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According to Stockwell, there is a dynamic relationship between the processes of figuring and grounding, as elements of the text are thrown into relief in the course of reading or actualising the text. By a constant renewal of the figure and ground relationship, the text works against the inhibition of return, i. We consider that a text can be unlocked with the key offered by the interplay of emphases amongst its parts and partial elements.

This can become a guarantee of one successful decoding from the part of the reader that will make him go on reading the text. That is why our argument is meant to prove that the constant interplay at any given moment between openness of meaning and strategies of foregrounding represents a vital aspect of text uality. Much debate has been given to the theory of foregrounding since its conceptualisation by the Russian Formalists and Prague Structuralists. Subsequently, it has developed into a systematic coherent theory with immediate relevance for the literary text s by describing the linguistic mechanisms involved in concrete cases of foregrounding.

Foregrounding may occur at any level: phonological, grammatical, semantic and pragmatic. However, it remains for us to prove that even beginnings tend to be open and to indicate significant emphases. This is readily apparent with the opening paragraph of K. In other words we will try to highlight how the very beginning of the novel may suggest the outcome of the novel, thus ensuring the structural and thematic unity of the whole. It seems increasingly likely that I really will undertake the expedition that has been preoccupying my imagination now for some days.

The very first extraposition of a clausal subject in the opening line signals a brilliant subversion of the fictional modes to which the novel seems to align. This is controlled through a range of deictic elements encoding the spatio — temporal con text and subjective experience of the encoder. The complexities of modality, both epistemic and deontic are carried out at both paradigmatic and syntagmatic levels. Further more, they ensure the coherence of the discourse, trapping the reader into a more active and imaginative engagement with the text , due to more implicit cohesive ties.

The so far achieved congruence of the text is also a modality of increasing awareness as to the understatement of a perfectly smooth, not-important-type of narration. The more immobile everything looks, the more devastating it is perceived by the experiencing narrator. Regarding the value of tense and aspect they may have relevance when speaking about coding time, content time and receiving time, but most of all with a view to foreshadowing the hypersignification of the larger discourse.

The staccato rhythm imposed by the paradigmatic choices as well as the hyperbaton cause — effect phenomenon of foregrounding, is also relevant for the text ual interrelationships. Who is Mr. Farraday in whose Ford the speaker will undertake the expedition alone? What is their relationship? Why does the narrator have to foresee the finest countryside of England? All these details on both paradigmatic and syntagmatic axes are meant to open discourse up towards story and hypersignification, highlighting ways of opening meaning within the novel.

Really— one has to ask oneself — what dignity is there in that? The point is that we tried to show how Kazuo Ishiguro through an apparently obscuring surface, manages to disclose a complex of attitudes and emotions, thus opening meaning through technique; how through congruence amongst paradigmatic choices and syntagmatic and grammatical cohesion the author manages at once to conceal and disclose the implicit relationship between fallible narrator and self-deceptive narrate.

References Brown, G. Discourse Analysis, Cambridge University Press. Ishiguro, K. Peer, W. Short, M. Our present argument centers on how foregrounding strategies contributing to literariness are inductive of narrative hypersignification too. Laut dieser Ansicht wird die Bedeutung auf dem konzeptuellen Niveu aufgebaut, indem Bedeutungsaufbau mit dem Konzeptualisierungverfahren gleichzusetzen ist. Man kann sich die Frage stellen, wie kommt es vor, dass wir uns doch in der Welt zurechtfinden, wenn die Struktur, die Kategorien und Eigenschaften der Sprache keine Entsprechungen in der Wirklichkeit haben.

Man kann daher sagen, dass einerseits die semantische Struktur die konventionelle Form ist, die die konzeptuelle Struktur beim Einkodieren in die Sprache einnimmt und, dass sie andererseits einen Gehalt eingelagerten Wissens darstellt, der durch die Sprache einfach reflektiert wird. Laut Fauconnier setzt der Bedeutungsaufbau zwei Verfahren aus: 1. Man kann sagen, dass man eigentlich mit zwei Bedeutungsvarianten zu tun hat.

Zum einen geht es um die konventionelle Bedeutung, die mit einem bestimmten Wort oder einer bestimmten Konstruktion asoziiert wird kodierte Bedeutung , zum anderen handelt es sich um die Bedeutung, die der Kon text ausmacht pragmatische Bedeutung. Die Sprache setzt also nicht nur intelligente Wesen, sondern auch einen kognitiven Zugang dieser Wesen zur Welt voraus. Es ist eine grammatisch perfekt aufgebaute Aussage. Wir wissen also, dass die Menschen die Tendenz haben, ihre Aufmerksamkeit auf besimmte Aspekte einer visuellen Buehne zu fokusieren.

Der Blickpunkt, den wir fokusieren, stellt etwas dar, was uns erlaubt, bestimmte Voraussagen zu formulieren. Kategorien sind demzufolge wesentliche Elemente, die sich an der Organisation unserer Erfahrung beteiligen. Es gibt mehrere Probleme mit dieser Theorie, die wir besprechen werden.

That is, each item has at least one, and probably several, elements in common with one or more other items, but no, or few, elements are common to all items. Wenn man die Kategorie der ungeraden Zahlen betrachtet, wird man feststellen, dass diese Kategorie doch klar definierte Grenzen hat. Mitglieder dieser Kategorie sind jene Zahlen, die nicht ohne Rest durch 2 teilbar sind. Drittens werden die Schwachheiten dieser Theorie im Bezug auf die letzte Grundannahme sichtbar, die besagt, dass jeder Mitglieder einer Kategorie mit jedem anderen gleichwertig sei.

Dagegen kann man Armstrong et al. Its core might contain information about the presence of a reproductive system, while its identification procedures might contain information about body shape, hair length, and voice pitch. Was das zweite Prinzip angeht, handelt es sich um die korelationelle Struktur der Welt. Daraus ergibt sich die Tatsache, so Rosch, dass die strukturelle Organisation der Kategorisierungssystem zwei Dimensionen aufweist: eine vertikale und eine horizontale.

Die horizontale Dimension hingegen betifft die Zerlegung einer Kategorie auf derselben Abstraktionsebene. Die Grundannahmen der Prototypenmodells werden von Kleiber wie folgend zusammengefasst: 1. Eine Kategorie hat eine prototypische innere Struktur.

Die Grenzen zwischen den Kategorien bzw. Begriffen sind unscharf. Sie sind idealisiert, weil sie Erfahrungen abstrahieren, anstatt spezifische Instanziierungen einer bestimmten Erfahrung darzustellen. Putnam In einer seinen Arbeiten stellet sich Fillmore die Frage, ob der Papst als Junggeselle betrachtet werden kann Fillmore Wir haben demzufolge mit einem Zusammenbruch der Hintergrundkategorien, die das Miteinbeziehn des Papst in die Kategorie der Junggesellen erlaubt hatte.

Humor und Kategorienfehler In Michael Jubien haben wir folgendes Beispiel gefunden, das wir als Ausgangspunkt dieser Analyse gedacht haben: "I recently heard a commercial on the radio for a company that leases cars: Salesman: And, ah, Mr.

Smith, just for how much of the car did you want to have? Salesman: I see. So you plan on having it for Customer: Not really. Salesman: Ah, then you don't want the whole thing after all, you only want three or four years of it! Die Unterscheidung zwischen 'frames' und 'scripts' haben wir von John R. Taylor entnommen.

Grob genommen stellen Frames statysche Konfigurationen von Wissenkomplexen. Taylor, Das Problem dieser Theorie ist, dass sie das Verfahren von Humorproduktion und — Rezeption vereinfacht. Ausgangpunkt ist die Festlegung, dass der metaphorische Ausdruck in seinen konkreten text uellen Umraum thematisch nicht recht zu passen scheint. Der Mensch wird durch die der 20 Wolke zugeschriebenen Eigenschaften und Merkmale hindurch wahrgenommen. Man kann also davon ausgehen, dass zu jedem Begriff der Sprache ein System von Stereotypen oder Skripts existiert, das als Wissen im Umfeld des Begriffs, d.

Nehmen wir ein anders Beispiel, das von Lakoff in Bezug auf zusammengesetzte Substantive wie zum Beispiel topless dress, topless judge, topless bar besprochen wurde. Wir wissen auch, dass Frauen, die das nicht machen, in bestimmten Kneipen arbeiten; dass sich diese Kneipen in bestimmten Zonen einer Stadt befinden. Dementsprechend kann man sich ein topless bar als eine Kneipe, wo topless women arbeiten, a topless district als eine Zone, wo topless bars sind, wo topless women arbeiten, vorstellen.

Dem Ausdruck topless chair werden die Skripts zugeschrieben, die den stereotypischen Ausdruck topless woman ausmachen. Bibliographie Evans, Vyvyan and Green Melanie Realism and Reason. Philosophical Papers, Cambridge Raskin, Victor Semantic Mechanismus of Humor, D. Reidel Publishing Company 21 Raskin, Victor Lexicography and Conceptual Analysis, Karoma Abstract Categoarization errors or surprising categorizations which seemingly can or cannot logically represent categorization errors underlie the creation of humour.

I start with the rendering of the idea of meaning in cognitive semantics, according to which meaning represents models of thinking, at the basis of meaning lying the process of conceptualization and categorization. Development of recent approaches, new specific materials and text books, including content-based learning also known as CLIL - Content and Language Integrated Learning seems a possible solution. Students For many of the Romanian students, who are likely to use the English learnt in school throughout their lives, the time spent in foreign language lessons practising grammar, learning words, speaking, reading or writing, is enjoyable, easy and successful.

However, many more students leave school being able to use very little of the foreign language which they spent so much time learning. For them, the investment of time and effort in the English classrooms has disappointing outcomes. When they leave school and later in their lives, they find it difficult to use the foreign language they know as this is either not enough or not what would help them in their jobs.

The language they learn in school cannot be used as a tool for real-life communication in the everyday situations in which they may have to operate. When it is too late, they may realise that it does not make sense to have spent all this time learning a language which they cannot use in real life situations.

For such people, more important in point of effective language learning and communication is not what they know but how they could use it. Schools The learning process organised in schools is very much a situation-specific matter. The kind of schools that students attend provide strong influences on the teaching - learning process, and it is counterproductive to ignore them. Although it is possible to generalise about some social principles, and to say, for instance, that classroom cultures are influenced by the cultures outside the classroom, or that there is likely to be conflict between teacher and student agendas, it is not possible to generalise about the precise nature of a particular classroom culture, or the other cultures which influence it, or the form which this influence takes.

This has to be worked through in the specific situation in which the teaching - learning process takes place. The implications are not simple: the class teacher should be aware of who the students in a particular classroom are, what their needs and interests are, and what they are able to do.

The class teacher has the role of seeing what is going on and finding out about the relevant backgrounds of all parties involved. Other parties, such as curriculum developers, materials and text book writers, school administration, may also be involved in making decisions about the nature of classroom teaching and learning through recommended syllabi, text books, methodology, materials, and equipment.

To be appropriate, materials and methodology must be sensitive to the prevailing culture surrounding any given classroom. In other words, appropriate materials and methodology must be culture-sensitive and as such they must be based on a process of learning about the classroom. The data produced by this process makes the methodology culture-sensitive and appropriate. Learning about the classroom and the ethos of the entire school is an essential aspect of finding out how to teach.

Any class and any foreign language class for that matter, is supposed to cater for the specific needs of each group of learners if not for each individual learner. The process of learning about the classroom needs involves research which can be carried out at an informal level in such a way as to be accessible to all teachers.

The notion of teacher as informal researcher is already common in general education Stenhouse , Ruddock and Hopkins, , and is becoming popular in English language education, too Nunan , Allwright Teachers can carry out even less formal classroom research in a way that it is full y integrated with their day-to-day work.

Foreign language teaching and beyond In Romania, many foreign language teachers work in situations where the established syllabus is not in agreement with their view of how English is learned efficiently, or the needs of their students, as perceived by the teachers. Such teachers have two options: either to simply go along with the syllabus and complain secretly to their peers, or to secretly do what they think is best and be successful, and thus credit the syllabus with undeserved merits.

The optional syllabi may be designed by regular school teachers on different levels: subject level, curricular area level, or cross-curricular area level. The optional syllabus developed for a subject consists in either new learning modules, activities, or projects for a subject in the national syllabus, or in a completely new syllabus for a new subject, complementary to those in the national curriculum.

The optional syllabus developed for a curricular area requires the choice of a new topic, which involves at least two subjects of the same curricular area. In designing such an optional syllabus new objectives have to be specified and related to the instructional goals of the two subjects. The third type of optional syllabus implies at least two subjects of different curricular areas. Consequently, the input offered to students is more complex, and thus allows them to acquire high cognitive skills e.

In contrast to learning skills in isolation, when students participate in crossdisciplinary experiences, they understand better the value of what they are learning and 24 ecome more actively engaged. The optional syllabus developed on a cross-curricular area level encourages students to cross boundaries in order to find and work with authentic material on other subjects, such as history, geography or sciences, which will immediately stir their interest.

A cross-curricular approach in education in general, not only at the level of foreign languages, is a must of our time. It helps students to form an image of reality in its entirety, develop an integrative model of thinking, and adapt transfer methods, values and skills from one area or field to another with minimum effort or risk.

Cross-curricular teaching is seen as a way to address some of the recurring problems in our school education, such as fragmentation and isolated skill instruction, and involves a conscious effort to apply knowledge, principles and values to more than one subject simultaneously. The subjects may be related through a central theme, issue, problem, process, topic or experience.

This legal provision allows teachers to develop specific syllabi, design materials and even write text books which respond directly to the needs of their students. Their analysis of the environment is accompanied by a tacit understanding of the psycho-cultural and micro political aspects of institutional behaviour. One opportunity offered by this optional syllabus, as identified by foreign language teachers, is to put some time of the school week for learning other subjects, such as geography history or civilisation, or special modules through English.

In this way, lessons are taught that offer opportunities to students to use English naturally, forgetting about the language and focusing mainly on the learning topic. The learning of language and the content of another subjects are mixed and each lesson has a twofold aim: one related to the subject, topic or theme, and one linked to the foreign language.

Thus these kinds of lessons have a dual focus. This approach, in itself, is not new, nor is it unknown in Romania. Over the years, teachers have tried to teach foreign languages through other subjects and other topics. This is the philosophy behind bilingual schools and classes, where a foreign language is used as a medium of teaching and learning. It has been felt that students benefit from the focus being less on the language in terms of grammar, functions, or lexis, and more on the content or topic.

By choosing topics that learners are already somehow familiar with, currently studying or interested in, the hope is that they will learn more and faster. This approach is gaining more ground, not only in bilingual schools, but also in vocational schools. CLIL lessons can offer supplementary opportunities of picking up a foreign language, while studying a content area.

Naturalness appears to be one of the major assets of this approach. Dual-focus lessons offer a natural situation for language practice and development which builds on the forms learnt in the language classes. An important difference between a 25 foreign language lesson and a CLIL lesson is that in the latter the language is picked up more naturally. In a typical language class, the learners go through the process of sorting out sounds, patterns, structures, vocabulary, etc.

In a CLIL class, it is essential for the students to understand how language works, but there is seldom enough time for learning more than the essentials. A CLIL class in English enables students to acquire subjects through the mediation of English as a foreign language and it is the subject orientation which is given a special focus. It can combine sector-specific target language knowledge with job-specific communication competencies.

CLIL promotes several principles: content At the very heart of the process of learning is placed successful content or subject learning, the acquisition of knowledge, skills and understanding characteristic for that subject. The traditional transmission model for content delivery which conceptualises the subject as a body of knowledge to be transferred from teacher to learner is not longer considered appropriate.

Rather, a symbiotic relationship is stressed between the foreign language and the subject, which demands a focus on how subjects are taught while working with and through another language rather than in another language. This important shift in focus has determined the redefinition of methodology to take account of language use by both teachers and students, which encourages real engagement and interactivity. This means consideration of issues fundamental to the education process itself.

Consequently, CLIL has implications for teacher education and training. The teacher also performs constant comprehension checks, related to content. This may result in high levels of communication between the teacher and the studens and among students themselves. Thus it fosters implicit and incidental learning by focusing on meaning and communication, and providing great amounts of input. At the same time, the regular foreign language class can keep a complementary focus-on-form approach in the needed language areas.

In addition, CLIL fosters fluency, whereas many simple foreign language lessons tend to focus on accuracy. Therefore, CLIL lessons are complementary to the more structured foreign language lessons. CLIL lessons build on the language learned and practised in the language lessons by providing alternative opportunities to develop a wide range of language skills, strategies and competences needed by students to function in everyday situations.

The linguistic competence acquired in the language lessons may be transferred to yet another kind of language in the CLIL setting. CLIL serves to reinforce the notion that any language is a tool which, to have meaning and sense, needs to be activated in con text s which are motivating and meaningful for the learners. It provides a rich setting for developing thinking skills in conjunction with both basic interpersonal communication skills BICS and cognitive-academic language proficiency CALP.

Research suggests that these challenges encourage thinking to take place in different languages and at a deeper level of cultural understanding. The need for more support for CLIL lessons visual and other types , makes the teacher aware of the more general need of cognitive and interactional support that foreign language learners, particularly young learners, require.

Also, CLIL facilitates the transfer of literacy skills from the mother tongue to the foreign language. Studying a subject through the language of a different culture paves the way for understanding and tolerating different perspectives. This element is fundamental to fostering European understanding and making European citizenship a reality. In addition, CLIL provides a learning environment which makes it possible to realise modern learning theoretical and methodological concepts in an optimal way.

CLIL has some clear advantages: authenticity of language and content. CLIL learners deal with authentic content and interact in a foreign language about the real world around them. Authenticity promotes the language learning process more than talking about the pseudo-real and fictitious contents of the traditional language classroom. Authenticity is a fundamental condition that gives good results. In science, history, geography or other subject lessons, students make use of alternative learning strategies and study skills when they have to deal with bibliographical sources, tables, maps, or diagrams.

Such materials not only provide a lot of information but also allow students a certain degree of independence. A CLIL class can be a place in which the different topics are not divided arbitrarily and taught in isolation, but as a complex whole or a place of autonomous learning in which students deal independently with the learning content. CLIL does not promote only linguistic competence.

This allows better association of different concepts and helps the students towards a more sophisticated level of learning in a certain field. Classes provide situations in which the attention of the students is on some form of learning activity that is not the language itself. Students are provided opportunities to think in the foreign language, not just learn about the language itself as the major learning focus.

Students in CLIL classes often lack the cognitive language proficiency needed to process and express content area concepts. The task of the CLIL teacher is to expose learners to appropriate content designed to further their linguistic skills and to render the core concepts of the CLIL lesson accessible through language enrichment activities. This task involves sophisticated adaptation techniques and strategies, and for many teachers, it may entail a rethinking of how to present material to learners.

As CLIL lessons are not primarily foreign language lessons, students should be encouraged to challenge the idea of waiting to communicate in the foreign until they think they are good enough in the language to use it. The foreign language teacher can capitalise not only on the positive attitudes the students may have towards the language, but also on their motivation to reach the best possible outcomes in terms of learning the other subject. Thus, motivation to learn content through the foreign language may foster and sustain motivation towards learning the language itself.

The relevance of study topics motivates the students to understand the importance of forms of collaboration, better than in the traditional classrooms. Thus, CLIL creates a learning environment that corresponds better to modern psychological principles than do traditional learning environments. It also connects different areas of the learning curriculum into a meaningful and economic use of study time. The pedagogical potential of CLIL is enormous and lies not only in the promotion of foreign language learning but in the adaptation of the educational structures to the EU language policy.

Within such a learning environment, reaching the goal of trilingualism of all the citizens of the EU, as defined in the White Paper by the Council of Europe, seems more feasible. The benefits of CLIL may be seen in terms of cultural awareness, internationalisation, language competence, preparation for both study and working life, and increased motivation. The CLIL language can be a platform by which the learners may take an interest in other languages and cultures as well.

Learning a language and learning through a language are concurrent processes, but implementing CLIL requires rethinking of the traditional concepts of the language classroom and the language teacher. The immediate obstacle for the implementation of the CLIL approach seems to be the opposition to language teaching by subject teachers, but opposition may also come from the language teachers themselves.

The scarcity of CLIL teacher-training programmes suggests that the majority of teachers may be ill-equipped to do the job adequately. However, the characteristics of CLIL activities are not unfamiliar to the teachers from the foreign languages background: integration of language and content integration of receptive and productive skills material directly related to a content-based subject lessons often based on reading and listening authentic text s lessons not always graded from a language point of view.

Language is functional and dictated by the con text of the subject language emphasis placed on lexis rather than on grammar. CLIL can be both challenging and demanding for the teacher and the learners, but it can also be very stimulating and rewarding for both parties.

The degree to which the teacher adopts this approach may depend on the willingness of the students, the institution in which they work, and the resources within their environment. It could be something that a school wants to consider introducing across the curriculum or something that they experiment with for a few lessons. If either of these is chosen, the advice for the foreign language teachers is that they should try to involve other subject teachers within the school.

This could help both in terms of finding sources of information and in having the support of others in helping to evaluate the work. While CLIL may be the best-fit methodology for foreign language teaching and learning in a multilingual Europe, there remains a dearth of CLIL-type materials, and a lack of teacher training programmes to prepare both language and subject teachers for CLIL teaching.

Until CLIL training for teachers is organised and materials are published, the immediate future remains with parallel rather than integrated content and language learning. However, the need for language teaching reform in the face of Europeanisation may make CLIL a common feature of many European education systems in the future.

Society is changing, particularly in Europe, with changes brought about by the process of integration. It is this reality, alongside our new understandings of language acquisition and learning which has provoked excitement about CLIL. There are social, economic, cultural and ecological advantages to be gained though promoting plurilingualism through language learning.

CLIL offers one additional means by which we can give the young people the opportunities to develop their capacity to use language and to reap the benefits in their present and future lives. European Studies material, www. Fii cu ochii pe Visine! Rezistent la pizza. Rezistent la … pasiune. Cele mai multe reclame au marele avantaj al folosirii imginilor, uneori chiar cu rol de con text edificator.

Copenhaga — jocul cu Danemarca. Fii in galben! Puternic dar delicat. T1 — Acesta este? Acum e ca la mine. Charaudeau, Note bibliografice: Charaudeau, P. Abstract More than in any other type of communication, the advertising text cultivates the ludic, under its different aspects, at different levels, and, as it is the case with any game, there are predictable sequences but there also are unpredictable situations which enhance the curiosity of the participants.

Different forms of repetitions oppose ambiguities, each of them playing a well determined role. Our contribution is an analysis of the means which produce these stylistic figures. Sebastian sau Camil Petrescu. Nu alta este soarta lui Ilie Moromete. Manifestele citadinismului literar sunt cunoscute. Vom vedea cum. Ce-i facem?! We shall see that the both instances belong to history: the former, no matter how goodwilling is built artificially, so it will not stand the seige of the latter which is cruel and irrevocable.

A robot may not injure a human being nor, through inaction, allow a human being to come to harm. A robot must obey the orders given it by human beings except where such orders would conflict with the First Law. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Asimov, Of course, every human being is supposed to have the instinct of self-preservation. Asimov, The main difference is that, while robots invariably submit to these rules, humans tend to break them all the time. I like them considerably better than I do human beings. It is a puzzle or problem that he more often than not brings to the foreground and the suspense thus created moves the plot forward. Identity confusion. Some of his characters appear as robots firs, to be revealed as people later, while in other stories the process is reversed or ambiguity is preserved until the end, leaving the reader in a state of uncertainty.

Resorting to the three laws, she uses the following line of reasoning: if the politician obeys the laws, he could be either a human or a robot; if he does not obey the laws, he cannot be a robot, therefore he is a man. I want him back. Claire Belamont is irresistibly attracted toward Tony, a sophisticated robot, extremely handsome and well-mannered.

Told in twenty-three episodes, it covers two hundred years in the life of the robot Andrew Martin. Inverting the classical approach — man examining artificial intelligence — Asimov has Andrew explore the nature and implications of human intelligence. At first, Andrew is a household robot that serves the Martin family, much the role of Robbie. Andrew uses the money to pay for his own repairs and, when he has grown rich enough, he declares he wants to buy his freedom.

Since this is a legal matter, the Martin family takes the case to court. On his way to the library two young men accost him, ask him to take off his clothes, and want to dismantle him. Saved in the nick of time, Andrew hires a lawyer and starts to fight for robot rights. It can think well enough to enable it to talk to us, reason with us, joke with us. Can we treat them as friends, can we work together with them, and not give them some of the fruit of that friendship, some of the benefit of co-working?

Andrew writes a history of robots and intends to use the royalties to replace his mechanical body by an organic android structure. After a long series of operations his metal shell is replaced with the type of body he has longed for. Nevertheless, Andrew is far from being happy. By now generations of Martins have passed and the robot realizes that mortality is a necessary condition of humanness. And he makes the ultimate sacrifice — he gives up his deathless inorganic brain to fulfil his greatest dream: to be as nearly human as possible.

Thus the inorganic form may well be the only form for the survival of intelligence in the universe. A second implication of the novella is that the line between the organic and the inorganic seems to be extremely blurred. Frude, Neil. Cunningham ed. Wolfe, Gary K. Paralela 45 Gorcea, P. Paralela 45 Melian, A. Polirom Petrescu, A.

Paralela 45 Zamfir, M. Its final artistic effect lies in defining poetry as an infinitely mobile summum of formal windows which renders the same meaning reflected indefinetly within the poetic structure. Therefore, the global poetic meaning is inserted at different text ual levels through a fractal development technique. The division of quantifiers into non-phrasal and phrasal partitives is not so strict inasmuch as, except umpteen, all the members in the former set, can, for emphatic reasons, be optionally postmodified by a prepositional ofphrase in their pronominal function, eg: many of the [books], much of the [time], etc.

Cf idem: 97, [7] The scalar semantic relations that hold between non-numerical quantifying words and phrases account for the status of degree words, which makes it possible to place them on a scale in relation to each other. Based on the opposition between the the Source term and the Target term that has been mapped onto it, partitives evoke a certain source domain which differentiates them. The more restricted the domain is, the more expressive the metaphor will be.

Enough stands for the vague node where the multal and 58 the paucal intervals overlap and from where they extend both ways. Specific multal partitives combine with entities or individuals from a diversity of domains, many of which pertain to senses sight and hearing. Nouns denoting a multitude, or collective partitive nouns, which make the bulk of this paradigm, may refer to a large amount or amounts of things, or to a large number of things or participants, a group or groups, eg: army, band, batch, bevy, board, brood, bulk, bunch, bundle, cluster, collection, colony, constellation, convoy, covey, crowd, crew, drove, fleet, flock, gaggle, gang, heap, herd, hive, hoard, horde, host, litter, load, mass, nest, pack, pad, pile, pride, rout, school, shoal, skein, stack, stock, string, stud, swarm, troop, troupe.

Others denote containers and shape, eg: bag, barrel, crate, keg, pack, packet, pad, sack; cupful, handful, hatful; column, curtain, jet, stick, wad, wall, wedge, etc, [12] or standardized measures, eg: inch, ounce, pint, ton, yard. By lexicalizing intensification to a high, or to the highest degree, the members of the multal paradigm basically mean the same, i.

Axiologically, the semantic content of these metaphors implies a favourable or unfavourable evaluation of quantity. While a small quantity usually elicits a favourable appraisal, unless the quantity is felt as insufficient and may generate a devaluating judgment, a large quantity in terms of number, intensity, size, etc, usually elicits devaluating judgments that connote lack of quality.

The transfer of meaning between concrete, physical entities includes mergers of different values. The emotive effect of these elements is due 59 to their evoking the environment or level of style in which they naturally belong. Compare: Her hair fell over her shoulders in a cascade of [curls] Clouds of [birds] rose from the tree-tops.

One may experience a deluge or droves of [trouble], a burst, gush or whirlwind of [activity]. A storm of wild [applause] followed. In informal use, it is not uncommon for partitives to be also premodified by intensifiers such as whole, eg This turn of events opened a whole new vista of [troubles] for me. The partitive class under examination reveals much overlapping both in form and collocational ranges between English and Romanian.

In both speech and writing, the Romanian counterparts of these partitives vary between use and abuse. She received a flood of grateful [telegrams and letters] CCD The decision 61 provoked a storm of [criticism] from Conservative MPs. They uttered a stream of nasty [curses] He sat dumb for several minutes while the stream of [insults] continued These ideas have been hammered into their heads by a stream of [movies, plays and books] Stream of [nonsenseness] by Adrian Jimenezb There was a constant stream of [people] going both ways The research adds weight to a stream of [studies] that have found obesity and other health problems A mounting wave of [dislike and anger] rose within me In the general wave of [panic], nobody thought of phoning for an ambulance.

In Paris in May there was a massive wave of student [riots] There was a strong wave of [applause] punctuated with cheers Waves of [applause] like ripples from a slow-grinding fracture.. Waves of [applause] washed over Nicola, swelling her with pride. Waves of saphire [mist] spread from it in the dusty fog After a burst of [ initial publicity], all seems to have quietened down on this front The Financial Express, Friday, April 04, Jack Kerouac, fuelled by inspiration, coffee and Benzedrine, set down at his typewriter and in one burst of [creative energy] wrote the novel that would make him the voice of his generation.

She felt a surge of [affection] for him There has been a a surge of [people]; Deluge of Digitally Distributed Drama World faces deluge of human [trafficking] Rising Miss. River tricky for deluge of [barges] headed downstream A deluge of new [trouble] Well aware of the fact that approaching metaphoricity in the partitive paradigms involves dealing with extensive corpora,[18] I have discussed the multal metaphorical partitive structures in terms of general and specific semes, which turn them into expressive markers 62 of intensification, focusing on collocational ranges and regularities of partitives, as well as on abuse in the use of some Romanian multal partitive nouns.

Both types of noun provide alternative ways of viewing and referring, collective nouns with respect to countables and unit nouns with respect to uncountables. Just as the diminisher a bit of appears to indicate a large quantity, loads of, i. CCD [15] Note that of is almost invariably rendered into Romanian by the preposition de.

Remember also a sea of [words]. I Biber, D. DEX Benson, M. BBI Chambers Thesaurus. Harper Collins Publishers. London: Longman. As in the case of intensifiers, it is more simply to establish meaning differences between cognitive partitives and the partitives themselves. A wider distribution, quite common collocations and associations quite often surprising provide metaphorical meanings with extreme hyperbolic valences to these quantitative-non-numerical phrases.

The corpus was extracted from dictionaries, literature, mass media and on-line sources. Catholic versus Protestant, British versus Irish, republican versus loyalist, the gun versus the ballot box: to live in the North is to inhabit a drama of conflict whose contradictions often result in lethal consequences. Consequently, fear of the present leads to mystifications of the past. The past is not for living in: it is a well of conclusions from which we draw in order to act.

Cultural mystification of the past entails a double loss. Works of art are made unnecessarily remote. And the past offers us fewer conclusions to complete in action. Scene 1. A coda set twenty years later Act II. The whole text is structured on this opposition between the private and the public realms, the inner and the outer selves, and this doubleness is represented by dividing the stage space through the pairing of different characters.

Briefly, my case is this. Because of her mismanagement England has forfeited her right to domination over this country. The Irish chieftains have been forced to take up arms in defence of their religion. And because of your birth, education and personal attributes, you are the natural leader of that revolt.

Record the whole life. Such ironic juxtaposition is a constant of a play which leaves no safe locations for pre-set oppositions. When I lived like a criminal, skulking round the countryside - my countryside! And then when I could endure that humiliation no longer, I ran away! He will be a God-like prince And he will be king for the span of his life. Notes 1 For the analysis of this play all references are made to Brian Friel, Making History, London, Boston: Faber and Faber, , hereafter cited parenthetically in the text.

What is concealed spurs the reader into action, but this action is also controlled by what is revealed; the explicit in its turn is transformed when the implicit has been brought to light. Whenever the reader bridges the gaps, communication begins. Ghica, Se poate? Buzura, Vocile…, p. Abstract Human communication is seen as a very complex reality. Bronislaw Malinowski is the one who identifies the phatic function of language as fundamental for understanding the communication principles.

Among the first conclusions drawn from his observations Malinowski states that language is used to perform social functions; in other words, social relationships and interaction were geared to the use of linguistic expressions. One of such functions consists of what he called fatic communion.

Language is used to maintain fatic communion - a feeling of belonging to a community. Fatic communion involves the maintenance of a sense of community, of solidarity with other members of the group, of a particular status within the hierarchies of the group, and at the same time a feeling of accepting others and being oneself accepted by others. In this respect, inter text uality proves to be an appropriate instrument of communication between author and reader. Such con text s help to de-constructing this language and showing up its phonines.

Women poetry is trapped somewhere in between the extravagant and the repulsive. The aim of the paper is to examine three sorts of representative attitudes discernable in women poets who explore female bodily experience associated with three sorts of verbal strategies.

In the work which is referred to, the familiar vertical standard has shattered; body is not assumed to be inferior to some higher principle. The attitudes are rejection, ambivalence and affirmation; the verbal devices are irony, comedy and revisionist symbolism. Of special interest are the emotions, the forms employed and the reinterpretations of other matters which follow from interpreting the body.

During the last three decades, America poets have been employing anatomical imagery both more frequently and more intimately than their male counterparts. Their female audiences enjoy this. Male readers, unsurprisingly, tend to be more uncomfortable by female candor and to feel that it is inartistic.

The American artist sometimes avoided her femininity by getting her mental hysterectomy early. She will often not speak for female experience even when the men do. She will be the angel-artist, with celestially muted lower parts. If anatomy is destiny, we all want to escape it. From Plato to Freud, and beyond Fred to Simone de Beauvoir, civilization means vertical mobility: one transcends the body in order to achieve something o public worth.

As to woman, woman in mythology is the flesh when men write about her as she has not been required to write about the flesh herself. From pleasure to pain If, traditionally, the flesh has been either overlooked or disregarded, that has happened due to two main reasons. The flesh is both corrupt and corruptible; that is, both inherently sinful and inherently subject to change and death.

The former grievance is expressed morally, the latter lyrically — and with the understanding that in the youth and prime of life, the flesh is a source of pleasure. The damaged bodies of war victims, the hungry bodies of famine victims are important images in the work of Adrienne Rich, Muriel Rukeyser, and Denise Levertov. Women also seem drawn to describe psychic hurt in somatic terms. The imagery created is so strong and powerful that we can almost picture the two lovers sitting across the table while poking at each other, and smell the strong stench of sweat gliding down the two bodies after having had animalistic sex.

With Anne Sexton, the body is turned into a protagonist of the poem: there is a suggestion of self-abandonment into comfort, into tranquility, the tranquility that one needs to flee back from all the ado of the modern world. Most women writers make use of powerful somatic imagery in their poems to render the idea of psychic hurt and scorn of the flesh: there is always a strong connection between physical vulnerability and ironic self-rejection.

To understand the connection between physical vulnerability and ironic selfrejection, we may consider Sylvia Plath. She writes of both male and female bodies. She also projects human anatomy into the natural world. The organic, for Plath, is approximately identical with suffering.

Her poetry offers fragments of beings, not whole persons. Subjects and metaphors include a cut, a contusion, the tragedy of thalidomide, fever, an accident, a wound, a paralysis, a burial, animal and human sacrifice, the burning of heretics, lands devastated by wars, and extermination camps.

A number of persistent motifs are particularly feminine. What, after all, is more humiliating than being a bleeding dirty girl? The drama of social and political life plays out, on a nightmarishly large scale, the victimization of the body. Plath demonstrates a will toward detachment from body and word in two ways, of which the first is Art — the distancing of experience through poetic manipulation. Her early verse employs tight formal structures, bookish diction, a harmony of allusions to sanctioned works of art and literature, and a consistently ironic impersonality of tone, which has everything to do with rising above experience, little to do with dwelling in it.

She manipulates rhyme and off rhyme, regular and irregular mater, with 83 the casualness of a juggler tossing knives, and her mature mastery of colloquial idiom illustrates her contempt for the vulgar and cruel social relations which generate such idiom. Plath is an extreme example. One may view her work aesthetically as a radical extension of the mode of disenchanted alienation in the Eliot — Auden — Lowell line. One may view it morally as a capitulation to weakness, self-indulgence.

Perhaps it is both. Advertising women As W. In reply, one may imagine a chorus of not-so-mild women poets remarking: you said it. The labors of loveliness have not been traditionally spoken in poetry, beyond misogynist attacks on the foulness of the painted woman.

But they are now, commonly to hilarious effect. Karen Swenson tells of a bosom which never attains movie star amplitude, and hopes with oral metaphors in the Spenser — Keats tradition to find a man who will settle for dumplings at the feast of life. Beauty, when a woman stops to think about it, mans bondage.

In A Work of Artifice, Marge Piercy compares the feminine fate with that of a bonsai tree, artificially miniature. Obviously, as a woman, there seems to be a continuous interest for keeping up with some beauty standards as early as the adolescence days. But what can she do? She needs to be loved. Further on Carolyn Kizer talks about women of letters and addresses the unique dilemma of the lady with the brains and ambition.

While quizzical poems on the topic of beauty versus truth as applied to cosmetics will admittedly weigh lightly in most literary scales, they typically embody two interesting stylistic decisions. First, the poems are not openly autobiographical and factual, but antiliterary, even anti-aesthetic, in the sense that they refuse, rather than cultivate, formal distance.

There is no extension of personality here. As readers, we are asked to participate in the predicament of someone who wants to be beautiful while challenging, implicitly or explicitly, the standards or value of beauty for a woman, and who does not pretend to transcend the situation.

It would be inappropriate to make the poem itself too beautiful. But the poem must be comic. Comedy enables writer and reader to agree that the predicament is, after all, innately absurd. Clowning shows that we have perspective.

Or perhaps we laugh that we may not show the frown lines to the mirror? Her tone grows increasingly nervous, but the poem is undergoing a transformation of its own, from self- mocking panic to self-loving acceptance. If a woman is naturally narcissistic, she might as well go the whole hog.

Beauty is, Jong reminds us, as beauty does. Time, the enemy of love in lyric poetry since the Greek Anthologia, has become sequence of lovers-blundering, presumably young and inexperienced lovers at that — to whom a woman, ripe with herself, can condescend. Jong writes less success full y when she attempts to make narcissism look sublime rather than ridiculous, and poems of self examination in this surface sense do not easily survive the comic mode.

Female body symbolism When women write to praise the body rather than attack or joke about it, their most significant technique is symbolism. Water, moon, earth and living things, the natural as opposed to the artificial, provide the strongest sources or imagery for women poets engaged in commending the basic physical self, just as they always have for men describing women. Nevertheless, there are differences.

The identification of woman with flowers, for example, is as least as old as the Le Roman de la Rose. Poets have seen both woman and flower from without, whether in erotic poetry, poetry of witty seduction, or poetry of reflection on the transience and mutability of life. But, when Diane Wakoski compares an armful of roses first with skin and then with internal organs the, focus changes.

One experiences not beauty but an overwhelming vividness, energy and terror in the sense of self as living organism. The extreme vitality of flowers and body approaches the obscene, as in Plath it approaches the predatory. Though wrinkled, there is nothing frail or weak in the blossoms of either poet. The personalism and particularism of women writers can provoke both disapproval and approval given that, on the one hand, the female tendency to define the self in terms of relationships with others is a defect, and on the other, a virtue, since relationship, communication and identification are primary devices for women writers.

Throughout western tradition, descent into waters signifies danger or death, consistently associated with the feminine. Women who make the same plunge also evoke the dangerous and the unknown, but they tend to evoke at the same time a sense of trust.

The destructive element is their element. It is alien, and yet it is home, where one will not be hurt. Rich notes that relaxation rather than force is required to maneuver here, and she is confident of finding treasure as well as devastation. Still again, if our most celebrated and compendious symbol for woman is earth, adored as mother, revered as virgin, earth is of course other than the celebrant; she is always the principle of passive material life divided from the mental or spiritual and she is always subject to conquest.

Both, according to this poem, lie within, in the realm of the immanent rather than the transcendent. The function of spirit is to celebrate matter, not to subdue or escape it, and women become mutually connected beings by the participation of spirit in the principle of flesh they commonly share. For a woman, perhaps the most decisively difficult act is to think of herself as powerful, or as more powerful than a man, and capable of influencing the outward world without sacrificing femaleness.

One poet who has asserted hat female biology equals power, and has found a set of symbols to state is nature, is Robin Morgan. In the series of poems entitled The Network of the Imaginary Mother , Morgan describes a conversion from flesh-loathing to flesh-affirmation while nursing her dying mother, and defines her biological capacities in terms of goddess-figures — Kali, Isis, African and Pre-Columbian madonnas — representing a triumphant will to love and nurture. Her husband in this poem is Osiris, a consort and her son teaches the simple secret of delight.

Self as world Poets have perennially occupied themselves with discovering analogies between the macrocosm of the world and the microcosm of the self. For many women poets at present, the microcosm means, emphatically, a physical self from which it is neither possible nor desirable to divide mental or emotional existence.

A particular endeavor of twentieth-century thought has involved a questioning of distinctions between private and public life, in order to understand how each influences and reflects the other. Here too, women poets seem inclined to insist that we begin with the body to understand the body politic. None of these poets seems disposed to celebrate a world of transcendent public action at the cost of minimizing the physical self.

For some, the dominant experience of life in the flesh is suffering. One can scarcely deny the public validity of such an apprehension in the light of history. For other writers, the relation between private and public means a conflict between what used to be called appearance and reality. This is a battle fought on the fields of the skin, as well as on more dignified terrain. For still others, the body is felt as strength, a 88 kind of connective tissue uniting human beings at a level beneath the particularities of individual ego or circumstance, a set of capacities both socially and personally valuable.

If we may say that women have contrived to make a continental landscape out of the secret gardens to which they have been force full y confined, we may say by the same token that men have endued a certain self-imposed exile. Distance remains a virtue in the male poetic establishment, almost like a corollary of the training which defines the masculine body exclusively as tool or weapon, forbids it to acknowledge weakness or pain, and deprives in accordingly of much potential sensitivity to pleasure — a sensuous man is an effeminate man — apart from the pleasures associated with combat or conquest.

The discourse of male bonding may derive from big and little, game hunting and the tennis court, or from allusions to the responses of women in bed. These are the safe, sane, blush proof topics. Men also look in mirrors, experience troublesome and delicious sensations contribute to the generation of species and ride throughout life the tide of emotions influenced by glandular secretions.

They too get ill, grow old and withered, and are, in sum, precisely as rooted in nature as women. Will they in due time acknowledge this condition? Will women begin comparing the bodies of men to flowers? Confronting old age, Yeats divided himself into two beings: a old man craving fiery purification from the flesh and an old woman — Crazy Jane — raucously declaring her satisfaction with it. One must assume that the discoveries women poets are making about bodily experience, and the verbal tactics employed to name their discoveries, will enter common usage and become readily available to men as well as women.

Crazy Jane stands at the foot of the tower, inviting the man to come down. References Akiko, Y. Yeats, Oxford University Press, London. Abstract The present paper aims at examining three sorts of representative attitudes discernable in women poets who explore female bodily experience associated with three sorts of verbal strategies.

Ce vrei? Am speriat tot neamul grecesc. Note: [1] Cicero, De oficiis, I, 1, tr. Albatros, , p. Meillet, Esquisse d'une histoire de la langue latine, Paris, , pp. Academiei R. Marouzeau, Quelques aspects de la formation du latin litteraire, Paris, , p. Grimal, op. Marouzeau, op. Univers, , p. Peruzzi, Aspetti culturali del Latio primitivo, Firenze, ; idem, I greci e le lingue del Latio primitivo, Roma, Maria Hetco.

Kramer, op. Devoto, Storia, p. Gellius, Noctes Atticae, IX, 9, , trad. David Popescu. Abstract This paper deals with an essential issue in the making of the European linguistic and conceptual community, namely, Latin and Greek bilingualism. The former has a historical dimension, denoting the use of the two languages within a particular spatial and temporal con text , whereas the latter addresses the consequences of this contact for the evolution of the two languages.

We have approached both concepts, but insisted on the latter, drawing on the taxonomic criteria established by the French linguist Fr. Biville, and further elaborating on the typology of interference: A. Interference by transfer, which involves an impressive number of Greek loans in Latin and the translation of Greek text s into Latin; C. Latin derivatives suffixed on a Greek or a hybrid basis , the coining of hybrid words by phonologically and morphologically adapting Greek loans to Latin and a common stock of words, by virtue of the Indo-European origin of the two languages.

The linguistic and cultural contact and interference between Greek and Latin contributed not only to their growth but also to fostering European cultural and spiritual communion. Metafictional novels are the ones to overtly reveal their fictionality and reflect on their own status and narrative procedures.

Hutcheon, This second category of novels, of a bewildering type, unlike the traditional realistic one, breaks the illusion that what it tells about is an objective reality, truth full y reflected in language; instead, its purpose is to raise questions and pose problems, to tease the readers out of their easy acceptance of the traditional and pre-established modes of thinking, to invite them to take part in the literary game.

As the area that explores the relationship between fiction and reality is concerned, however vigorous the post-structuralist insistence to see fiction as well as literature, in general as a free game of signifiers with no signifieds, the metafictional novel makes an open invitation at finding answers for a set of unexpected and startling questions: Is there a reality ontologically separate and different from our linguistic consciousness?

And if there is, can we know it without altering it by our knowledge? And if we can, does this rendering correspond to or give a truthful view of that ontologically different reality that we have assumed to exist? Or are we fooling ourselves in believing that there is such a reality, when in reality we are locked up in the prison-house of language, in the reading gaol?

Ultimately, the central and most relevant issue, intimately and necessarily linked to this set of questions, remains that of truth. Factual or fictional Regarding the distinction between factual and fictional discourse, Peter Lamarque offers the following solution for the existence or inexistence of reference and truth: we either admit that the objects in fiction match the existence of objects in the real world, or consider that the only objects that exist are those of the real world, thus denying any existence to the ones in fiction.

Truth is man-made conceptually or linguistically. Therefore, truth is just a species of fiction. The fictional statement has a meaning without having a referent. If we are to think how much, for example, we care if Ulysses existed or not, we would realize that, beyond the issue of the presence or absence of the denotation of fiction in the real world, a special attention deserves the cognitive richness that fiction offers.

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