Linguistics and Literature

Antoine Culioli, linguiste contemporain qui aura marqué de façon majeure les études linguistiques en France au XX e siècle, a peu travaillé le texte littéraire et a souvent exprimé son attachement à ce qu'il nomme « la langue ordinaire » comme lieu où se dévoile de façon privilégiée le voilé de l'activité de langage. Pourtant, chez Culioli, le texte littéraire, et en particulier le texte poétique, est souvent convoqué pour expliquer des phénomènes langagiers complexes. Antoine Culioli confie ainsi aux écrivains le soin d'illustrer des questions théoriques qui concernent l'activité langagière totale. Et même, interrogé sur sa théorie du langage par Claudine Normand, Antoine Culioli se tourne vers le domaine de l'art quand, partant d'une citation d'Alfred Brendel qui définit l'oeuvre d'art comme le lieu où le chaos doit scintiller sous le voile de l'ordre, il décrit l'activité de langage comme celle où le texte fait apparaître sous le voile de l'ordre linguistique le foisonnement épilinguistique. Cette généralisation, de l'oeuvre d'art vers le texte met au jour le lien particulier entre « langue littéraire » et « langue ordinaire » dans la pensée d'Antoine Culioli. Dans la littérature aussi, l'activité épilinguistique, définie comme « une activité dont nous n'avons pas conscience et qui sans arrêt travaille sur ces mises en relation entre le caché, le pas dire non, le ceci ou le cela », permet de révéler, à travers le travail sur la langue qu'opèrent les écrivains, la tension sous-jacente, le différé de l'accès au sens, inhérents à toutes pratiques langagières, et le texte littéraire peut alors bien devenir, pour les linguistes, un terrain privilégié pour observer la mise en oeuvre du langage. Ce volume, qui constitue en partie les actes du colloque « La Théorie d'Antoine Culioli et la littérature » qui s'est tenu à Pau en octobre 2016, rassemble des contributions, portant sur le français, l'anglais, le portugais du Brésil et le japonais, qui interrogent à divers niveaux, les liens entre marqueurs d'opérations langagières et construction du sens dans le texte littéraire à l'aide des outils mis en place par la Théorie des Opérations Prédicatives et Énonciatives d'Antoine Culioli. Il cherche à proposer des pistes d'analyse pour une mise en regard opératoire entre théorie du langage et théorie de la littérature.

ΣΥΝΕΝΤΕΥΞΗ: Αναζητώντας µια Ιθάκη για τον Νίκο Καζαντζάκη: Μια μελέτη για τις λέξεις της «ΟΔΥΣ[Σ]ΕΙΑΣ» του // INTERVIEW: Seeking an Ithaca for Nikos Kazantzakis: A study about the words of his “Odys[s]ey” [BILINGUAL EDITION] /// ΕΛΛΗΝΙΚΗ ΕΚΔΟΣΗ: Στη διάρκεια της Γερμανικής Κατοχής, ο Νίκος Καζαντζάκης λαμβάνει μια επιστολή από έναν Φραγκισκανό μοναχό που ζούσε στην Αθήνα. Ο συγγραφέας ήταν έτοιμος να πεθάνει από την πείνα. Όλοι πέθαιναν γύρω του, μαρτυρούσε. Οι άνθρωποι δεν είχαν τίποτα να φάνε. Η επιστολή τού ζητούσε να μεταφράσει τη βιογραφία του Αγίου Φραγκίσκου της Ασίζης, που γράφτηκε από τον Γιόργκενσεν, με αντάλλαγμα ένα κιβώτιο με προμήθειες τροφίμων. Χρόνια αργότερα, στις 22 Μαΐου 1957, μόλις λίγους μήνες πριν πεθάνει ο Κρητικός λογοτέχνης, εξιστορούσε στη Γαλλική τηλεόραση πώς ο Άγιος Φραγκίσκος της Ασίζης τού έσωσε τη ζωή. Με έναν όμοιο τρόπο δεχθήκαμε το νεοεκδοθέν έργο «Η Οδύσ[σ]εια των Λέξεων» του Δρ. Νικολάου Μαθιουδάκη, ο οποίος βρίσκεται στην Ισπανία ως επισκέπτης καθηγητής Νέας Ελληνικής Γλώσσας και Πολιτισμού στο Πανεπιστήμιο Γρανάδας. Κατά κάποιο τόπο, ένα Λεξικό που επαναφέρει στο φως περί τις 5.500 δημοτικές λέξεις μέσα από το έπος με τους 33.333 δεκαεπτασύλλαβους στίχους του Νίκου Καζαντζάκη. Ένα «κιβώτιο» με προμήθειες πνευματικής τροφής αυτή τη φορά, που ανοίγουν νέους δρόμους για το ταξίδι αυτών των λέξεων προς μια αχαρτογράφητη Ιθάκη. Ο Δρ. Μαθιουδάκης απαντάει σε ερωτήσεις του «Νέου Κόσμου» αιτιολογώντας, αποσαφηνίζοντας, διαφωτίζοντας κεντρικές πτυχές ενός «σώματος» λέξεων που έρχεται να καλύψει ένα επιστημονικό κενό στην ελληνική γλωσσολογία, αλλά και τη νεοελληνική λογοτεχνία γενικότερα. // ENGLISH EDITION: During the German occupation, Nikos Kazantzakis receives a letter from a Franciscan monk who lived in Athens. The author was starving to death. Everyone was dying around him, he was witnessing. People had nothing to eat. The monk’s letter asked Kazantzakis to translate the biography of St. Francis of Assisi, written by Jorgensen, in exchange of a box with food supplies. Years later, on May 22, 1957, just a few months before the Cretan writer’s death, Kazantzakis narrated on French television that St. Francis of Assisi had saved his life. In a similar way we accepted the newly published dictionary “The Odys[s]ey of the Words” by Dr. Nikolaos Mathioudakis, who lives in Spain as a visiting professor of Modern Greek Language and Culture at the University of Granada. Somehow, it’s a Dictionary that brings to light about 5,500 demotic words through Kazantzakis’ epic poem, “Odys[s]ey” (with one sigma) with on, that includes 33,333 seventeen-syllable verses. A new box of intellectual “food supplies” this time, opening up new horizons for the journey of these words to an uncharted Ithaca. Dr. Mathioudakis answers to questions of Neos Kosmos by justifying, clarifying, enlightening basic aspects of “corpus” of words that comes to fill a scientific gap in Greek linguistics as well as in modern Greek literature in general. [ ΕΝΤΥΠΗ ΕΚΔΟΣΗ 19.12.2020 // ΗΛΕΚΤΡΟΝΙΚΗ ΕΚΔΟΣΗ 17.12.2020 // ΠΗΓΗ: https://neoskosmos.com/el/264777/anazitontas-miaithaki-
gia-ton-niko-kazantzaki1/ ]

This paper investigated the coherent functions of interrogative mood metaphors in an academic context based on Halliday' model of mood metaphor [1] and Zhu's theory of thematic progression (TP) pattern [2]. With a focus on the strategies of linking the themes and rhemes in the metaphorical clause to those of surrounding clauses, this paper identified three main modes of information flow patterns. In the mood metaphor (S) and the sentence before it (S-1), the information current is often progressed in a concentrated way since the metaphorical questions often serve as enforcements of its former sentence. Concentrated Progression is also often used in the S and the sentence after it (S+1) to answer the previous metaphorical questions, serving the purpose of appealing to authority. Besides, Constant Progression, as a simple liner pattern of message current, occurs in S and S+1 to enhance the reading comprehensibility when introducing a concept to readers or to highlight the key viewpoints as evaluating the proposition in S. This paper has pedagogical implications for academic reading and writing practices of native and non-native researchers.

It is, perhaps, the problem of the so-called culture, or conventions of the bourgeois life at the heart of Tolstoy's story, which hides "the bitter, useless pain of a failed and ruined life" (Lukács, 1974: 56) from Ivan Ilych's eyes, and the problems aroused through it, encounter Ivan Ilych face to face with the absurdity of life, since "that denseness and that strangeness of the world is the absurd" (Camus, 1991: 11), and which way of life is denser than bourgeois life? However, in Ivan's case, it is his fatal disease that finally opens his eyes to the light which has been covered before. In this study, the researcher tries to investigate the meaning of life and death in Tolstoy's story, The Death of Ivan Illych, through Albert Camus' theory of Absurdism, defined in his The Myth of Sisyphus, alongside three other sources about bourgeois style, one by Vladimir Nabokov, and two by the prominent Marxist thinker Georgy Lukács.

In corso di stampa in: D. Nelva, S. Ulrich (a cura di), Titolo da definire, Perugia: Morlacchi. © Marcella Costa 1 Generi del parlato nella letteratura della "svolta": il caso di Simple Storys 1 di Marcella Costa Spaesamento, insicurezza cognitiva, incapacità di orientarsi in un quotidiano mutato repentinamente: è questo l'orizzonte con cui i personaggi di Simple Storys di Ingo Schulze 2 si confrontano negli anni a cavallo della svolta (Wende). L'analisi che segue intende indagare le forme testuali e linguistiche con cui Schulze rappresenta il cambiamento 3 , con particolare riferimento a due strategie narrative ricorrenti nel romanzo e fortemente imitative di generi testuali del parlato: la narrazione esplorativa e la conversazione al telefono. Si tratta di due generi testuali certo poco raffrontabili, tuttavia non è il confronto l'interesse di questo lavoro bensì l'analisi di alcune strategie macro-e microlinguistiche in grado di rappresentare il disagio e l'insicurezza dei cittadini della DDR tra il 1989 e il 1991. Attraverso una prospettiva che prende le mosse dall'analisi della conversazione tenterò di mettere a fuoco alcune caratteristiche testuali del romanzo particolarmente funzionali alla rappresentazione letteraria del cambiamento repentino (Umbruch).

https://wvupressonline.com/node/853
Appalachian Englishes in the Twenty-First Century provides a complete exploration of English in Appalachia for a broad audience of scholars and educators. Starting from the premise that just as there is no single Appalachia, there is no single Appalachian dialect, this essay collection brings together wide-ranging perspectives on language variation in the region. Contributors from the fields of linguistics, education, and folklore debunk myths about the dialect's ancient origins, examine subregional and ethnic differences, and consider the relationships between language and identity-individual and collective-in a variety of settings, including schools. They are attentive to the full range of linguistic expression, from everyday spoken grammar to subversive Dale Earnhardt memes. A portal to the language scholarship of the last thirty years, Appalachian Englishes in the Twenty-First Century translates state-of-the-art research for a nonspecialist audience, while setting the agenda for further study of language in one of America's most recognized regions. Edited by Kirk Hazen September 2020 · 240pp · 6x9in PB 978-1-949199-55-0 · $29.99sp CL 978-1-949199-54-3 · $99.99s eBook 978-1-949199-56-7 · $29.99 5 images · 2 maps · 7 tables

In this paper, I focus on the title of Jane Austen's novel 'Sense and Sensibility', looking at how the message of the novel changed along with the change of the title (which initially was 'Elinor and Marianne'). The semantic analysis of the title words adds a whole new dimension to the interpretation of the Dashwood sisters. I argue that the novel should not be read solely as a novel of manners or a psychological portrait of Elinor and Marianne, but, following Professor Gerard Kilroy, there is a philosophical (or epistemological) dimension to it, which is the 'fallibility of human observation'.

Cet article présente une étude de l’interrelation des voix, des discours, des
points de vue dans un récit autobiographique, Enfance62, qui les actualise en tant que représentation du discours autre. La question théorique qui se pose c’est celle des discours qui se mêlent dans la voix du narrateur, dont les formes n’ont pas de place dans les schémas syntaxiques « classiques ». Ayant étudié les formes de discours rapporté (Cunha, 1992 ; Cunha & Valois, 2003 ; Cunha & Arabyan 2004), il s’agit ici d’appréhender le discours bivocal, ambigu dans ce genre autobiographique qui a ses techniques de narration propres. Au cours des chapitres d’Enfance, les personnages, les objets, les idées, lesvaleurs se donnent au regard de l’enfant-héros et à la réminiscence du narrateur adulte. Le jeu de chants et contrechants entre ces deux voix conjuguées – je-héros/ je-narrateur - crée l’ironie organique de l’oeuvre, le jugement naïf de l’enfant toujours inoculé du venin de l’adulte dégrisé. Les discours des autres personnages, entremêlés à ceux de leur époque et de leur espace (la société des villages du Nord-est du Brésil aux alentours de 1900) sont réfractés, dialogisés par cette voix à double tranchant où le sentiment d’étrangeté de l’enfant, qui doit pourtant tout accepter, tout subir, tout souffrir, résonne comme une critique acerbe du narrateur adulte qui, depuis ce lieu privilégié d’écrivain établi, se permet le refus des valeurs de son temps. L’élément de l’autobiographie qui nous intéresse le plus est la prise en charge de ce double « je » (enfant/adulte).

Chitra Banerjee Divakaruni, a post colonialist giant of Indian literature noticed that unlike the male heroes, the women never had any important women friends. This theme eventually became the core point to Divakaruni writing. Most analyses and portrayals of women's relationships, even by women, have in fact tended to emphasize not female bonding, but female antagonism, not 'Sisterhood' but women as women's worst enemy. On the contrary, women have so much to offer one another but our history is one of mutual inhibition. It is one of the inexorable tragedies of human nature. Thus the objective of her fiction was to disprove this myth, to destroy the stereotypes. Divakaruni hopes to dissolve boundaries between women of different backgrounds, communities, ages, and even different worlds. Friendship, is an integral part of man's maturing; for a woman, however, or so fiction usually implies, the real business of a woman's life is not to develop herself, but to serve the man and by implication the relationships with other women must be relegated to the sidelines as she grows up. That 'female bonding' has become a central issue in women's fiction; today therefore Androgyny is no longer the feminist goal. What is celebrated, instead, is female difference, women's community, and Sisterhood. In Sisters of My Heart Divakaruni develops themes relates to the abolishment of female feticide and subtle dowry transactions, intimidating mothers-in-laws, abusive fathers-in-law, caring yet insensitive husbands become some of characteristics of much her writing in India on and by women.

What makes a narrative text a narrative?
This is the central question of the paper which functions as an introduction to the edited volume "Perspectivization on narrativity and narrative perspectivization" (2016, John Benjamins). Based on an overview of narratological and linguistic approaches to narrativity, it argues for a dynamic account that sees narrativity as a specific constellation of perspectivization that dynamically emerges from the interaction between the textual structure and the recipient’s interpretation.

The Proustian search consists of a dialectic process. Time, for example, must be “lost” before it can be “regained.” Involuntary memory itself takes the form of this dialectic: an experience (the taste of the madeleine, e.g.) must be forgotten before it can be remembered. The experience of involuntary memory, in other words, constitutes a type of anachronism: the intrusion of a past sensation within the present. Marcel Proust’s idea of anachronism should be understood in relation to the intellectual world of the turn of the twentieth century, in particular that historical science of language known as comparative grammar. In this regard, scholars have failed to give due consideration to the fact that Proust was related to one of the most celebrated linguists of his time, Michel Bréal. As Proust would have learned from his cousin’s public lectures and published works, there are, in fact, two types of anachronism in language: the irregular form and the idiomatic phrase. Not coincidentally, he explores both of these in the course of his novel. Proust, it would seem, had a far greater interest in and understanding of contemporary linguistics than scholars have previously recognized.

This study entitles "Difficulties Facing College Students in Speaking English 'Conversation'. The study analyzed the causes that make the students difficult to communicate in English and suggest some solutions that can overcome the difficulties. Descriptive nature of this present paper highlights the difficulties faced by college student in speaking English-particularly in conversation. Result revealed that students use English more frequent only inside the class and less frequent outside the class. Whereas, outside the class in order to get familiar with spoken English. Next, the Environment was the leading cause for the problems in learning English. Another major finding was that rural students perceived more problems than urban students. Lack of reading habit and listening tends to challenge several problems in learning English. Recommendations in the light of findings are also discussed in this article.

Si la littérature, selon Henri Meschonnic est une subjectivation maximale de l’oralité, il faut préciser que l’oralité déborde le cadre restreint de la « tradition orale », de sorte qu’il n’y a pas lieu d’opposer oralité et écriture. L’oral est une propriété, aussi bien de l’écrit que du parlé. L’oral postule le primat du rythme et de la prosodie dans l’énonciation. C’est aussi l’hypothèse de Lucie Bourassa pour qui le rythme, dynamique d’organisation discursive, contribue de manière importante à la spécification des modes de signification de la poésie, y compris de celle qui s’est éloignée de la métrique et joue un rôle dans la pluralisation du sens des œuvres contemporaines. Il devient dès lors nécessaire, après s’être affranchi du carcan traditionnel de la métrique, de définir, pour la notion de rythme, les propriétés qui permettent la formation, l’existence et la reconnaissance d’un rythme et de mettre au point une méthode de repérage de ses constituants, des marques discursives de sa manifestation. C’est ce qu’a tenté Meschonnic. D’après lui, la critique correspond à la requête d’une théorie d’ensemble. Il propose une critique du signe par une critique du rythme. Le rythme, c’est l’organisation d’une « sémantique spécifique » (distincte du sens lexical) d’un sujet dans un discours, qui révèle ce que le social fait d’un sujet à travers ce qu’il fait du poème, phénomène esthétique. Il se décline dans une triade : rythme poétique – rythme linguistique – rythme rhétorique.
Cette critique du signe par le rythme est anthropologique, historicisante et s’inscrit du côté du discours. Et elle dit qu’il n’y a pas d’unité du signe, que le signe est un modèle culturel, que le discours n’est pas fait seulement de signes. « L’anthropologie du langage, disait H. Meschonnic, est double, selon le parlé, selon l’écrit. L’oralité n’y est pas la même. Directement accessible dans le parlé, elle passe nécessairement, pour l’écrit, par une poétique, qui ne peut être qu’une poétique historique, et non formelle, pour situer les modes de signifiance. C’est la place stratégique de la littérature pour la théorie du langage ».

This paper examines the issue of domestic violence in Amma Darko's Beyond the Horizon. Domestic violence is an important issue because it is a worldwide phenomenon. Hence the necessity to carry out this study in order to find out its ins and outs through a study of the chosen novel.The methodology used falls on documentary research which includes books and internet sources, especially online articles. Feminism which aim sat valorising women's image is used as the theoretical framework of this research work. The study has found that domestic violence has repercussions on women's lives. The paper recommends and concludes thatpatriarchal practices which encourage men to oppress, traumatise and dehumanise women in African societies should be eradicated.

In this paper, we will analyze the theoretical assumptions regarding threat and warning images, with the intention of outlining the productive tension installed between them. Semiotics deals with symbols in the form of text and pictures, and also with their underlying meaning. Hence, the study aims to clarify the differences between the two aspects from semiotic point of view by analyzing the novel 1984 and investigate their hidden meanings, in order to expose the deep meaning of the terms and to unravel its complexities along with the use of their features. To achieve the objectives of the study, the researchers adopt theory of Saussure of the signs and symbols (1915).

In this paper, I look at linguistic creation of parallel characters: that of Shakespeare's Lady Macbeth and Słowacki's Balladyna, as Słowacki drew a lot on Shakespeare. Lady Macbeth and Balladyna can be called 'parallel', as they are both queens and “terrible women” (Marvin Rosenberg). The aim of my analysis is to show how parallel these characters are as far as their language is concerned. I argue that a linguistic analysis adds a new dimension to the interpretation of these characters, as language they use is one of the most important character creators in the plays.

Russian Futurism surprised readers and writers alike during the years of social ferment leading up the 1917 Revolution. In particular, the participants in the movement themselves had no idea what events would have in store for them. Three among them, Bruno Jasienski, Vladimir Mayakovsky and Viktor Shklovsky, are representative of the literary upheaval, explosion of creativity, and of the difficult decisions writers came to face. Taken together for comparison, a study of their work also gives us a sense of the confusion of the time, how outcomes often seemed strangely arbitrary, and how events took unexpected turns. On another level, the route taken by each writer, nevertheless, is consistent with the overall direction of art and culture during the Soviet era. Paradoxically perhaps it was the writer who most directly challenged the assumptions of early Socialist Realism (more precisely its precursors) who survived to later reflect on the history. An interesting aspect of this history is the relationship between the Futurists and Russian Formalism. The discussion of their work will turn on three important historical studies that trace the course of the revolution (the broader context) and the course of parallel literary currents. *Final verse line from a poem written in 1937 by Bruno Jasienski in Butyrki prison prior to his trial and conviction.

is volume brings together approaches to di erent elements of Arabic-Islamic civilization, mainly in the areas of linguistics, literature, literary theory, and prosody, but also including religion, ritual, economics, and zoology. Contributions also touch upon the adjacent areas of the Old Iranian, Persian, Greek and Byzantine written traditions. Some take as their points of departure speci c Arabic words (cat, gira e) or morphemes; others explore literary genres, subgenres (oration, ode, macaronic poem, travel narrative) or gures within them (the trickster, the devil). Cultural concepts such as wishing, gi -giving or discourse are treated, as are aspects of broader phenomena, such as the role of gender in dream interpretation or the relative merits of luxury goods and mass-produced commodities.

Les textes sont des objets fragiles et compliqués. Cette notice veut attirer l'attention des lecteurs et des étudiants sur diverses composantes du « texte » dont il est préférable d'être conscient. Le premier point est que, contrairement à un vue glorieuse mais fausse, nous n'avons que certains textes, pas tous, et que c'est important ; qu'ensuite quand nous les avons, nous ne les voyons qu'après de nombreux filtres, dont ceux des éditeurs ; qu'ils sont entourés de commentaires, et d'un important matériel éditorial : division en chapitres, numéros de pages, etc. dont l'histoire et les présupposés sont essentiels ; que souvent ils sont traduits. Et que toutes ces contraintes, qui ont une histoire passionnante, pèsent aujourd'hui sur nous plus que jamais.

Kamala Das is one of the most prolific and controversial poets and writers of the post-colonial era in Indian English Literature. Her writings have been viewed more in terms of sexual connotations than for their literary merits. Most of the studies on Kamala Das have been centered round on her love poems and man-woman relationships as love has been considered as the most dominant theme of her poetry. Since she writes with the feelings, emotions and sensitivity of a woman and her world and voices her anger against the patriarchal design of the subjugation of women, she has been branded as a Feminist Poet. No woman poet ever before penned her feelings so candidly, intensely and intimately of her subjective experiences as she did in the creative genres. It led her to stand in the category of Confessional poets. However, these are merely the tips of the iceberg. Very few attempts have been made to understand the 'loneliness' of the woman in her writings which unfortunately form the big mass of the iceberg that has remained unexplored. Loneliness is a predominant theme in the poetry of Kamala Das. The present paper explores it alongside her own explorative female consciousness. She raises her consciousness and seeks to live intensely and honestly on her own terms.

In his study THE ODYSSEY OF WORDS Nikos Mathioudakis presents the odyssey of words within a literary work, from inspiration and their writing by the author until they are read and understood by reader, focusing his research on Kazantzakis's ODYS[S]EY, which is thematically the continuation of Homer's Odyssey. The present study is the first linguistic treatise on the majestic epic poem of Nikos Kazantzakis, through which the style and language of the Cretan writer, but also the lexicographical richness that uses for the poetic composition of his ODYS[S]EY. ///


Στη μελέτη του Η ΟΔΥΣ[Σ]ΕΙΑ ΤΩΝ ΛΕΞΕΩΝ ο Νίκος Μαθιουδάκης παρουσιάζει την οδύσσεια των λέξεων μέσα σε ένα λογοτεχνικό δημιούργημα, από την έμπνευση και τη γραφή τους από τον συγγραφέα μέχρι την ανάγνωση και την κατανόησή τους από τον αναγνώστη, επικεντρώνοντας την έρευνά του στην ΟΔΥΣΕΙΑ του Καζαντζάκη, η οποία αποτελεί θεματικά τη συνέχεια της Οδύσσειας του Ομήρου. Η παρούσα μελέτη αποτελεί την πρώτη γλωσσολογική πραγματεία για το μεγαλειώδες αυτό έπος του Νίκου Καζαντζάκη, μέσα από την οποία αναδεικνύεται το ύφος και η γλώσσα του κρητικού λογοτέχνη, αλλά και ο λεξικογραφικός πλούτος που χρησιμοποιεί για την ποιητική σύνθεση της ΟΔΥΣΕΙΑΣ του. ///



Τίτλος: Η ΟΔΥΣ[Σ]ΕΙΑ ΤΩΝ ΛΕΞΕΩΝ /
Συγγραφέας: Νίκος Μαθιουδάκης /
Πρόλογος: Peter Bien /
Προλογικά σημειώματα: Ζωή Γαβριηλίδου, Πηνελόπη Καμπάκη-Βουγιουκλή, Χριστόφορος Χαραλαμπάκης /
Φιλολογική επιμέλεια: Παναγιώτης Μιχαλόπουλος /
Τυπογραφική επιμέλεια: Μαργαρίτα Α. Κωτσίνη /
ISBN: 978-618-5191-93-1 /
Σελίδες: 840 /
Εκδότης: ΚΑΠΑ ΕΚΔΟΤΙΚΗ /

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The aim of this study is to categorize all proverbs in Achebe's A Man of the People in terms of forms of proverbs and examine their contributions to the development and meaning of the text. The study is anchored on theories of classical categorization and Systemic Functional Grammar. Identified types include synonymous, antithesis, metaphor, integral, ifthen statement, single statement of fact, comparative and parabolic. Integral proverbs are greater in number giving the impression of completeness in meaning and structure. 'Synonymous and antithesis' as parallel structures are used by Achebe to draw attention of readers to certain significant aspects of the novel, makes his book attractive for linguistic analysis and increase the readability of his writing. 'Metaphor' makes Achebe's message interesting. 'If-then statement' is used to instill discipline to readers and the general public and 'Single statement of fact' to create punch, make points, summarize and clarify issues raised in the text. All these show that proverbs used in the book are essential to the development and meaning of the book.

Parce qu’elles poussent généralement la langue jusque dans ses ultimes retranchements, les littéra-tures exiguës (en l’occurrence celles qui ressortissent aux contextes historique de la colonisation et anthropologique du multiculturalisme) s’avèrent très utiles pour la théorie littéraire. Elles permettent en effet de réaffirmer le lien étroit et dialectique entre littérature et linguistique (et aussi culture). Mais si la linguistique de la littérature, cette discipline équilibrée et satisfaisante pour le littéraire aussi bien que pour le linguiste, que Harald Weinrich appelait de ses vœux n’a pas encore (officiellement s’entend) connu les fonds baptismaux, il n’en demeure pas moins vrai que plusieurs théoriciens ont postulé ce lien, de Wilhelm von Humboldt à Henri Meschonnic, en passant entre autres par Charles Bally, Jean-Jacques Lecercle et l’incontournable Mikhaïl Bakhtine. En quoi la littérature peut, nous semble t-il, et de façon légitime, être considérée comme le paradigme littéraire du signe linguistique.
Aussi, le discours critique peut-il désormais se penser dans les interstices de la linguistique, une lin-guistique ouverte à l’anthropologie, l’historicité et très consciente de la question du sujet et de la subjectivation. Nous proposons pour cela, d’ordonner les différents paradigmes critiques existants (cf. Roger Fayolle, mais surtout Antoine Compagnon) dans une syntagmatique articulée autour de l’axe tripartite d’Umberto Eco : intentio auctoris, intentio operis et intentio lectoris. Autrement dit, focaliser l’intérêt non plus sur la pertinence de chaque approche, mais plutôt les modalités de passage de l’un à l’autre. Car si chaque modèle a son programme, ses présupposés, ses orientations spécifiques et feint d’ignorer les autres, il n’en demeure pas moins que chacun permet d’expliciter un aspect de l’objet littéraire. La question de la subjectivité (dans la langue, donc aussi dans la littérature) émerge alors toute seule ; une question primordiale pour la théorie du langage.

This chapter holds that the basic principle of narrative discourse structure can be deduced from cognitive-linguistic principles of perspectivization, which are manifested on different levels of linguistic structure in a recursive manner. This is shown in an analysis of point of view in grammar, on the sentential level as well as on the level of narrative discourse. In this connection, it is argued that the grammatical distinction between ‘speaker’ vs. ‘observer’ pervades the whole discourse and is reflected in the narratological differentiation between ‘narrator’ vs. ‘character’. Furthermore, it is argued against a background of ‘theory of mind’ that phenomena of focalization ought to be analyzed analogously to recursive embedding of epistemological levels of intentionality, i.e. hierarchical relations of propositional attitudes. As a consequence, it is the cognitive principle of perspectivization that can offer a tertium comparationis for an alignment of grammatical and textual levels and, thus, of narrative micro- and macro-structure. This line of analysis is illustrated in a final step by examining the perspectivization of Humbert Humbert’s reality in Nabokov’s Lolita.

Emilia Di Martino’s paper, “The Benefits of Young Adult Literature in the Italian Language Class,” focuses on the importance of young adult literature (YAL) in language learning. Owing to authentic dialogues, this type of narrative provides valuable input for teaching and learning activities, through what the author calls a “collaborative work” that offers the opportunity to bridge language and literature while fostering an interdisciplinary approach to language learning. The benefits are to be seen in the refamiliarization of students with literary texts, their emotional engagement in reading, and the development of communicative as well as cultural competence. Furthermore, the students’ inherent interest in YAL promotes understanding of the text and encourages discussion, while developing reading and comprehension strategies that learners can apply in a variety of situations.
In emphasizing the role of spoken dialogues in YAL as a means for providing attractive juvenile topics and motifs, the author argues that this genre helps young readers to become aware of identity construction processes, due to the linguistic, stylistic, and sociocultural model, as well as the descriptive everyday language used in the novels. Moreover, Di Martino contends that the use of this new fiction trend helps bridge the gap between the Italian language and literature curricula. Citing examples from Niccolò Ammaniti, Silvia Ballestra and Enrico Brizzi, whose novels are saturated with provocative topics, young adult jargon and conversational language, along with highly plot-based stories, the author demonstrates how Italian writers attract adolescent readers who value the representation of the world from the perspective of young adult characters.

A close reading of T.S. Eliot's seminal modernist "poetic drama" Murder in the Cathedral and William Shakespeare's monumental, pivotal "history play" Henry VIII reveal a serious and deadly conflict between the state and the church or the Crown and the Pope. This paper sets out to investigate the cause(s) of this conflict, the winner and loser, who is to blame and the possible ideal solution on the relationship between the church and the state. Using New Historicism this paper argues that Murder in the Cathedral and Henry VIII superficially or explicitly dramatize or present a conflict between the State/King/Crown and the Roman Catholic Church/Pope but implicitly these two plays are nationalistic plays whose aims are geared towards establishing an English protestant state free from papal domination and imperialism in its Roman Catholic disguise. This argument is buttressed by King Henry VIII during the trial of Queen Katharine:

The aim of this article is to interpret Szymborska’s poem entitled The Railroad Station and its English translation, from the point of view of the key poetics of negation. From the point of view of linguistics, literary studies, and translation studies, the poem is demonstrative of the variety of forms of negation and their semantic functions used in Szymborska’s entire oeuvre. The translators use numerous and various forms of formal and semantic negation as well, but they lack the central pragmatic negation. Szymborska doubts whether ‘our’ world is the best of possible worlds: since there is only one course of events, ‘the paradise of probability’ is ‘artificial’; the world is a burial ground of possibilities that did not come true.

Questa presentazione propone una riflessione sulle strategie di narrazione retrospettiva nel romanzo di Elena Ferrante “I giorni dell’abbandono” (2011) e intende dimostrare come il ricorso a determinati strumenti stilistico-linguistici permetta di esprimere una narrazione prevalentemente incentrata sui diversi stati psicologici della protagonista.  In particolare, l’attenzione è rivolta in primo luogo alle occorrenze di discorso diretto libero e di discorso indiretto libero. Inoltre, s’intende evidenziare una particolare tecnica narrativa che ricorre nel romanzo di Ferrante: l’uso di infiniti in isolamento.

Μαθιουδάκης, Ν. (2017). Γλωσσολογικές παρατηρήσεις: Υπόθεση «Καπετάν Μιχάλης». Στο Ν. Καζαντζάκης, Ο Καπετάν Μιχάλης. Ελευτερία και Θάνατος. Νέα Αναθεωρημένη Σύγχρονη Έκδοση, (επιμέλεια: Ν. Μαθιουδάκης), σσ. 573-595, Αθήνα: Εκδόσεις Καζαντζάκη.

The aim of this article is to analyse the poem 'Widok z ziarnkiem piasku' by Wisława Szymborska and its translation into English by Stanisław Barańczak and Clare Cavanagh ('View with a Grain of Sand'), paying special attention to the key poetics of negation. The article focuses on the problem of " possible worlds". Looked at from the point of view of linguistics, literary studies, and translation studies, the poem is demonstrative of the variety of forms of negation and their semantic functions used in Szymborska's entire oeuvre. The conclusion is that Szymborska uses not only negations on the formal, i.e. grammatical level, but also on the semantic and pragmatic levels, and in this way conveys the main meanings of her poems. The analysis of the English translation shows that the role of negations is similar: the translators use numerous and various forms of formal and semantic negation, but they lack pragmatic negation. The translation thus lacks one of the most central messages of the poem: Szymborska values the richness human existence much more than the empty existence of other beings.

What have Cesare Pavese, Beppe Fenoglio and Primo Levi got in common? Apart from their obvious Piedmontese origins, they and other writers coming from the same Italian region share a certain tendency towards multilingualism, which is a characteristic that has not been comprehensively investigated over the years.  This study aims at carrying out a linguistic analysis of a group of modern and contemporary narratives written by Piedmontese authors. The novels and short stories here examined stand out for the intriguing way in which they move between a variety of idioms – Standard Italian, regional vernaculars, English and pastiches (with rare excursions into French). With the support of linguistic and philosophical theories on the relation between identity, alterity and language, the author demonstrates how the use of non-standard parlances is fundamental in both reinforcing the sense of belonging to specific social groups and highlighting the presence of dissimilar identities and ‘other’ cultures. A sociolinguistic study and an analysis of the political and historical context of the region are also provided in order to illustrate how the combination of different varieties in literature reflects the region’s peripheral position, as well as the political and social changes that have occurred in Piedmont in the nineteenth to the twenty-first centuries. With this book the author attempts to fill a gap and cast new light on Piedmontese literature. Although some important critical studies on the use of dialect or English exist on individual Piedmontese authors, and some contributions to the history of regional literature exist, too, no current, systematic study that compares different Piedmontese writers under the language/identity theme has been published.

Ο επισκέπτης καθηγητής στο Πανεπιστήμιο της
Γρανάδας μιλάει για τον ανήφορο των λέξεων στο
καζαντζακικό έργο. /// Διάγει τη ζωή του με τον τρόπο του Οδυσσέα – ενός Οδυσσέα αναποφάσιστου
που πότε κοιτά προς την ομηρική και πότε προς την καζαντζακική του
καταγωγή αλλά πάντα κυνηγώντας την έρευνα και το ταξίδι. Ο λόγος για τον
Νίκο Μαθιουδάκη, επισκέπτη καθηγητή Νέας Ελληνικής Γλώσσας και
Πολιτισμού στο Πανεπιστήμιο της Γρανάδας, ο οποίος πρόσφατα
κυκλοφόρησε τη μελέτη του «Η Οδύσ[σ]εια των λέξεων. Νεολογικά
αθησαύριστα στο έπος του Νίκου Καζαντζάκη», μια τιτάνιων διαστάσεων
γλωσσολογική έρευνα στην «Οδύσεια» του μονιά, ακρίτα, δοξαρά,
θεοκαταλύτη και χαρομάχου, κλωθονούση και κοσμοπαρωρίτη Κρητικού.
Αναζητήσαμε τον κ. Μαθιουδάκη στη Γρανάδα για να συζητήσουμε για το
βιβλίο του προτού ανοίξουμε την κουβέντα στον Νίκο Καζαντζάκη. [ ΕΝΤΥΠΗ ΕΚΔΟΣΗ 29.11.2020 // ΗΛΕΚΤΡΟΝΙΚΗ ΕΚΔΟΣΗ 01.12.2020 // ΠΗΓΗ: https://www.documentonews.gr/article/nikos-mathioydakhs-oewrw-ton-kazantzakh-glwssopoio-kai-oxi-glwssoplasth ]

La presente disertación se enfoca en un análisis cualitativo, evaluando qué traducción de Alice’s Adventures in Wonderland de las tres aquí presentadas transmite mejor el sentido del original, para lo cual se emplea las técnicas para traducir juegos de palabras ideadas por Dirk Delabastita (1993), además de los conocimientos proporcionados por las diferentes ramas de la lingüística.
Las traducciones que se emplearon para el análisis de la presente disertación se escogieron con base en el año en se tradujo Alice's Adventures in Wonderland. Así, Jaime de Ojeda tradujo el libro en 1970, Francisco Torres Oliver, en 1984; y Dolores Aranguren, en 2010.

This research aims to elaborate the ideology of love in short story entitled " Dalam Perjamuan Cinta " by Taufik Al-Hakim based on the genetic structuralism theory by Lucian Goldman. This research is a descriptive qualitative research. To collect data, researchers used reading and noting techniques. Then, to analyze data, researchers used Miles and Huberman model. The results of this research are: a) the human fact is illustrated in human's love; b) the collective subject is expressed in the conflict between superior group and inferiror group; c) the world view is reflected in the egoism and mysterious women group toward love; d) the literature structure is elaborated in the interaction contact between the characters and the object currently described in the story; and e) the understanding-explaining dialectic process is chronologically formed in story concept: world view about woman's egoism and mysteriousity toward love is used to explain, analyze, and assume the structure of the literary work. Abstrak Penelitian ini bertujuan untuk menguak ideologi cinta dalam novel " Dalam Perjamuan Cinta " karya Taufik Al-Hakim berdasarkan perpektif strukturalisme genetic Lucius Goldman. Jenis penelitian ini adalah penelitian kualitatif deskriptif. Peneliti menggunakan teknik baca dan catat untuk mengumpulkan data dan model Miles dan Huberman untuk menganalisis data. Hasil penelitian ini adalah: a) fakta kemanusian difokuskan pada cinta manusia; b) subyek kolektif direfleksikan dalam konflik antara kelompok superior dan inferiror; c) pandangan dunia dijelaskan dalam keegoisan dan kemisteriusan wanita tentang cinta; d) struktur karya sastra digambarkan dalam pola interaksi antara karakter-karakter dengan obyek-obyek dalam cerita; dan e) dialektika pemahaman-penjelasan diformulasikan secara runtut dalam konsep cerita, yaitu pandangan dunia pengarang tentang keegoisan dan kemisteriusan wanita tentang cinta digunakan untuk menjelaskan dan menganalisis struktur karya sastra.

Nel saggio si indagano le tecniche e i registri stilistici impiegati da Anton Francesco Doni nel rappresentare il parlato in modo evidentemente consapevole. La varietà di temi che viene racchiusa dallo scrittore fiorentino nei «Marmi» (da lui definiti come «bizzarre composizioni») rispecchia la sua formazione di uomo curioso e di lettore onnivoro, che coglie e sfrutta le possibilità della stampa quale potente mezzo non solo di comunicazione ma anche di partecipazione alla vita letteraria e artistica. Fin dai primi scritti il Doni si cimenta nei temi attuali e nei generi più accattivanti per il pubblico, trasponendo nelle forme divulgative, e con un notevole estro linguistico, la conoscenza ricavata dai libri, assimilata dai discorsi di amici artisti e letterati, registrata nei dibattiti dei cenacoli. Grazie alla forma dialogica dei «Ragionamenti» che compongono «I Marmi», lo scrittore confeziona una miscellanea di argomenti di arte, filosofia e viver civile che mette in bocca ai personaggi diversi, dai popolani delle botteghe agli accademici, realizzando in questo modo una stravagante gamma di toni e linguaggi, con scarti continui e fortissimi. La sua scrittura «come il parlare» si dispiega agevolmente nel genere umorisitico, che permette il ricorso a svariati registri. Doni riproduce, quindi, sia il parlato-parlato degli scambi di battute sia la formula della lezione adatta alle «controversie» scientifiche; raggiunge effetti pittorici nelle descrizioni e restituisce la vivacità di una scenetta da taverna oppure di un avvenimento di cronaca cittadina.