaguered working class, offering a way of extending the dramatizations attempted outwards from parochial to wider political concerns. Graham Woodruff was Head of the Drama Department at the University of Birmingham before becoming director of Telford Community Arts, on whose work he draws for the following article.
29
Warnicke, Retha M. "More'sRichard IIIand the mystery plays." Historical Journal 35, no. 4 (December 1992): 761–78. http://dx.doi.org/10.1017/s0018246x00026157.
Full textAbstract:
AbstractAn analysis of Thomas Mare's English version ofThe history of King Richard IIIindicates that the popular mystery cycles influenced his composition. Associated with the celebrations of Corpus Christi Day, the cycles present a series of biblical plays, beginning with the Creation and ending with the Last Judgment. The important themes of tyranny and sacrifice, which this drama explores, also loom large inRichard III. The theme of tyranny is loosely related in the cycles through Lucifer's functioning as the prototype of all earthly tyrants, including More'sRichard III. Evidence of the sacrifice, which is at the heart of the mass, can also be found in many biblical scenes. More's reference to Richard's adolescent nephews as ‘innocent babes’ links them to the infants Herod earlier sacrified to his ambitions. Indeed, inRichard III, More does make an intriguing reference to a cobbler performing the role of a ‘sowdayne’ in a play. The suggestion that this drama influenced More's writing is consistent with the speculation that he composed the English version first and then, with the classics in mind, wrote out a separate Latin text, for the two versions have significant differences in imagery, word choice and structure.
30
Dupont, Maïté. "Word order in English and French." English Text Construction 8, no. 1 (July 10, 2015): 88–124. http://dx.doi.org/10.1075/etc.8.1.04dup.
Full textAbstract:
Drawing upon the theoretical framework of Systemic Functional Linguistics, this paper compares the word order patterns of English and French adverbial connectors of contrast in a comparable bilingual corpus of quality newspaper editorials. The study shows that the two languages offer the same possibilities in terms of connector positioning but differ markedly in the preferred patterns that they display. In both languages, connector placement proves to be influenced by three main types of factors: language-specific syntactic, rhetorical and lexical factors. The notion of Rheme, which tends to be under-researched in the literature in comparison to that of Theme, plays a key role in the analysis.
31
Jelić, Vojislav. "Nad „Golubnjačom“ uživo." Узданица 18, no. 2 (November 2021): 99–105. http://dx.doi.org/10.46793/uzdanica18.2.099j.
Full textAbstract:
The play Golubnjača (1982), although primarily a multi-layered and complex literary work, did not attract the attention of literary critics as much as those who saw it as a danger due to possible rewriting of historical facts that were already established as a “credo” of the existing social reality. But it is precisely its theatrical realization that represents the basis that gives the written text the power of a living, embodied word. In this way, the writer opened his literary treasure to his readers in the same way that he attracted viewers to watch his plays with the magical power of living words.
32
Thiel, G. "The Changing Significance of the Figure of Death in Various Everyman Plays." Literator 7, no. 1 (May 7, 1986): 21–47. http://dx.doi.org/10.4102/lit.v7i1.873.
Full textAbstract:
In hierdie artikel word die geskiedenis van die laaste tweeduisendjare eerstens in vyfperiodes met verskiliende houdings teenoor die dood ingedeel.Daarna kon vasgestel word dat die Elckerlijc-spe/e wat op Engelse, Nederlandse, Duitse en Franse grondgebied ontstaan het, binne die tweede en vyfde periode van hierdie indeling val, dit wil sê aan die een kant die periode wat ongeveer 1000 begin, en 1700 eindig, en aan die ander kant die tydperk van die twintigste eeu.As 'n mens nou die algemene houding teenoor die dood, in hierdie twee tydperke met dié vergelyk, wat in die Elckerlijc-spele dear die doodsfiguur versimboliseer word, blyk dit dat die Elckerlijc-spele altyd ’n korrektiewe funksie op die algemene houding teenoor die dood probeer uitoefen.In die vroeë Elckerlijc-spele gaan dit nóg oor die bewaring van 'n mens se fisiese lewe, nóg oor 'n handel met God om ’n ewige lewe, twee faktore wat in ’n tydperk van individualisasie en ekonomiese groei bale belangrik geword het, maar om die inkeer en berou wat ’n mens tot God lei.In die latere Elckerlijc-spele gaan dit weer nie oor die vereensaming van die sterwende mens, wat deur die gemeenskap aan die mediese tegnologie oorgelaat word nie, maar om die oorwinning oor die fisiese dood deur ’n bewussynsaksie. Dit gaan ook nie meer oor die ontkoming van die ewige dood, soos in die vroeë Elckerlijc-spele nie, maar oor die bewuste deelwees van 'n lewensproses wat altyd weer opnuut stry teen ’n totale vernietiging van lewe dear die fisiese dood.
33
András, Ferenc. "Word, Object, Narrative: The Philosophical View." Dostoevsky Journal 16, no. 1 (April 25, 2015): 7–19. http://dx.doi.org/10.1163/23752122-01601003.
Full textAbstract:
According to Bakhtin, two poles are accepted by the philosophy of language; all linguistic phenomena can be interpreted on the basis of these. In my paper I argue that it is necessary to assume a third pole, the object, which plays an important role in the history of the philosophy of language. My aim is to show that the object cannot be deduced either from the community of language users or from rules of language. Nevertheless, I argue that both Kantian and Fregeian paradigms are necessary conditions for the interpretation of the fundamental poles of language. According to my model, the philosophical concept of the object is transferable to the literary context.
34
Kurland, Jacquie. "The Role That Attention Plays in Language Processing." Perspectives on Neurophysiology and Neurogenic Speech and Language Disorders 21, no. 2 (June 2011): 47–54. http://dx.doi.org/10.1044/nnsld21.2.47.
Full textAbstract:
Although the mechanism of attention is not entirely understood, there is widespread agreement that attention is a limited capacity processing system that can flexibly allocate resources to modulate signal detection and response for controlled action. With respect to language processing, a complex combination of automatic and controlled processing mechanisms, attention plays an important role in mediating the selection of competing candidates so that, for example, the correct word can be activated. The present review summarizes current views on attention mechanisms, types of attention, the neuroscience of attention, and its presumed role in language processing.
35
Rizvi, Pervez. "Authorship Attribution for Early Modern Plays Using Function Word Adjacency Networks: A Critical View." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 33, no. 4 (December 5, 2018): 328–31. http://dx.doi.org/10.1080/0895769x.2018.1554473.
Full text
36
SENELICK, LAURENCE. "The Word Made Flesh: Staging Pornography in Eighteenth-Century Paris." Theatre Research International 33, no. 2 (July 2008): 191–203. http://dx.doi.org/10.1017/s0307883308003684.
Full textAbstract:
The mid-eighteenth-century French théâtre clandestin, comprising more than a score of plays of foul language and obscene subject matter, presents a number of problems. It is not clear if they were actually performed and, if so, how and before what audiences. Did they serve the purpose of pornography, arousing their consumer? The language in which the plays are couched is conventional both in its literary form and its scurrility; it needed to be supplemented by pantomime and elaborate tableaux. Those elements are remarkably similar to theatrical innovations suggested by Diderot in a different context. Ultimately, however, the mere presentation of bodies in action cannot incarnate desire except superficially. The distancing element of performance as well as the communal presence of a coterie at an organized spectacle were probably counterproductive to achieving the pornographic aim.
37
Xu, Feng, Wenxia Niu, Shuaishuai Li, and Yuli Bai. "The Mechanism of Word-of-Mouth for Tourist Destinations in Crisis." SAGE Open 10, no. 2 (April 2020): 215824402091949. http://dx.doi.org/10.1177/2158244020919491.
Full textAbstract:
In an era of mobile internet, word-of-mouth marketing has become a powerful tool for optimizing tourist destination marketing. Extensive research studies on the mechanism of word-of-mouth have been carried out. However, there is little research on the mechanism of word-of-mouth concerning tourist destinations in crisis. This article focuses on the influence mechanism of word-of-mouth in the relationship between perceived images and behavioral intentions. A structural equation model was established, with “perceived image” as the independent variable, “word-of-mouth” and “psychological distance” as mediating variables, and “behavioral intention” as the dependent variable. Our study is based on a survey in Southern Xinjiang. The final results show that word-of-mouth plays a mediating role in the relationship between perceived image and behavioral intentions. The moderating effect of word-of-mouth plays two roles in the mechanism of the perceived image on the behavioral intention: the promotion mechanism and the repression mechanism. Tourists’ sense of psychological distance significantly mediates the relationship between perceived image and behavioral intention. The findings enrich word-of-mouth and the marketing theories for the destinations in crisis, which provide enlightening insights for the sustainable development of the destinations in crisis.
38
Atta, Firdos. "Word Stress system of the Saraiki language." Acta Linguistica Asiatica 11, no. 1 (January 30, 2021): 129–45. http://dx.doi.org/10.4312/ala.11.1.129-145.
Full textAbstract:
This study presents an Optimality-Theoretic analysis of Saraiki word stress. This study presents a first exploration of word stress in the framework of OT. Words in Saraiki are mostly short; secondary stress plays no role here. Saraiki stress is quantity-sensitive, so a distinction must be made between short and long vowels, and light and heavy syllables. A metrical foot can consist of one heavy syllable, two light syllables, or one light and one heavy syllable. The Foot structure starts from right to left in prosodic words. The foot is trochaic and the last consonant in Saraiki words is extra metrical. These generalizations are best captured by using metrical phonology first and Optimality constraints later on.
39
Liu, Yang, Qun Liu, and Shouxun Lin. "Discriminative Word Alignment by Linear Modeling." Computational Linguistics 36, no. 3 (September 2010): 303–39. http://dx.doi.org/10.1162/coli_a_00001.
Full textAbstract:
Word alignment plays an important role in many NLP tasks as it indicates the correspondence between words in a parallel text. Although widely used to align large bilingual corpora, generative models are hard to extend to incorporate arbitrary useful linguistic information. This article presents a discriminative framework for word alignment based on a linear model. Within this framework, all knowledge sources are treated as feature functions, which depend on a source language sentence, a target language sentence, and the alignment between them. We describe a number of features that could produce symmetric alignments. Our model is easy to extend and can be optimized with respect to evaluation metrics directly. The model achieves state-of-the-art alignment quality on three word alignment shared tasks for five language pairs with varying divergence and richness of resources. We further show that our approach improves translation performance for various statistical machine translation systems.
40
Seidenberg, Mark S. "A Connectionist Modeling Approach to Word Recognition and Dyslexia." Psychological Science 4, no. 5 (September 1993): 299–304. http://dx.doi.org/10.1111/j.1467-9280.1993.tb00568.x.
Full textAbstract:
Word recognition plays an essential role in learning to read, skilled reading, and dyslexia. The goal of the research I describe is to develop a theory of word recognition that is realized as a connectionist simulation model. Experience with a first-generation model suggests that the approach can reveal general principles underlying word recognition and its impairments. Although computational modeling introduces new problems of method and interpretation, it contributes in an essential way to understanding reading and other aspects of cognition.
41
CHATURVEDI, NAMIT, JÖRG OLSCHEWSKI, and WOLFGANG THOMAS. "LANGUAGES VERSUS ω-LANGUAGES IN REGULAR INFINITE GAMES." International Journal of Foundations of Computer Science 23, no. 05 (August 2012): 985–1000. http://dx.doi.org/10.1142/s0129054112400412.
Full textAbstract:
Infinite games are studied in a format where two players, called Player 1 and Player 2, generate a play by building up an ω-word as they choose letters in turn. A game is specified by the ω-language which contains the plays won by Player 2. We analyze ω-languages generated from certain classes [Formula: see text] of regular languages of finite words (called *-languages), using natural transformations of *-languages into ω-languages. Winning strategies for infinite games can be represented again in terms of *-languages. Continuing work of Selivanov (2007) and Rabinovich et al. (2007), we analyze how these "strategy *-languages" are related to the original language class [Formula: see text]. In contrast to that work, we exhibit classes [Formula: see text] where strategy representations strictly exceed [Formula: see text].
42
Šadurska, Mārīte. "FRAZEOLOGY IN DANSKOVĪTE’S PLAYS." Via Latgalica, no. 11 (February 20, 2018): 129. http://dx.doi.org/10.17770/latg2018.11.3066.
Full textAbstract:
Frequently used phrases in Danskovīte’ plays help to create a typical cultural landscape of Latgale, at the same time a wide range of stylistically expressive vocabulary, most often verbal phrases, and the predominance of poetic comparisons outline the individual writing style of this author. Dramatic work of Danskovīte, which is chosen as the source of phraseology of the research in question, is an area that has not been explored until now. The source of the research consists of 15 plays, 10 of which are available to the readers, “Ontans i Anne” (5 parts), “Sīvasmuotes senču laiki” (3 parts), “Tāva meitas” and “Duorgīs pierkums” (Danskovīte 2008) and five manuscripts of plays: “Lauku kūrorts pilsātnīkim”, “Ontans i rodne”, “Ontans i sābri”, “Ontans i Zīmassvātki” and “Prece ai zatanu”. The aim of the research is to analyse the language of Danskovīte”s plays (phraseology, comparisons, stylistically expressive lexis), revealing the dominant features of the comic. In order to analyse the language of the comic and the features of language as a cultural phenomenon, the linguacultural approach was selected and studies in phraseology were applied. In its turn, the method of receptive aesthetics was used for questionnaires in order to find out the attitude of the respondents towards the plays of Danskovīte, their popularity, as well as to highlight the most characteristic elements of the comic, since, in accordance with the basic principles of receptive aesthetics, text does not have a single meaning – the meaning is formed in the process of interaction between the text and the reader, and a literary work exists as a literary work only in the process of reading and perception and helps to understand that the text is rooted in the communication system and depends on the functioning of the society. For this study, phraseological equivalents in the Latgalian language were searched in “Kalupes izloksnes vārdnīca” (Dictionary of Kalupe vernacular, 1998), in the materials of the Congress of Latgalistics and in the “Latgolys lingvoteritorialo vuordineica” (Latgale lingvoterritorial dictionary, 2012). In the Latvian literary language, however, phraseological equivalents are sought in the Kārlis Mīlenbahs’ and Jānis Endzelīns’ “Latviešu valodas vārdnīcā” (Dictionary of the Latvian language) (1923–1932) and “Latviešu valodas frazeoloģijas vārdnīca” (Dictionary of Latvian phraseology, 2000). In the plays of Danskovīte, about 250 phraseological expressions are excerpted, of which 40% are constructions made by author’s lexical modifications, 31% –traditionally used phraseological units, 23.3% – author’s idioms, 2.4% – author’s semantic modifications, 3.3% – author’s grammatical modifications. It should be noted that 42% of all excerpted units are constructions that include comparisons, where the most part includes a component that identifies a feature from the world of animals, often ascribing animal conduct and properties to a person. Authors’ idioms are used occasionally, functioning only in literary works of the given writer, and they do not have equivalents in the phraseology of the Latvian or other languages. The study of modifications of phraseological units is important in view of the fact that such idioms in the plays of Danskovīte make up about 70% of the total number of all types of set phrases in general; only 30 phraseological units exist in a standardized form, thus most of the existing set phrases in Danskovīte’s plays form the transformations of prescriptive phraseology of all kinds – grammatical, lexical and semantical. The number of modifications includes author’s own phraseology – idioms, which determine the formation of the phraseological expression and specific style of writing. Conceptually, prescriptive phraseological units are understood in terms of stable and traditionally established word combinations, the common meaning of which is different from the meaning of individual components of the phrase. The main methods of creating comic effect in terms of prescriptive phraseology are mostly comparisons, for example, kuo cītumnīks (like a prisoner), kuo bomzs (like a beggar), kuo iz pasyutiejuma (by order), kuo diele (like a leech), kuo myusa (like a fly), kuo troks (like mad). There are also other methods at the basis of the phraseology of Danskovīte’s plays, but it is difficult to find a common characteristics, since their differences are nuanced and context specific. Viewing the lexical modifications by keyword, it is obvious that combinations with the components of tongue, head and eye are represented most often. The second type of transformations consists of phraseological units, which change the grammatical features in author’s language. As already mentioned, they are fewer in number. One of the characteristics of the grammatical modifications is the addition of prefixes that deny the activity specific to the object or subject, or, on the contrary, reinforce such activity, for example, like in the phraseological unit borrowed from Russian: наступить на хвост > iz astes (na)izkuopt. Semantic variations change the meaning of phraseological units, although any modification more or less strongly promotes the departure of the idiom from its main meaning registered in dictionaries, however, this modification is more pronounced in terms of the change of meaning. Analysed in this study are the semantic modifications of phraseological units: kuo syvāns (like a piglet) and kuo bārns (like a child). Danskovīte applies several ways of creating comic effect: misapprehension and comic action and behaviour revealed in a grotesque manner; exaggeration and comic language, peculiarities of pronunciation, associations, epitomized language and misunderstandings.
43
CARPI, ARTURO, and ALDO de LUCA. "REPETITIONS, FULLNESS, AND UNIFORMITY IN TWO-DIMENSIONAL WORDS." International Journal of Foundations of Computer Science 15, no. 02 (April 2004): 355–83. http://dx.doi.org/10.1142/s0129054104002479.
Full textAbstract:
We consider some combinatorial properties of two-dimensional words (or pictures) over a given finite alphabet, which are related to the number of occurrences in them of words of a fixed size (m,n). In particular a two-dimensional word (briefly, 2D-word) is called (m,n)-full if it contains as factors (or subwords) all words of size (m,n). An (m,n)-full word such that any word of size (m,n) occurs in it exactly once is called a de Bruijn word of order (m,n). A 2D-word w is called (m,n)-uniform if the difference in the number of occurrences in w of any two words of size (m,n) is at most 1. A 2D-word is called uniform if it is (m,n)-uniform for all m,n>0. In this paper we extend to the two-dimensional case some results relating the notions above which were proved in the one-dimensional case in a preceding article. In this analysis the study of repeated factors in a 2D-word plays an essential role. Finally, some open problems and conjectures are discussed.
44
AL-Saiagh, Wafaa, Sabrina Tiun, Ahmed AL-Saffar, Suryanti Awang, and A. S. Al-khaleefa. "Metaheuristic for Word Sense Disambiguation: a Review." International Journal of Engineering & Technology 7, no. 3.20 (September 1, 2018): 428. http://dx.doi.org/10.14419/ijet.v7i3.20.20586.
Full textAbstract:
Word Sense Disambiguation (WSD) is the process of determining the exact sense of a particular word in accordance to the context in a computational manner. Such task plays an essential role in multiple fields of study such as Information Retrieval and Information Extraction. With the complexity of human language, WSD came up to solve the problem behind the ambiguity between senses in which a single word would yield different meaning. In this vein, determining the exact meaning of the certain word would facilitate the process of identifying the category of such text, accurate corresponding search results and providing an accurately summarized portion. Several approaches have been proposed for the WSD including statistical, semantic and machine learning techniques. This paper aims to provide a review of such approaches by tackling and categorizing the related works in accordance to the main types.
45
Kondratieva, Svitlana. "“THE CONQUERORS” BY YURII YANOVSKYI: THE AUTHOR IN SEARCH OF THE TITLE FOR THE WORK." Слово і Час, no. 3 (May 26, 2021): 76–82. http://dx.doi.org/10.33608/0236-1477.2021.03.76-82.
Full textAbstract:
The titles of Yurii Yanovskyi’s plays have not been studied yet. There are research works dealing with different issues of his plays and focusing on the titles of his novels but not plays. The present paper analyzes different variants of the title that Yanovskyi had for his play finally called “Zavoiovnyky” (“The Conquerors”). The writer’s purpose was to find a name that would most accurately reflect the idea and emphasize the main theme of his work. The author was focused on two topics while writing the play. The first one was war and fight, and the second was international consciousness and unification of the working class. The writer had considered more than thirty optional titles before he chose the final one. It is important to note that Yanovskyi had started creating variants of the title before the text of the play was finished. Therefore, some options had been related to the themes that finally were not manifested in the play, or at least were not presented in scale sufficient for giving ground to the correspondent names. Some of the variants were not only related to the themes of the play but also directly referred to some episodes, sometimes omitted in the final version and kept only in the drafts. Some optional titles implied a wider metaphorical sense. The last approach is relevant for the final title “Zavojovnyky” as well. With this word Yanovskyi didn’t name a physical conquest of some land by some people, but the expansion of the idea of uniting the working class around the globe. The author directly expressed this idea in the final monologue of his play, with the statement that the working class aims to conquer all the world.
46
Fraser, Alexander, and Daniel Marcu. "Measuring Word Alignment Quality for Statistical Machine Translation." Computational Linguistics 33, no. 3 (September 2007): 293–303. http://dx.doi.org/10.1162/coli.2007.33.3.293.
Full textAbstract:
Automatic word alignment plays a critical role in statistical machine translation. Unfortunately, the relationship between alignment quality and statistical machine translation performance has not been well understood. In the recent literature, the alignment task has frequently been decoupled from the translation task and assumptions have been made about measuring alignment quality for machine translation which, it turns out, are not justified. In particular, none of the tens of papers published over the last five years has shown that significant decreases in alignment error rate (AER) result in significant increases in translation performance. This paper explains this state of affairs and presents steps towards measuring alignment quality in a way which is predictive of statistical machine translation performance.
47
Wedel, Andrew, Adam Ussishkin, and Adam King. "Incremental word processing influences the evolution of phonotactic patterns." Folia Linguistica 40, no. 1 (July 26, 2019): 231–48. http://dx.doi.org/10.1515/flih-2019-0011.
Full textAbstract:
AbstractListeners incrementally process words as they hear them, progressively updating inferences about what word is intended as the phonetic signal unfolds in time. As a consequence, phonetic cues positioned early in the signal for a word are on average more informative about word-identity because they disambiguate the intended word from more lexical alternatives than cues late in the word. In this contribution, we review two new findings about structure in lexicons and phonological grammars, and argue that both arise through the same biases on phonetic reduction and enhancement resulting from incremental processing.(i) Languages optimize their lexicons over time with respect to the amount of signal allocated to words relative to their predictability: words that are on average less predictable in context tend to be longer, while those that are on average more predictable tend to be shorter. However, the fact that phonetic material earlier in the word plays a larger role in word identification suggests that languages should also optimize the distribution of that information across the word. In this contribution we review recent work on a range of different languages that supports this hypothesis: less frequent words are not only on average longer, but also contain more highly informative segments early in the word.(ii) All languages are characterized by phonological grammars of rules describing predictable modifications of pronunciation in context. Because speakers appear to pronounce informative phonetic cues more carefully than less informative cues, it has been predicted that languages should be less likely to evolve phonological rules that reduce lexical contrast at word beginnings. A recent investigation through a statistical analysis of a cross-linguistic dataset of phonological rules strongly supports this hypothesis. Taken together, we argue that these findings suggest that the incrementality of lexical processing has wide-ranging effects on the evolution of phonotactic patterns.
48
Garrett, Graeme. "Scripture, Inspiration and the Word of God." Pacifica: Australasian Theological Studies 6, no. 1 (February 1993): 81–99. http://dx.doi.org/10.1177/1030570x9300600105.
Full textAbstract:
This article seeks to restate the idea of the inspiration of scripture in the context of contemporary debates about authority. It is argued that an adequate theory of scripture must be constructed as part of a comprehensive theology of the “word of God”, on the one hand, and a dynamic theology of the Spirit, on the other. In short, the doctrine of the inspiration of scripture cannot be stated in isolation, as if the Bible could be treated as an isolated object, whole and complete in itself. Only as the word of God empowered by the Spirit of God is comprehended in all its dimensions, and as the reception and interpretation of each dimension is apprehended in dialogical relation to the others, can we grasp what is the unique and irreplaceable part that biblical literature plays in the economy of God's self-declaration in human history.
49
Lee, Kiwon, and Suchul Lee. "Knowledge Structure of the Application of High-Performance Computing: A Co-Word Analysis." Sustainability 13, no. 20 (October 12, 2021): 11249. http://dx.doi.org/10.3390/su132011249.
Full textAbstract:
As high-performance computing (HPC) plays a key role in the Fourth Industrial Revolution, the application of HPC in various industries is becoming increasingly important. Several studies have reviewed the research trends of HPC but considered only the functional aspects, causing limitations when discussing the application. Thus, this study aims to identify the knowledge structure of the application of HPC, enabling practical and policy support in various industrial fields. Co-word analysis is mainly used to establish the knowledge structure. We first collected 28,941 published papers related to HPC applications and built a co-word network that used author keywords. We performed centrality analysis and cluster analysis of the co-word network; as a result, we derived the major keywords and 18 areas of HPC applications. To validate the knowledge structure, we conducted a case study to find opportunities for HPC research plans in the research community. As a result, we discovered 17 new research topics and presented their research priorities by conducting expert interviews and Analytic Hierarchy Process. The findings of this study contribute to an understanding of the application of HPC, to exploring promising research fields for technological and social development, and to supporting research plans for successful technology commercialization.
50
Shchetynskyi, O. "Composer’s Word." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 5–13. http://dx.doi.org/10.34064/khnum2-13.01.
Full textAbstract:
Background. During the last century composers show an increasing activity in the fi eld of a literature while writing texts that explain specifi c features of their musical works, their aesthetic, philosophy or attitude to certain cultural phenomena. Sometimes even an analytical essay produced by the composer may characterize the composer’s personality and his/her position in the art. In this aspect, the composer’s texts deliver a vast number of facts directly connected to the heart of aesthetic, social, psychological phenomena of a composer’s activity. In the article an ill-defi ned phenomenon of texts and speeches of a composer on his/her works and on music and art in general is analyzed. The objectives of the study are fi nding the connection between literal and musical works of the composer. The main source of the analysis of a composer’s personality should be musical works, because they contain the complete information about the author, and they may lead to construction of the author’s “portrait” in various aspects – psychological, historical, ideological, etc. Understanding the artistic personality through analysis of his/ her works, although being the most trustworthy method, sometimes is also the hardest, since the author not always manifests himself/herself directly while using various kinds of play-acting. That’s why the analysis of a composer’s speech as an additional fi eld, that refl ects the composer’s personality, may be effective. This method is applied to the published speeches and the interview of Valentyn Sylvestrov. Being applied to his “case”, this analytical instrument explains the reason of his critical speeches against avant-garde aesthetic and its typical adepts (Helmuth Lachenmann, Karlheinz Stockhausen and others). This critic does not mean the change of Sylvestrov’s position since his youth. Although he became known as an avant-gardist in the 1960s, even then – and his early interview (published in 1967) demonstrates this quite clearly – he declared his position which strongly differed from typical avant-garde ideas. His speeches of later time shows similar attitude of the composer to many musical problems, despite these speeches were made almost half a century after his early interview. They describe quite strange situation when the composer’s text, while saying almost nothing about the objects of its criticism, shows fi rst of all Sylvestrov’s own evolution from “soft” avant-garde of the early 1960s to the specifi c and extremely individual stylistics that combines radical and quasiconservative features. This combination in itself is quite unusual both in avant-garde and conventional styles, and proves lyrical nature of his artistic personality, as well as some favorite subjects typical of him both now and half century ago. Composer’s letters show the mental condition of the author in a certain period of his/her life and creative evolution. They give exact information on facts, events, dates, etc., so in this aspect they are irreplaceable. Certain words and a way of description used by an author – and also what he/she omits – directly shape the artist’s nature. It is important to take into account that we do not have to deal with absolute truth but subjective interpretation which may contain (apart the trustworthy details) exaggeration, misunderstanding and wrong conclusions. These very deviations add new features to the artistic “portrait” and may explain the reason this or that feature appears in a musical work. Analysis and even reading composer’s (and any other) letters raise some moral problems. Usually letters are addressed to a certain person or an institution and not intended to be seen by anybody else. We cannot know whether the author would be happy if he/she would know his/her letters are published. Only in the case of a publication during the author’s life this problem may be totally fi xed, as the author’s agreement to such publication seems to be mandatory. While artist’s letters are usually not intended for publication, an interview or dialogues of the artist with “authorized person”, as well as autobiography, an article or memoirs are always created for the public, so the “master” depicts himself in accordance with the way he/she wants the others see and treated him/her. While the literature knows classical example of this genre back from the early 19th century (we mean the wellknown Peter Eckermann’s Conversations with Goethe), the composers start to regularly produce similar texts much later in the 20th century. Despite the technical and aesthetical progress of the 20th century culture stimulated the musicians to create texts, they did not became the obligatory (sometimes because of personal reason). While almost all more or less known musicians gave an interview and created brief speeches on various occasion, just a part of them left the dialogues with extended explanation of the composer’s views on various problems and facts of the art and life. The model example of such texts are the Dialogues if Igor Stravinsky with Robert Craft. Later other outstanding musicians followed them, exactly Jannis Xenakis, Olivier Messiaen, Witold Lutoslawski, Alfred Schnittke and Edison Denisov among the mostly known. Another kind of the author’s word to be widely circulated is an author’s annotation or commentary to the piece. Such a commentary written for a concert leafl et or a festival (LP, CD) booklet is always expected by the recipients, so it plays an exceptional role in understanding the new work and may help to promote it or, in unlucky case, prevent its success. The results of the research prove the importance of the composer’s text for understanding his/her music. Although being a sort of paradox, such texts may show the shortest way to fi nd secret senses and codes of music. so we conclude the literal texts gradually become an integral part of the composer’s work and composer’s life.