Подробности словесности: Сборник статей к юбилею Людмилы Владимировны Зубовой
The article is concerned with the analysis of metapoetic statements of Genrikh Sapgir that were made by him in poetic form – in the shape of «programmatic» poems. In his work, the poet preferred to dispense with creative manifestos or forewords: there is extremely small number of them in Sapgir’s heritage. But at the same time he looked for ways to give a key to the meaning of his poetical quests and experiments, using his poetry, comprising of a new design concept: «poetics of semi-word» or particular method of «permutation».
Purpose: This study investigated how listeners’ native language affects their weighting of acoustic cues (such as vowel quality, pitch, duration, and intensity) in the perception of contrastive word stress. Method: Native speakers (N = 45) of typologically diverse languages (English, Russian, and Mandarin) performed a stress identification task on nonce disyllabic words with fully crossed combinations of each of the 4 cues in both syllables. Results: The results revealed that although the vowel quality cue was the strongest cue for all groups of listeners, pitch was the second strongest cue for the English and the Mandarin listeners but was virtually disregarded by the Russian listeners. Duration and intensity cues were used by the Russian listeners to a significantly greater extent compared with the English and Mandarin participants. Compared with when cues were noncontrastive across syllables, cues were stronger when they were in the iambic contour than when they were in the trochaic contour. Conclusions: Although both English and Russian are stress languages and Mandarin is a tonal language, stress perception performance of the Mandarin listeners but not of the Russian listeners is more similar to that of the native English listeners, both in terms of weighting of the acoustic cues and the cues’ relative strength in different word positions. The findings suggest that tuning of second-language prosodic perceptions is not entirely predictable by prosodic similarities across languages.
The textbook contains the description of the phonetic system of the English language.
The author focuses on prosodic markers of the dicteme as a minimal text unit, their role in accentuation and forming the prosodic picture of a dicteme. Basing on experimental data, the writer introduces ways of intonation stylization of a dicteme in two types of oral text – a spontaneous monologue and a stage monologue.
While space-time metaphor is a source of regular prepositional and adverbial polysemy, in deixis, spatial words are generally not prone to evolving into temporal markers. However, Russian spatial proximity marker tut ‘here,’ which develops temporal proximity meanings, demonstrates a deviation from this tendency. Its meaning, though, is different from the meanings of classical deictic markers of temporal proximity, such as sejčas ‘now.’ Tut develops a synthetic meaning of actuality, which comprises the following semantic elements: (a) time period which includes the moment of speech, and such moments preceding and following it that are sufficiently close to the moment of speech to retain connection with it; (b) physical or mental space that includes the speaker; (c) a situation where the speaker is either a participant or an observer. Besides its special semantic properties, tut is characterized by communicative and prosodic peculiarities.
This paper reports the results of a phonological study of stress in the Dargic branch of East Caucasian (Nakh–Daghestanian) languages. The main part of this issue is based on Xuduc, Qunqi, and Tanti (three Dargic varieties). Evidently in all Dargic languages, except the North varieties, stress is meaningful. Its position in the absolutive form depends on the word structure (in a different way in different varieties). In the other forms some of the morphological markers are usually stressed (e. g. all plural form markers) and some – are only stressed in words with a certain root declination type.
The article examines the formation of monologue speech and the infl uence of linguistic laws of incorporation and contamination on this process. It contains analysis of the semantic structure of monologue carried out on the basis of key words and nuclear tones of theme centres and their prosodic depiction. The analysis was performed on spontaneous monologues. The results of the acoustic analysis and statistics data were obtained through the computer programme Speech Analyzer
What kind of data do we usually see in a linguistic paper? The answer is evident: an isolated sentence. Judging whether a particular sentence in a particular meaning is grammatical in a certain language is the primary tool for many formal approaches, but other researchers also often rely on sentences, for example, when they collect data in the field or make generalizations about predominant word orders in various languages. Sentences are great to analyze a very wide range of phenomena, but there are two obvious drawbacks: they are not well suited to study anything that crucially depends on prosody or on wider context. The paper analyzes several examples and then addresses a more general question: how do we interpret sentences in isolation?
The book is a study of the academic public presentation and its prosodic aspect.
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.