The paper reviews contemporary research of group helping behavior - help for some members of outgroup or outgroup as a whole. Various forms of selfish helping (help, contrary to stereotypes, defensive help) and factors of intensity of the helping behavior are analyzed. In conclusion, describes the limitations of existing studies
The paper considers semantic structure of emotion causatives and their interaction with negation, namely, its narrow or wide scope. Emotion causatives are defined as a group of causatives with their specific semantic properties that distinguish them from other groups of causatives. One of those properties concerns their relation with corresponding decausatives, which, unlike causatives, do not license wide scope of negation. There are several factors that enable negation to have scope over the causative element in emotion causatives – their imperfective aspect, generic referential status of the causative NP phrase, agentivity and conativity of the causative. Non-agentive causatives never license the negation of the causative component. Agentive conative causatives license the negation of the causative component more frequently and easily than agentive non-conative causatives, prompting the assumption that in their semantic structures the causative component has different statuses (assertion in the former, presupposition in the latter). It also has different forms for conatives and non-conatives. Conativity vs. non-conativity of emotion causatives is related to the emotion type, with conative synthetic causatives being limited to basic emotions. The greatest degree of conativity and, hence, the assertive status of the causative component characterizes three emotion causatives – zlit’ ‘to make mad’, veselit’ ‘to cheer up’, and pugat’ ‘to frighten’.
Key words: causative, decausative, agentive, conative, intentional, presupposition, assertion, semantic structure, basic emotions
The paper presents corpus-driven semantic analysis of Russian classic elegy introduced in poetic heritage of V. Zhukovsky, E. Baratynsky, and A. Pushkin. Contemporaries criticized classic elegy for eulogizing sadness and disappointment, and even claimed sorrow as a genre feature. This study addresses correlations between common impression of sorrow and actual emotional nominations in lyric of three Russian masters of the classy elegy. Сontrary to all expectations, the most diverse emotional nominations denote joy and happiness, whereas lexemes referring to sorrow and anxiety are less frequent. The analysis also reveals stylistic distinctions between the poets. While emotional nominations of Pushkin's and Zhukovsky's elegies mostly councide, the Baratynsky's elegies demonstrate narrow spectrum of feelings and mostly concentrate around love rather than philosophical meditation and emotional distress.
The article addresses the problem of forming communicative strategies and tactics of English-language written academic discourse as a means of reaching professional foreign language communicative competence by a university graduate in Russia. The article investigates the importance of forming the communicative strategy of mitigating self-presentation in written academic communication. The author attempts to determine the set of communicative tactics making up the mentioned strategy. Emphasis is placed on specifying the techniques composing these tactics and their language patterns. The article can be interesting for all those who are engaged in teaching foreign language written academic communication at universities.
Meaningful life is emotionally marked off. That’s the general point that Johansen (IPBS: Integrative Psychological & Behavioral Science 44, 2010) makes which is of great importance. Fictional abstractions use to make the point even more salient. As an example I’ve examined Borges’ famous fiction story. Along with the examples of Johansen it provides an informative case of exploring symbolic mechanisms which bind meaning with emotions. This particular mode of analysis draws forth poetry and literature in general to be treated as a “meaningful life laboratory”. Ways of explanation of emotional effect the art exercises on people, which had been disclosed within this laboratory, however, constitute a significant distinction in terms that I have designated as “referential” and “substantive”. The former appeals to something that has already been charged with emotional power, whereas the latter comes to effect by means of special symbolic mechanisms creating the emotional experience within the situation. Johansen, who tends to explain emotions exerted by the art without leaving the semiotic perspective, is drawn towards the “referential” type of explanation. Based upon discussions in theory of metaphor and Robert Witkin’s sociological theory of arts it is demonstrated an insufficient of “referential” explanation. To overcome a monopoly of “referential” explanation of emotional engagement, in particular, in literature, means to break away from the way of reasoning, stating endless references to “something else”, presupposing the existence of something already significant and therefore sharing its effects.