Language, Reason and Education. Studies in honor of Eddo Rigotti.
The use of reflection as a sign of the painters’ presence seems to be characteristic of Jan van Eyck. We find this in "The Arnolfini Portrait" and also in "The Virgin and Child with Canon Van der Paele". In both cases the painter is outside the represented space but his reflection demonstrates his presence in the real physical space where he is making the picture. These two examples are relatively well-known. The aim of the present paper is to suggest a third example, which till now has never been an object of attention. It seems that one can observe a similar phenomenon in the Ghent Altarpiece, in the scene of the Adoration of the Mystical Lamb. Two figures are reflected on the spherical surface of the Fontaine of Life. Who are these figures? Obviously they do not belong to the depicted scene, they are outside the pictorial space. We can guess that they are a reflection of the master (Jan van Eyck) and his assistance, as in the "Arnolfini Portrait". It is not excluded, however, that the reflection refers to the brothers Jan and Hubert van Eyck.
By the example of the lexico-semantic group 'Stock market goods, their lists, properties, stock exchange documents and rules' the author shows the origin of traders' slang words and expressions and the structural, derivational and lexicological aspects of stock-market participants' lexis system relations.
This paper deals with the Semantics/Pragmatics distinction in a contrastive ethnolinguistic aspect. I argue for the validity of this distinction based on cross-linguistic data. My claim is that the specificity of the so-called language key words [Wierzbicka 1990:15-17] - linguospecific items particularly representative of a given language speakersђ mentality - is due to pragmatic rather than semantic peculiarities. These pragmatic peculiarities distinguish the key words both from their synonyms within the same language and their counterparts in other languages. The languages under discussion are Russian and English, analyzed within a combined frame of Integral Language Description model [Apresjan 1995:8-238] and Wierzbickaђs ethnolinguistic approach.
The form whose main function is to express indirect commands, called the third person Imperative, Jussive or Exhortative, when compared to the prototypical (second person) Imperative, shows semantic and formal similarities and distinctions at the same time. The study describes formal and functional patterns of Jussive and places this category within the typology of the related categories, such as Imperative and Optative, based on data from six East Caucasian languages (Archi, Agul, Akhvakh, Chechen, Icari and Kumyk). Five formal patterns of Jussive are attested in these languages, including a specialized form, constructions derived from want, from tell him to do and from make him do and the Optative. Jussive forms may express such meanings as third person command, indirect causation, permission, indifference towards the accomplishment of an action and an assumption. While the Jussive is crucially different from the second person Imperative in that it introduces a third participant, this article shows that it is the addressee, not a third person, who is the central participant of a Jussive situation from both formal and functional points of view.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.