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Статті в журналах з теми "Colour lexicon"
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Cáceres-Lorenzo, María-Teresa. "Colour naming and use preferences in Spanish text typologies (1492−1700)." Neuphilologische Mitteilungen 123, no. 2 (December 23, 2022): 61–87. http://dx.doi.org/10.51814/nm.112068.
Повний текст джерелаАнотація:
This article is intended to provide a quantitative analysis of colour names and their appearance in certain text typologies between 1492 and 1700. The terms for colour increased in Spain’s Golden Age because of the need to describe Spanish and American reality in detail. A review of the specialised literature has provided us with a lexicon of 499 terms of which 277 colour words are recorded in Golden Age documents according to various diachronic corpora. The method for collecting and analysing texts has provided a lexicon of 66 terms for colour with different degrees of preference for a specific type of document. In addition, 23 of these words have been found to indicate greater numerical specialisation by typology. These lexical units are mediaeval terms used especially in scientific prose and lyric, followed by historiography and society prose. These quantitative data represent the initial stage of research to which other issues must be added in the future such as the context in which these terms appear and the semantic changes that occur in each of the texts.
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Guz, Marzena. "Kolory w reportażach Melchiora Wańkowicza. Reportaże z części Kraj lat dziecinnych w tomie Anoda i katoda." Białostockie Archiwum Językowe, no. 22 (2022): 135–46. http://dx.doi.org/10.15290/baj.2022.22.07.
Повний текст джерелаАнотація:
This study analyses the names of the colours used by the author of the reportages. The research method is based on finding answers to the following questions: What colours does the author write about? Which of them prevail? What do they refer to? What stylistic functions do the names of the colours fulfill? What names appear in various colour fields? What parts of speech are the colours represented by? The lexicon of colour words in the reportages under consideration is quite rich. Colours are related to people, animals, plants, landscapes and artefacts, and their function is to describe the appearance of the characters and their beauty, depict their clothing and their mental state, portray the reality of the Borderlands, mainly the landscape. Most often, they are used as epithets. The names in the colour field are not ifferentiated. Colours are most often represented by adjectives, less frequently by nouns, verbs, active and passive participles and adverbs. Occasionally, adjectival compounds are used.
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Andrick, Gail Rex, and Helen Tager-Flusberg. "The acquisition of colour terms." Journal of Child Language 13, no. 1 (February 1986): 119–34. http://dx.doi.org/10.1017/s0305000900000337.
Повний текст джерелаАнотація:
ABSTRACTThe acquisition of colour terms in pre-school-aged children was investigated in two studies. The first study explored the role of conceptual factors in 2-, 3- and 4-year-old children's performance on two tasks. Comprehension and production of basic colour words were tested using stimuli that varied in focality. The results confirmed earlier research demonstrating the important and early influence of focality on children's colour concepts and developing colour lexicon. However, only moderate support was obtained for the order-of-acquisition hypothesis proposed by Berlin & Kay (1969). Quite large discrepancies between comprehension and production were found in this study, with no clear relationship between these two performances. In the second study the role of maternal input on children's learning of colour words was investigated, using the spontaneous speech transcripts from Adam, Eve and Sarah. Significant correlations between mothers' and children's uses of specific colour words were found across all three subjects. The findings from both studies confirm that both conceptual and environmental factors are important in shaping the child's developing colour concepts and colour lexicon, particularly for mapping out the boundaries of the basic colour spaces, which are culturally, rather than innately, determined.
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Koptjevskaja-Tamm, Maria. "Semantic maps and temperature: Capturing the lexicon-grammar interface across languages." Zeitschrift für Sprachwissenschaft 41, no. 1 (June 1, 2022): 125–77. http://dx.doi.org/10.1515/zfs-2021-2042.
Повний текст джерелаАнотація:
Abstract Traditionally, lexical typology has to a large extent been interested in lexical categorization of various cognitive domains (e. g., colour, perception, body), i. e., in how these are cut up by the most important words in a language, and in lexical motivation, or formal relatedness, i. e., in whether words for certain concepts are completely unrelated or related to others via polysemy or derivation (e. g., intransitive vs. transitive verbs, words for ‘day’ and ‘sun’, etc.). Grammatical behavior of words and morphosyntactic patterns as encoding meanings traditionally belong to grammatical typology. In this paper, I consider the domain of temperature and show how the close interaction between lexicon and grammar in the encoding of the temperature domain across languages calls for an integrated lexico-grammatical approach to these phenomena. As a useful tool for such an enterprise I suggest an elaborated semantic map comprising three layers – the layer specifying the words with the information on their mutual formal relations (i. e., whether they are identical, completely unrelated or related via derivation or inflection), their morphosyntactic properties (e. g., their part-of-speech affiliation, inflectional potential, etc.), and the constructions they occur in.
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Espinosa Zaragoza, Isabel. "Colour and gender: language nuances." Feminismo/s, no. 38 (July 13, 2021): 115. http://dx.doi.org/10.14198/fem.2021.38.05.
Повний текст джерелаАнотація:
It is a deeply rooted belief that women possess a richer colour vocabulary than men (Rich, 1977). According to Lakoff, certain adjectives denoting colour (e.g. mauve) would never be naturally chosen by men unless they were «imitating a woman sarcastically, or a homosexual, or an interior decorator» (1973, p. 49). Are these affirmations adjusted to our present reality? Nowadays, colour is present in almost every economic sector. Consequently, a proficient use of colour vocabulary is expected from professionals, regardless of their gender. Hence, if the differences in colour vocabulary are learnt and highly dependent on the user’s necessities and expectations, then said differences after globalisation and exposure to the Internet should not be so striking. With this objective in mind, this study analyses colour elicitation performed by university students. Both their descriptive capacity and colour lexicon availability are measured depending on students’ colour terms usage. Furthermore, potential reasons for variation are provided.
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Jakovljev, Ivana, and Suncica Zdravkovic. "The colour lexicon of the Serbian language - a study of dark blue and dark red colour categories Part 1: Colour-term elicitation task." Psihologija 51, no. 2 (2018): 197–213. http://dx.doi.org/10.2298/psi160521002j.
Повний текст джерелаАнотація:
In this study, we linguistically investigated Serbian colour terminology. We administrated colourterm elicitation task aiming to establish the inventory of basic colour terms (BCTs) in the Serbian language and, in particular, to investigate the salience and the status of colour terms teget ?dark blue? and bordo ?dark red?. Native speakers of Serbian (N = 83) participated in a list task (Morgan & Corbett, 1989), in which they had to list as many Serbian colour terms as possible during five minutes. Based on the collected data, we calculated frequency of each term, its mean position and two indexes of salience. Results showed that 11 Serbian most salient colour terms correspond to the eleven BCTs found by Berlin and Kay (1969), namely, plavo ?blue?, crveno ?red?, zuto ?yellow?, zeleno ?green?, crno ?black?, belo ?white?, ljubicasto ?purple?, narandzasto ?orange?, sivo ?grey?, roze ?pink?, and braon ?brown?, but that basic status of braon needs to be further examined. Teget ?dark blue? and bordo ?dark red?, along with tirkizno ?turquoise? and oker ?ochre? were frequently used, with higher salience indices than other non-BCTs. Further research is needed to find out whether teget and bordo meet criteria of BCTs in the Serbian language.
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Claidière, Nicolas, Yasmina Jraissati, and Coralie Chevallier. "A Colour Sorting Task Reveals the Limits of the Universalist/Relativist Dichotomy: Colour Categories Can Be Both Language Specific and Perceptual." Journal of Cognition and Culture 8, no. 3-4 (2008): 211–33. http://dx.doi.org/10.1163/156853708x358155.
Повний текст джерелаАнотація:
AbstractWe designed a new protocol requiring French adult participants to group a large number of Munsell colour chips into three or four groups. On one, relativist, view, participants would be expected to rely on their colour lexicon in such a task. In this framework, the resulting groups should be more similar to French colour categories than to other languages categories. On another, universalist, view, participants would be expected to rely on universal features of perception. In this second framework, the resulting groups should match colour categories of three and four basic terms languages. In this work, we first collected data to build an accurate map of French colour terms categories (Experiment 1). We went on testing how native French speakers spontaneously sorted a set of randomly presented coloured chips and, in line with the relativist prediction, we found that the resulting colour groups were more similar to French colour categories than to three and four basic terms languages (Experiment 2). However, the same results were obtained in a verbal interference condition (Experiment 3), suggesting that participants rely on language specific and nevertheless perceptual, colour categories. Collectively, these results suggest that the universalist/relativist dichotomy is a too narrow one.
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Grossmann, Maria, and Paolo d’Achille. "I termini di colore nelle aree bianco, nero e grigio nella storia dell’italiano." Studia Universitatis Babeș-Bolyai Philologia 67, no. 1 (March 25, 2022): 155–80. http://dx.doi.org/10.24193/subbphilo.2022.1.10.
Повний текст джерелаАнотація:
"Colour Terms in the WHITE, BLACK and GRAY Areas in the History of the Italian Language. The present article is part of several studies that the authors have dedicated to the history of Italian colour terms. The Introduction illustrates some of the theses of Berlin, Kay (1969), with particular reference to the distinction between basic and non-basic terms. § 2 is dedicated to the Latin colour terms in the WHITE, BLACK and GRAY areas and their reflexes in the Romance languages. In § 3 the resources used for the research are presented. In §§ 3.1. (From Old Italian to the 19th century) and 3.2. (From the end of the 19th century to today’s Italian) the historical evolution and contemporary use of basic terms and other non-transparent colour terms are analyzed, also focusing on their figurative meanings and on the fixed collocations in which they occur. § 3.3. deals briefly with the terms formed by means of various morphological and syntactic devices that are most frequently used in Italian for the enrichment of the colour lexicon. Keywords: semantics, word-formation, colour terms, Italian "
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Chiknaverova, Karine G. "APPROACHES TO TRANSLATING LEGAL VOCABULARY CONTAINING COLOUR ADJECTIVES INTO RUSSIAN." Bulletin of Chelyabinsk State University 487, no. 5 (July 16, 2024): 15–25. http://dx.doi.org/10.47475/1994-2796-2024-487-5-15-25.
Повний текст джерелаАнотація:
Research on color-denoting adjectives primarily focuses on describing color designations in individual languages, historical contexts, and literary genres. There are fewer results based on professional texts, and color-denoting adjectives within legal texts have not been thoroughly studied. The goal of this article is to complement existing research by describing the semantic characteristics of color components found in legal lexicon and their translation into Russian. To analyze the semantic and structural composition of terms containing color-related components, we applied a method of continuous sampling and cluster analysis. Additionally, we used a compara-tive-contrastive analysis to examine translation methods for selected lexical units into Russian. Our sources included English-English, bilingual dictionaries of legal terms and encyclopedias. The study identifi ed ten colors refl ected in various terms used in legal communication. We described their quantitative and structural characteristics, com-ponent-based semantic composition, and established translation methods. The identifi ed lexical units encompass verbs, nouns (including compound nouns), adjectives, and fi xed expressions. We identifi ed relationships of contrast, complete equivalence, shifts in meaning, and unrelated meanings within their semantic fi elds. The research fi ndings can be applied in legal translation courses, particularly for analyzing vocabulary characterized by metaphorical transfer and idiomatic expressions. Nearly all units have been translated resorting to multiple translation techniques, although their frequency of use varies. In total, we identifi ed 22 translation methods, including subtypes. Most terms are translated through calque and explanatory translation. Some terms are translated with the help of a combination of translation methods, primarily involving calquing, identifi cation of their equivalents, or descriptive translation.
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D’Achille, Paolo, and Maria Grossmann. "Storia dei termini di colore italiani nell'area ROSA." Globe: A Journal of Language, Culture and Communication 17 (December 18, 2023): 12–20. http://dx.doi.org/10.54337/ojs.globe.v17i.8195.
Повний текст джерелаАнотація:
This article is part of a series of studies that the authors have dedicated to the history of Italian colourterminology. §1. highlights some of the theses of Berlin & Kay (1969) and other scholars, with particularreference to the distinction between basic and non-basic terms. §2. is dedicated to the history of colour termsin the PINK area from Old Italian to contemporary Italian, and to the emergence of rosa as a basic colour term.This section also delves into their figurative meanings and the fixed collocations in which they occur. §3. dealswith the terms formed by means of morphological devices that are most frequently used in Italian to enrich thecolor lexicon.
Дисертації з теми "Colour lexicon"
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Airiau, Mecthilde. "Les mots et les usages de la couleur chez les peintres du Trecento florentin." Electronic Thesis or Diss., Sorbonne université, 2025. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2025SORUL017.pdf.
Повний текст джерелаАнотація:
Cette thèse s'attache à montrer les usages et les fonctions de la couleur dans la peinture sur panneau de bois florentine au Trecento. Il s'agit du premier travail sur la question qui, pour dépasser la seule analyse des teintes, s'appuie sur une méthode pluridisciplinaire convoquant la lexicographie, les études matérielles et les analyses visuelles. Afin de déterminer la place de la couleur dans la société florentine, la première partie donne lieu à une vaste enquête sur le vocabulaire de la couleur dans les langues italiennes du Trecento, qui permet de constater l'importance du rouge pour la société florentine, d'une part, et la neutralité des termes de couleur indépendamment de tout contexte d'autre part. La deuxième partie est l'occasion d'une synthèse sur l'étude des sources de l'histoire matérielle de la couleur et d'un panorama des matériaux employés et de leur mise en œuvre. Elle met en évidence la complexité inhérente à la technique de la tempera et la systématicité de mise en œuvre des pigments qui en résultent, ce qui n'exclut pas pour autant une certaine adaptabilité de la technique aux désirs des peintres. Enfin, la troisième partie examine le fonctionnement et les fonctions de la couleur dans les images, tant d'un point de vue iconographique que pictural. L'étude met ainsi au jour les systèmes qui gouvernent les choix des peintres en matière de couleur en montrant que, si on peut révéler certaines préférences individuelles, le déploiement des couleurs dans les peintures sur panneau de bois répond à des logiques iconographique, rhétoriques et fonctionnelles, elles-mêmes découlant du contexte intellectuel, religieux et artistique dans lequel elles s'inscriventThis thesis investigates the uses and functions of colour in Florentine panel painting of the Trecento. As the first study on this topic, it moves beyond a mere analysis of hues, using a multidisciplinary approach that incorporates lexicography, material studies, and visual analysis. To determine the role of colour within Florentine society, the first section undertakes a comprehensive examination of colour vocabulary in 14th-century Italian languages, revealing both the significance of red within Florentine culture and the neutrality of colour terms regardless of context. The second section provides a synthesis of previous studies on the material history of colour and an overview of the materials and their application techniques. It highlights the inherent complexity of tempera techniques and the systematic use of pigments, while also allowing for some adaptability to artists' preferences. Finally, the third section examines the functions of colour within images, from both iconographic and pictorial perspectives. This study brings to light the systems underpinning painter colour choices, showing that, while certain individual preferences may be identified, the use of colour in panel paintings follows iconographic, rhetorical, and functional rationales reflecting the intellectual, religious, and artistic context of the period
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Moore, Richard William. "The lexicons of colour and sound and their thematic roles in T.E. Lawrence's 'The Mint'." Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/24994.
Повний текст джерелаАнотація:
This study examines the identity of the concept of literary themes in narratives. It aims to deepen awareness of the nature of themes and to explore the role of lexical sets of semantic fields in recovering them. Chapter One upholds the importance of the notion of themes in literary understandings of texts, surveys difficulties involved in establishing what themes are and aims to establish a provisional understanding of the concept of themes. It examines the thematic literature from a narratological viewpoint, assembling an approach based particularly on work by Prince (1987, 1992), Rimmon-Kenan (1995) and Chatman (1983). Chapter Two focuses on theory concerning the processes of interpreting themes in narratives. Reviewing psycholinguistic literature on possible mental processes involved in identifying themes in narratives, the chapter develops an account of how a reader might process textural themes. Underpinning the account is schema theory and the textual inference-making that it implies. It is argued that reading, processing and distilling themes entails a combination of understanding the text literally and making inferences from it based upon activation of individual schemas. Chapter Three asserts the importance of lexical sets or semantic fields in the process of theme identification. Both the affective and the cognitive aspects of reader response, where textual meaning is achieved as a description of the experience of temporal response (Fish 1980), are implicated in the process of theme recovery. A survey of applied stylistic studies of literary texts suggests that lexis may have a fundamental role in this process. Chapters Four and Five analyse the thematic roles of the colour and sound lexicons in The Mint. Colour terms are found to contribute to four themes in Parts One and Two, two of which are extended and developed in Part Three. Sound terms are found to contribute to a ‘theme of idyllicness’ throughout the text. Chapter Six addresses the rationale for including a second text, Goodbye to All That, for comparison with The Mint. It is argued that there are grounds (Genette 1980, Simpson 1993) for upholding generic similarities between the two texts.
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Yutzy, Evan. "Nifty Shades of Beige: The Exploration of Color Lexicology Related to Sexual Identity." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1430744655.
Повний текст джерела
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Violette, Aimee Noelle. "Evolutionary Order of Basic Color Term Acquisition Not Recapitulated by English or Somali Observers in Non-Lexical Hierarchical Sorting Task." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1545342701702227.
Повний текст джерела
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Jerônimo, Isabel Cristiane [UNESP]. "O léxico do preconceito no discurso jornalístico." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/102472.
Повний текст джерелаАнотація:
Made available in DSpace on 2014-06-11T19:32:09Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-02-16Bitstream added on 2014-06-13T20:42:48Z : No. of bitstreams: 1
jeronimo_ic_dr_assis.pdf: 801070 bytes, checksum: 090fc1471c994561a2688e45a834ea55 (MD5)Envolvida pelo contexto social, histórico e ideológico, a palavra configura-se como principal elemento inserido no discurso, capaz de expressar as concepções acerca da realidade construídas por um determinado grupo. Assim, a seleção lexical empreendida por um enunciador na construção de seu discurso, produz sentidos que são reafirmados ou não ao longo da história de uma sociedade. Esses sentidos dependem da visão que ele faz de si mesmo e do seu interlocutor, da imagem que constrói daquele de quem fala e das exigências sociais, ideológicas e culturais a que está exposto em sua comunidade. O presente trabalho aborda o papel do léxico no discurso do preconceito de cor nas conflituosas relações entre negros e não-negros na sociedade brasileira. Utilizando como corpus de análise os jornais A Província de S. Paulo(1875) e o caderno especial da Folha de S. Paulo, Racismo cordial, de 1995, temos como objetivo analisar de que forma as representações sociais acerca do negro, veiculadas pelos jornais, modificaram-se ou não ao longo do tempo,levando-se em conta as relações interdiscursivas.
Involved by the social, historical and ideological context, the word characterizes as the main element inserted on the discourse, it is able to mean the conceptions of the reality constructed by a determined group. This way, the lexical selection made by the speaker, when elaborating his discourse, produces meanings which are reassured or not along the history of society. These meanings depend on the way he sees himself and his interlocutor, the image he constructs of the one who speaks and the social, ideological and cultural demands he is exposed to in his community. This paper is about the functions of the lexicon in the discourse about color prejudice on the conflictual relations between the negroes and non-negroes in the brazilian society. Making use of the newspapers A Provincia de São Paulo (1875) and the special edition from Folha de S. Paulo, Racismo Cordial, from1995, as corpus of analysis, we aim to analyse if the way the social representation about the negro propagated by the newspaper changed or not along the way, considering the interdiscursive relations.
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Jerônimo, Isabel Cristiane. "O léxico do preconceito no discurso jornalístico /." Assis : [s.n.], 2007. http://hdl.handle.net/11449/102472.
Повний текст джерелаАнотація:
Orientador: Antonieta LafaceBanca: Maria Vicentina de Paula Dick
Banca: Jeni Silva Turazza
Banca: Maria Cecília Zanon
Banca: Maria do Rosário Gomes Lima da Silva
Resumo: Envolvida pelo contexto social, histórico e ideológico, a palavra configura-se como principal elemento inserido no discurso, capaz de expressar as concepções acerca da realidade construídas por um determinado grupo. Assim, a seleção lexical empreendida por um enunciador na construção de seu discurso, produz sentidos que são reafirmados ou não ao longo da história de uma sociedade. Esses sentidos dependem da visão que ele faz de si mesmo e do seu interlocutor, da imagem que constrói daquele de quem fala e das exigências sociais, ideológicas e culturais a que está exposto em sua comunidade. O presente trabalho aborda o papel do léxico no discurso do preconceito de cor nas conflituosas relações entre negros e não-negros na sociedade brasileira. Utilizando como corpus de análise os jornais A Província de S. Paulo(1875) e o caderno especial da Folha de S. Paulo, Racismo cordial, de 1995, temos como objetivo analisar de que forma as representações sociais acerca do negro, veiculadas pelos jornais, modificaram-se ou não ao longo do tempo,levando-se em conta as relações interdiscursivas.
Abstract: Involved by the social, historical and ideological context, the word characterizes as the main element inserted on the discourse, it is able to mean the conceptions of the reality constructed by a determined group. This way, the lexical selection made by the speaker, when elaborating his discourse, produces meanings which are reassured or not along the history of society. These meanings depend on the way he sees himself and his interlocutor, the image he constructs of the one who speaks and the social, ideological and cultural demands he is exposed to in his community. This paper is about the functions of the lexicon in the discourse about color prejudice on the conflictual relations between the negroes and non-negroes in the brazilian society. Making use of the newspapers A Provincia de São Paulo (1875) and the special edition from Folha de S. Paulo, Racismo Cordial, from1995, as corpus of analysis, we aim to analyse if the way the social representation about the negro propagated by the newspaper changed or not along the way, considering the interdiscursive relations.
Doutor
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Camblats, Anna-Malika. "Etude des processus d’activation et d’inhibition lexico-émotionnelles dans des tâches de reconnaissance visuelle de mots et de catégorisation de couleurs de mots." Thesis, Bordeaux, 2015. http://www.theses.fr/2015BORD0367/document.
Повний текст джерелаАнотація:
L'objectif de cette thèse était d‟étudier les processus d'activation et d'inhibition lexicales sous-tendant la lecture de mots et de déterminer le rôle du système affectif sur ces processus chez l'adulte. Pour cela, nous avons testé les effets de fréquence du voisinage orthographique et de l'émotionalité de ce voisinage dans plusieurs tâches cognitives. Les résultats ont montré un effet de fréquence du voisinage orthographique qui était inhibiteur dans des tâches de reconnaissance visuelle de mots (Expériences 1-4) et facilitateur dans des tâches de catégorisation de couleur de mots (Expériences 6-8). L'inhibition lexicale ralentirait la reconnaissance du mot stimulus et diminuerait ainsi son effet d'interférence dans des tâches de type Stroop. De plus, la valence et le niveau d'arousal du voisin plus fréquent modifiaient également la vitesse de reconnaissance du mot stimulus (Etude préliminaire, Expérience 1-5) et la catégorisation de sa couleur (Expériences 6, 7 et 9). Le système affectif s'activerait lors de la lecture de mots avec un voisin émotionnel et modifierait la propagation d'activation et d'inhibition lexico-émotionnelles. De plus, les résultats indiquaient que ces effets de voisinage orthographique étaient sensibles aux caractéristiques des participants. Une diminution de l'effet de fréquence du voisinage selon l'âge a été montrée et interprétée en termes de déficits conjoints d'activation et d'inhibition lexicales (Expériences 4, 5, 8 et 9). Enfin, l'effet du voisinage émotionnel obtenu suggérait une préservation des processus lexico-émotionnels avec l'avancée en âge (Expériences 4, 5 et 9), mais cet effet était corrélé négativement avec le niveau d'alexithymie des individus (Expériences 2, 4 et 6). Dans l'ensemble, ces données soulignent l‟importance de la prise en compte du système affectif dans les modèles de reconnaissance visuelle des motsThe aim of this thesis was to study lexical activation and inhibition processes underlying word reading and to determine the role of affective system on these processes in adults. For this, we investigated the effects of orthographic neighbourhood frequency and emotionality of this neighbourhood in several cognitive tasks. Results showed an orthographic neighbourhood frequency effect that was inhibitory in visual word recognition tasks (Experiments 1-4) and facilitatory in colour categorization tasks (Experiments 6-8). Lexical inhibition likely slows down the recognition of the stimulus word as well as diminishing its interference effect in Stroop-like tasks. Moreover, emotional valence and arousal level of the higher-frequency neighbour also modified the speed of stimulus word recognition (Preliminary study, Experiments 1-5) and its colour categorization (Experiments 6, 7 and 9). Thus, the affective system would be activated during reading of words with an emotional neighbour and would modify the spread of lexico-emotional activation and inhibition. Moreover, results indicated that these orthographic neighbourhood effects were sensitive to participants‟ characteristics. A decreaseof the orthographic neighbourhood effect depending on age was shown and interpreted in terms of deficits in both activation and inhibition processes (Experiments 4, 5, 8 and 9). Finally, the emotional neighbourhood effect that was obtained suggested a preservation of lexico-emotional processes with advance in age (Experiments 4, 5, and 9), but this effect was negatively correlated with individuals' level of alexithymia (Experiments 2, 4, and 6). Taken together, thes data underline the importance of taking the affective system into account in models of visual word recognition
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Тарасова, Л. В., та L. Tarasova. "Лексические средства описания природы в поэзии Гу Чэна". Thesis, Харківський національний педагогічний університет імені Г. С. Сковороди, 2021. http://dspace.hnpu.edu.ua/handle/123456789/5290.
Повний текст джерелаАнотація:
В статье проанализированы лексические особенности описания природы в поэзии Гу Чэна, одним из главных представителей «туманной поэзии». Гу Чэн привнес новые оттенки в поэзию, он показывает нам различия между миром людей и миром природы, которая смогла заменить ему общение с людьми. Его творчество меняет понимание мира в целом, заставляет задуматься о настоящем и помогает по-иному взглянуть на природу как на главный источник «настоящего, естественного» человека. Эпитеты-колоративы использовались поэтом не только для описания природы, но и для создания определенной атмосферы. У статті проаналізовано лексичні особливості опису природи в поезії Гу Чена, одним з головних представників «туманної поезії». Гу Чен привніс нові відтінки в поезію, він показує нам відмінності між світом людей і світом природи, яка змогла замінити йому спілкування з людьми. Його творчість змінює розуміння світу в цілому, змушує задуматися про сьогодення і допомагає по-іншому поглянути на природу як на головне джерело «справжньї, природної» людини. Епітети-колоратіви використовувалися поетом не тільки для опису природи, а й для створення певної атмосфери. The article analyses the lexical features of nature description in the poetry of Gu Cheng, one of the main representatives of "foggy poetry". Gu Cheng has brought new nuances in poetry, he shows us the differences between the world of people and the world of nature, which was able to replace his communication with people. His work changes the understanding of the world as a whole, makes us think about the present and helps us see nature in a different way as the main source of the "real, natural" man. The epithets-coloratives were used by the poet not only to describe nature, but also to create a certain atmosphere.
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Olsson, Lönn Eva M. "Thérèse Raquin d’Émile Zola : Répétitions lexicales, réseaux sémantiques et leurs traductions suédoises." Doctoral thesis, Stockholms universitet, Institutionen för franska, italienska och klassiska språk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-89130.
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The subject of this thesis is Emile Zola’s novel Thérèse Raquin (1867). The principal aim is to examine lexical repetitions and their importance for semantic networks. The thesis studies the use of the noun cou and certain of its co-occurrences, as well as the use of colours and their derivatives. Employing the methods of Greimas and Rastier, the study is based upon two analyses, one narratological and the other thematic, an approach which allows us not only to study the importance of lexical repetitions, but also to study another aspect of the writing, Zola’s various sources of inspiration. This approach aids in showing the stylistic profile of the novel from a new perspective. Our second aim concerns the Swedish translations of the text. The degree of equivalence of lexical repetitions and their transmission has been studied in three versions (Wilson, 1884, Bjurman, 1911, and Bouleau, 1953). Our analysis draws on Berman’s and Heldner’s ideas about the critical evaluation of translated literary texts. The results of this thesis show that Zola, in Thérèse Raquin, uses lexical repetitions to create a stylistic effect that not only draws inspiration from literary and artistic sources, but that is also inspired by real events of the time. These stylistic properties, such as the system of colour leitmotivs, must be conveyed in a translation that is to be considered faithful to the original. The findings of this study suggest that there is a dependency between two of the examined versions and that it would be desirable to produce a new Swedish translation of the novel, equivalent to Zola’s text.Le roman Thérèse Raquin (1867) d’Émile Zola est l’objet d’étude de la présente thèse. Le premier but est d’y examiner des répétitions lexicales et leur importance pour des réseaux sémantiques. Nous y étudions l’emploi du nom cou et certaines de ses co-occurrences, ainsi que des couleurs et leurs dérivés présents. Suivant des méthodes de Greimas et Rastier, l’étude s’effectue au moyen de deux analyses, l’une narratologique, l’autre thématique, ce qui nous permet non seulement d’examiner l’importance des répétitions lexicales, mais aussi d’étudier un aspect supplémentaire de l’écriture, les diverses sources d’inspiration de Zola. Cette approche contribue à montrer, dans une perspective nouvelle, le profil stylistique du roman. Notre deuxième but concerne des traductions suédoises du texte. Dans trois versions (Wilson, 1884, Bjurman, 1911, et Bouleau, 1953), est évalué le degré d’équivalence des répétitions lexicales et la transmission des répétitions lexicales examinées. Pour notre analyse, nous nous servons des idées de Berman et de Heldner, qui traitent le sujet d’évaluation critique de textes littéraires traduits. Les résultats de la présente thèse montrent que Zola, dans Thérèse Raquin, utilise les répétitions lexicales pour créer un effet de style qui puise son inspiration non seulement dans des sources littéraires et artistiques, mais aussi dans des événements de la réalité de son époque. Ces propriétés stylistiques, comme la systématique des leitmotivs des couleurs, doivent être rendues dans une traduction censée être fidèle à l’original. Les analyses de notre étude évoquent qu’il y a une dépendance entre deux des versions examinées et qu’il est souhaitable de produire une nouvelle traduction suédoise du roman, équivalente au texte de Zola.
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Hsieh, Tsuei-Ju, and 謝翠如. "Color Terms and Lexical Color Category Space." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/35858542582398005582.
Повний текст джерелаАнотація:
博士國立交通大學
應用藝術研究所
98
The lexical color categorization is a critical mechanism within color perception, which involves sorting visual responses of lights into certain color categories and coding them with language. The issue of verbalizing color experience, or color naming, had drawn many attentions from visual psychologists, linguistic anthropologists, and color scientists. Some anthropologists suspected that the amount of color vocabulary circulated within a language could be positively related to the technological and cultural complexity held by the speakers. However, the development status of Mandarin regarding color categories and the naming could not be fully clarified based on the existing data. Besides the theoretical impact on linguistic anthropology, the behavior of naming the color experience is also considered a mirror reflecting the cognitive structure of inner structure of color space. English color naming is a well-discussed topic, and there were over a hundred of different languages in previous extensive color naming survey (WCS). However, there is still a considerable vacancy of empirical color naming data in the relevant domain. The study aims at establishing the groundwork of lexical color terms and categories in Mandarin by collecting empirical data from native speakers. This fundamental-orientated study holds several specific objectives: 1. to investigating synchronic Mandarin color lexicon and the popularity of frequent color vocabularies. 2. to acquire behavioral data of color naming. 3. to determine Mandarin basic color terms by analyzing results of empirical the survey. 4. to locating Mandarin speakers’ foci and boundaries of known lexical color categories in a standardized chromaticity diagram. The empirical works in the study includes: 1. a free-recall survey of prevalent color terms involving 189 informants who are native Mandarin speakers. The gathered data would help establishing color lexicon of current cultural context. 2. a free color naming experiment with written color terms and response times as dependent variables. It is supposed that these variables provide not only the simple popularity counts of color terms, but also an index to the psychological links between color categorization and naming. 3. a 12-terms color sorting experiment. There are 461 color stimuli varying in hue, saturation and brightness in this experiment and participants were asked to sort them into twelve color terms. The results of the three empirical works found 1. there are twelve Mandarin color terms are consistently recalled and named, 紅(Hung), 橘(Ju), 黃(Huang), 綠(Lu), 藍(Lan), 紫(Zi), 黑(Hei), 灰(Hui), 白(Bai), 咖啡(Ka-fei), 粉紅(Feng-Hung) and 桃紅(Tao-hung). These terms are corresponding to the eleven color categories found by linguistic anthropologists Berlin and Kay, and can be regarded as basic Mandarin color terms. 2. There are eight tone modifiers found to be frequently used in the free naming experiment,亮(bright),暗(dark), 淡(pale), 粉(powder), 淺(light), 深(deep), 偏(-ish), and正(central, correct). 3. Comparing with English color naming study, current Mandarin color naming result in using more compound color terms and less basic or monolexemic color terms. The response times of Mandarin color naming are longer, and participants’ confidence scores are lower. 4. Comparing the current results with Japanese color sorting experiment in similar viewing condition, the location of blue-green boundary is quite different in two studies. Generally, this study conducted the exploratory survey on modern Mandarin color terms and color naming, and also provides the experimental data of the space of Mandarin lexical color categories. These results complement the empirical vacancy in the related field in world community, and also serve as the backbone in further studies.
Книги з теми "Colour lexicon"
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Webb, J. Barry. A Shakespeare lexicon of colour. Hastings: Cornwallis Press, 2001.
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2
Ian, Paterson, and Ian Paterson. A dictionary of colour: A lexicon of the language of colour. London: Thorogood, 2003.
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3
Rudolf, Suntrup, ed. Lexikon der Farbenbedeutungen im Mittelalter. Köln: Böhlau Verlag & Cie., 2011.
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A Dictionary of Colour: A Lexicon of the Language of Colour. Thorogood Publishing, 2005.
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Rohdie, Sam. Fellini Lexicon. British Film Institute, 2002. http://dx.doi.org/10.5040/9781838710811.
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Federico Fellini (1920-93) was one of the most inventive of film-makers and he remains one of the best loved. Director of a whole series of celebrated films - among them La Strada (1954) The Nights of Cabiria (1957), La Dolce Vita (1960), Otto e Mezzo (1963) and Amarcord (1973) - he created melancholy, magical worlds peopled by clowns, dreamers, conmen, trumpeters and werewolves. Fellini Lexicon explores the forms and substances, significances and insignificances, objects and shadows in Fellini’s work - the dance and music of his characters, the colour, light, and movement in his images. The Lexicon accompanies Fellini’s films, rather than seeking to possess them, taking pleasure in their incongruities, exaggerations, absurdities and surprises. The entries are reversible, overlapping, often unlikely, combining careful analysis of the films with a celebration of their richness. Fellini Lexicon is an original, delightful approach to Fellini’s work and to the practice of film criticism.
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Jones, William Jervis. Historisches Lexikon deutscher Farbbezeichnungen (German Edition). Akademie Verlag, 2013.
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Paterson, Ian. A Dictionary of Color: A Lexicon of the Language of Color. Thorogood, 2003.
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3d Modeling Animation And Rendering An Illustrated Lexicon Color Edition. Createspace, 2010.
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Axelrod, Herbert R. The Most Complete Colored Lexicon of Cichlids: Every Known Cichlid Illustrated in Color. 2nd ed. TFH Publications, 1996.
Знайти повний текст джерелаЧастини книг з теми "Colour lexicon"
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Bährle-Rapp, Marina. "nail color." In Springer Lexikon Kosmetik und Körperpflege, 372. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71095-0_6844.
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Steuten, Ans A. G., Frank Dehne, and Reind P. van de Riet. "WordNet++: A Lexicon Supporting the Color-X Method." In Natural Language Processing and Information Systems, 1–16. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/3-540-45399-7_1.
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Bährle-Rapp, Marina. "no color mascara." In Springer Lexikon Kosmetik und Körperpflege, 379. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71095-0_6990.
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Archibald, John. "A lexical model of color space." In Linguistic Categorization, 31. Amsterdam: John Benjamins Publishing Company, 1989. http://dx.doi.org/10.1075/cilt.61.04arc.
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Mora, Joan C., and Jonás Fouz-González. "Contrastive input enhancement in captioned video for L2 pronunciation learning." In Language Learning & Language Teaching, 150–75. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/lllt.61.07mor.
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This study investigated the potential of input enhancement in captioned video to facilitate learners’ perceptual sensitivity to a difficult L2 vowel contrast (/æ/-/ʌ/). Participants were randomly assigned to two control and four experimental viewing conditions to explore the effects of audiovisual input (a 30-minute TV episode) on perceptual learning. Textual enhancement on captions highlighted target sounds contrastively (two colors) or non-contrastively (one color) in words transcribed orthographically or in IPA phonetic symbols. Learners’ /æ/-/ʌ/ perception gains were assessed through lexical and phonetic identification and discrimination tasks. Eye-gaze measures were used to determine the effectiveness of enhancement in drawing learners’ attention to the target contrast across viewing conditions. Perceptual learning was observed, although not always consistently across tasks and conditions.
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Stein, Daniel. "Walker, Alice Malsenior: The Color Purple." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18838-1.
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Bährle-Rapp, Marina. "Coleus Barbatus Extract." In Springer Lexikon Kosmetik und Körperpflege, 124. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71095-0_2318.
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Borst, Julia. "Mba Abogo, César A.: El porteador de Marlow / Canción negra sin color." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05728-0_23269-1.
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Hofmann, Joseph Ehrenfried, and Gábor Áron Zemplén. "Newton, Isaac: Opticks or a Treatise of the Reflections, Refractions, Inflections & Colours of Light." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15445-1.
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Vicario, Federico. "I colori dei nomi." In Von Salzburg über Ladinien und das Aostatal bis Sizilien Wo sich Geolinguistik, Dialektometrie und Soziolinguistik treffen. Istitut Ladin Micurá de Rü, 2024. http://dx.doi.org/10.54218/festschrift.rb.401-412.
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The availability of a large corpus of practical documents, between the 13th and 15th centuries, provides an opportunity to explore various aspects related to the forms and structures of early Friulian, cf. <www.dizionariofriulano.it>. One of these aspects is undoubtedly the variety and complexity of the lexicon, which is expressed through numerous forms related to tools of the material culture of the time, but also to community life and the administration of the institutions that produced such documents. Some elements of the common lexicon are used as nicknames, i.e. given to describe and distinguish people, and from added names they become fixed over time into actual appellatives – up to modern surnames. The focus of this essay is on personal names that, in ancient Friulian documents, derive from names of colours, elements that evoke fundamental characteristics of the person such as the colour of hair, eyes and complexion: the most popular colours, i.e. in the end the most suitable to represent qualities with which they could be associated, are “white”, “black” and “red”.
Тези доповідей конференцій з теми "Colour lexicon"
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Nyaga, Casam, and Ruth Wario. "Towards Kenyan Sign Language Hand Gesture Recognition Dataset." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003281.
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Datasets for hand gesture recognition are now an important aspect of machine learning. Many datasets have been created for machine learning purposes. Some of the notable datasets include Modified National Institute of Standards and Technology (MNIST) dataset, Common Objects in Context (COCO) dataset, Canadian Institute For Advanced Research (CIFAR-10) dataset, LeNet-5, AlexNet, GoogLeNet, The American Sign Language Lexicon Video Dataset and 2D Static Hand Gesture Colour Image Dataset for ASL Gestures. However, there is no dataset for Kenya Sign language (KSL). This paper proposes the creation of a KSL hand gesture recognition dataset. The dataset is intended to be in two-fold. One for static hand gestures, and one for dynamic hand gestures. With respect to dynamic hand gestures short videos of the KSL alphabet a to z and numbers 0 to 10 will be considered. Likewise, for the static gestures KSL alphabet a to z will be considered. It is anticipated that this dataset will be vital in creation of sign language hand gesture recognition systems not only for Kenya sign language but of other sign languages as well. This will be possible because of learning transfer ability when implementing sign language systems using neural network models.
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Mikadze, Manana, and Lela Edjgveradze. "Color gamut in the phraseology of Otia Ioseliani’s novels." In Universitas Europaea: Towards a Knowledge Based Society Through Europeanisation and Globalisation, 106–7. Free International University of Moldova, 2025. https://doi.org/10.54481/uekbs2024.v2.17.
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Otia Ioseliani is worldknown georgian writer of the XXth century. Otia Ioseliani’s prose is very interesting, attractive, easy to read and full of great life expreriances. The writer has used language tools with stylistic purpose so gracefully that each line attracts, captures and subdues the reader. Special attention is drawn to the vocabulary denoting colors as one of the important stylistic tools. The words denoting colors used by writer give a unique emotional tone and shade to the sentences. The expressive power of the words denoting colors in the novels by Ioseliani is great. In the prases including color writer uses more adjectives. The expressive power of these adjectiveas is greater than the quantity (we find 66 lexical units). It is known that the artistic word has the ability to expand the emotional impact. It appears more “larger” than as a fact. The writer mostly uses adjectivs denoting basic colors, such as: white, red, blue, green, brown, yellow, black, pink. The writer successfully uses the color signifiers, the vocabulary created from them in phraseological units, when conveying the change of feelings of the characters. In the novels of Otia Ioseliani, an outsdtanding master os artistic words, every linguistic nuance, including the vocabulary of colors, has a certain emotional value and aesthetic function. The concept of positive and negative is conveyed through the epithet of color, which gave the writer a wide opportunity to more deeply, clearly and accurately outline the types of pitha in effect.
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Griber, Yulia A. "The Influence Of Professional Color Competence On Color Lexicon And Naming Pattern." In PCSF 2019 - 9th PCSF Professional Сulture of the Specialist of the Future. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.12.69.
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Rogozhnikova, Tatyana M. "Associative Color Of Individual Lexicon Core Units: Psycholinguistic Approach." In International Scientific Forum «National Interest, National Identity and National Security». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.02.02.101.
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Gordeeva, Ksenia O. "Translation Of The Lexical Gaps In The Category Of Colour Namings." In WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.65.
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Radchenko, G. v., and N. A. Ostapchuk. "The colour symbolism of lexical repetitions in Russian translations of F.G. Lorca’s poems." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-225-228.
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BĂDESCU, Ilona. "Somatic chromonymia in romanian phraseological units." In "Educaţia lingvistică şi literară în contextul dezvoltării valorilor general-umane", conferinţă ştiinţifică internaţională, 8–17. Ion Creangă Pedagogical State University, 2024. https://doi.org/10.46727/c.10-11-11-2023.p8-17.
Повний текст джерелаАнотація:
The present article deals with a lexical-semantic analysis of phraseological units related to somatic chromonymy (UFCS). The associations between the terms naming a body part and different chromatic terms lead to a tangible representation, but, in most cases, they only have a figurative meaning, as a result of some metaphorical and metonymic mechanisms. At the base of these phraseological units, there is a motivation that consists of the analogy or correlation between color and the psychological manifestations of emotions, just as, for others, there is a cultural motivation.
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Matantseva, Marina B., and Gu Czindun. "The peculiarities of representation yellow color lexical and semantic field in Russian and Chinese." In Eurasian paradigm of Russia: values, ideas and experience. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0814-2-138-142.
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Martinez, Guillermo. "An NLP approach to Image Analysis." In 24th Irish Machine Vision and Image Processing Conference. Irish Pattern Recognition and Classification Society, 2022. http://dx.doi.org/10.56541/kfbi5107.
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In Natural Language Processing, measuring word frequency combined with word distribution can yield a precise indicator of lexical relevance, a measure of great value in the context of Information Retrieval. Such detection of keywords exploits the structural properties of text as revealed notably by Zipf’s Law which describes frequency distribution as a ‘long tailed’ phenomenon. Can such properties be found in images? If so, can they serve to distinguish high content items (particular colours coded as RGBs) from low information items? To explore this possibility, we have applied NLP algorithms to a corpus of satellite images in order to extract a number of linguistic-type features in bitmaps so as to augment the original corpus with distributional information regarding its RGBs and observe if this addition improves accuracy throughout a Machine Learning pipeline tested with several Transfer Learning models.
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MATVEEVA, E. V. "FILM ART AS A FORM OF CHRISTIAN DISCOURSE REPRESENTATION." In СЛОВО, ВЫСКАЗЫВАНИЕ, ТЕКСТ В КОГНИТИВНОМ, ПРАГМАТИЧЕСКОМ И КУЛЬТУРОЛОГИЧЕСКОМ АСПЕКТАХ, 67–70. Chelyabinsk State University Publishing House, 2024. http://dx.doi.org/10.47475/9785727119631_67.
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The article is devoted to assessing the potential of film art as a form of Christian discourse elements representation and identifying ways to actualize Christian discourse in works of cinema based on the material of the American Christian drama “The Case for Christ”. The analysis of the film as an integral and complete product of film art is conducted at the level of three components: verbal, non-verbal and cinematographic. The results of the study show that at the level of verbal components, the most frequent structural type of biblicalisms are sentences. In most cases biblical lexical units were used in nominative and pragmatic functions. At the non-verbal level, the functioning of the Christian discourse in the film under study is expressed in the presence of episodes depicting a meeting of believers, a clergyman giving a sermon, the internal and external structure of a temple, as well as the presence of a cross as a symbol of Christianity and the ringing of church bells. The cinematographic techniques used in the film to express the inherent meanings include such techniques as the special construction of frames and their sequence, changing the distance from the camera to the object, working with colour, light and sound. The results of the study show that cinema as a synthetic art form has a significant impact on recipients and can serve as a means of representing Christian discourse, enriching film art with enduring values.
Звіти організацій з теми "Colour lexicon"
1
Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.