Чепчик счастья: к интерпретации одного образа в «Стихах о неизвестном солдате» Осипа Мандельштама
This volume contains the proceedings of WAFL8, the annual Workshop on Altaic Formal Linguistics. WAFL is one of the major conferences on the formal analysis of the languages of the Altaic macro-family. The contributions in the volume address different questions in syntax, semantics, and phonology of Japanese, Korean, Mongolian and various Turkic languages.
This chapter examines the neurophysiological plausibility of some of the claims of Construction Grammar with regard to syntactic structures. It suggests that evidence from neuroscience has highly important repercussions for linguistic theory building in general and argues that the constructionist enterprise receives considerable empirical support from neurolinguistic studies. The chapter examines views on the embodiment of grammar in neuronal circuitry and contends that neurological evidence indicates that it makes sense to postulate flexible constructional templates as distinct from lexical construction storage.
The paper considers the process of a foreign language speaking as well as the training to connectedly speak thoughts in a foreign language on the basis of the concepts of language and parole.
The author examines the problems connected with a too broad use of the term “law” in the contemporary language. Such discourse about law which has no clear limits is defined as Novdroit. This narrative destroys the language used by the lawyers and introduces a new ideology instead. Under the guise of political correctness this ideology perverts the original sense of the old words. Studying the polysemanticism of the term “law” in the contemporary discussions, the author draws that the ambivalence of “law” can easily be used in the political purposes to legitimate the existing authorities and their rules.
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.