Текст как сцена: теория эпического театра Б. Брехта и художественный текст Э. Елинек (на материале пьес Б. Брехта и романа Э. Елинек «Пианистка»)
The article discusses one argument in favor of descriptive theory of reference of proper names against the theory of direct reference which appeals to a famous example of the ship of Theseus. The author defends the latter theory by means of distinguishing the object of direct reference and its principles of individuation. The argument is discussed with reference to the works of H. Chandler, L. Linsky, S. Kripke, N. Salmon and other theorists.
This is an interdisciplinary volume that focuses on the central topic of the representation of events, namely cross-cultural differences in representing time and space, as well as various aspects of the conceptualisation of space and time. It brings together research on space and time from a variety of angles, both theoretical and methodological. Crossing boundaries between and among disciplines such as linguistics, psychology, philosophy, or anthropology forms a creative platform in a bold attempt to reveal the complex interaction of language, culture, and cognition in the context of human communication and interaction.
The authors address the nature of spatial and temporal constructs from a number of perspectives, such as cultural specificity in determining time intervals in an Amazonian culture, distinct temporalities in a specific Mongolian hunter community, Russian-specific conceptualisation of temporal relations, Seri and Yucatec frames of spatial reference, memory of events in space and time, and metaphorical meaning stemming from perception and spatial artefacts, to name but a few themes.
This article considers the model of metaphorical transfer of names of natural (atmospheric) phenomena. The worn inner form of many metaphors needs to consult the diachronic aspect, which allowes us to determine the conceptual transfer vector - the emotional attitude of speakers to natural phenomena, deterministic fear of them, faith in their supernatural origin.
The volume is a collection of papers devoted to the expression of motion concepts in various languages which were written by The authors of the volume include researchers in linguistics, computer science, psychology and cognitive science.
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.
The paper theorizes on the general architectonics of idealized cognitive models (ICMs) and their involvement in metonymy and metaphor. The article posits that an ICM's structure should reflect the architecture of the neural network/s engaged in processing of a given concept. The ICM nodes, or cogs, construct a complex, hierarchically organized neural connections, with the superior nodes being highly selective, invariant and prototypical. Signals travelling from one cog to another within one ICM are essentially metonymical, while a cog shared by two or more ICMs marks a metaphoric shift.
The article offers a detailed analysis of Louis-Ferdinand Celine’s individual style on the material of his novel Voyage au bout de la nuit. In particular it is focused on the author’s characteristical choice of the invective vocabulary, aimed at creation of a peculiar esthetic space of the literary work under study.