Semantic Parallelism Research Articles

Raylike Subject Model of Text Deauthorization in Media Genres (in English and Belarusian)

The purpose of the article is to construct a raylike subject model of text deauthorization based on the material of English and Belarusian media texts of information genres with the identification of common and distinctive features. In the result of analysis of the ways in which the subject components of deauthorization structures are located in news articles and interviews using the modeling method, methods of semantic and contextual analysis, the raylike subject model of text deauthorization is constructed, which exhibits similar and distinctive features in the compared English and Belarusian media texts. The characteristics of the analyzed model that are common to the compared media cultures are established: structural and semantic parallelism of deauthorization structures, the presence of similar narrating subject groups, the dichotomy of opinions of specialists and non-specialists. Different features of the analyzed model in the compared media cultures are identified, which relate to the nature of the dominant pragmatic marking and the formal-referential characteristics of the subject components in deauthorization structures. The genre specificity of the studied model in the interview texts is revealed, where a new version of raylike subject model is discovered, in which two collective opinions are contrasted on the principle of «we» vs «strangers», while a number of fortifying discursive signals are used to strengthen the we-position.

THE CONCEPT OF “TIME” IN BASHKIR PROVERBS AND ITS EQUIVALENTS-PROVERBS IN RUSSIAN AND ENGLISH LANGUAGES

The article deals with the problem of similarity of paroemias with the concept of "time" on the material of Bashkir, English and Russian languages. The corpus of semantically equivalent proverbs in the languages under consideration is studied and the typology of interlanguage correspondences is determined. The studied topic of comparing proverbs in the analyzed languages is of considerable interest to linguists, folklorists and culturologists. The problem of the common and the special in the paroemias of different structured languages will determine aspects for further research on the issues of comparing proverbs. The categorization of the concept of "time" (its value, consequence, transience, loss, past, present and future) forms the semantic space and structure of the proverbial picture of the world. The value of human life in time and space is reflected in the paremic phrases and emphasizes the ethnocultural peculiarity of the Bashkir people. The identification of semantic parallels in three languages has practical significance in preserving cultural traditions revealing the national linguistic picture of the world and caring for the value of time.

The Gezer Inscription ʿṣd pšt ‘Bundling Flax’: Revising the Arabic Cognate Etymology

Abstract This article is dedicated to one of the main lexical cruxes of the Gezer tablet, the expression ʿṣd pšt in the third line of the inscription. I follow the longstanding understanding of the Gezer inscription, according to which pšt refers to flax. The primary innovation of the article lies in the re-evaluation of the cognate Arabic etymology. I argue that the cognate Arabic ʿḍd in both Classical and Modern Arabic does not signify ‘cutting’, as has been suggested in research thus far. Rather, it means ‘upper arm’. I then examine the Mishnaic Hebrew phrase פשתן חוצני ḥoṣne pištan ‘flax bundles’ (m. Pe’ah 6:5) which exhibits a semantic shift: ḥōṣɛn ‘bosom’ > ‘amount carried under bosom’ > ‘bundle’. Based on the revised Arabic ʿḍd ‘upper arm’ meaning, I propose a semantic parallel: the Gezer inscription’s verbal noun ʿṣd (< Proto- Semitic ‘upper arm’) has possibly experienced a semantic shift similar to that of חוצני פשתן ḥoṣne pištan ‘flax bundles’ in m. Pe’ah 6:5: ‘upper arm’ > ‘armful of produce’ > ‘bundle’. Accordingly, I suggest ʿṣd pšt means ‘bundling flax’. This suggestion offers a straightforward solution which clarifies etymological data from various Semitic languages, fits within the context of the Gezer inscription and finally resolves the agricultural ‘cutting’ flax difficulty.

Syntactic and Semantic Parallels between All-cleft and The Only Thing Construction in English

Syntactic and Semantic Parallels between All-cleft and The Only Thing Construction in English

Не те чух: опит за обяснение на една глаголна употреба в разговорния български език през погледа върху етимологията

The text attempts to explain the use of a verb in Bulgarian colloquial speech by examining the etymology of the corresponding common Slavic verb. On the basis of the registered forms in Slavic and the formal semantic parallels in more distant Indo-European languages, as well as what is known in science regarding the possible semantic evolution of the verbs for sense perception, an assumption is made as to what the considered meaning is due to.

SYMBOLISM OF EARLY CHRISTIAN PRAYERS IN ROMAN, GREEK AND EGYPTIAN FUNERARY ART

The question of semantic connections between Early Christian funerary art and texts of Early Christian prayer for the dead – Ordo commendationis animae – remains controversial. Some scholars endorse the idea that iconographic programs of Roman catacombs and Early Christian sarcophagy can be traced back to the prayer. Others highlight the distinctions between them, emphasizing, that the oldest text of the Ordo commendationis animae cannot be dated earlier than the 4th century. Both the prayer and the funerary art embody the same themes of salvation and resurrection, often depicted through shared biblical heroes and narratives. Although there are inconsistencies between the biblical heroes mentioned in the prayer and the most popular characters and narratives in Early Christian art, the semantic parallels cannot be simply dismissed. This research seeks to uncover the origins of the prayer itself and propose liturgical sources that could have influenced regional traditions of Early Christian funerary iconography. Additionally, it hypothesizes explanations for the iconographic principles of several renowned Early Christian monuments.

Монументальное искусство в контексте исторической памяти: судьба работ Хуана де Авалоса в Испании и Парагвае

Monumental art is a special sphere of plastic art, a fusion of architecture and sculpture, which is closely related to the ideological guidelines of the era. In the second half of the 20th century. monumental art began to be expressed not only in individual sculptural and painting works, but also embodied in ensembles bearing the corresponding ideological qualities. Acting in synthesis with sculpture, architectural ensembles reflected the ideological content of the era and became an example of visual fixation in the public space of the key elements of the ideology of the ruling regime. One of the striking examples in the Ibero-American space was the Valley of the Fallen (el Valle de los Caídos) in Spain. One of the creators of this project was the Spanish sculptor Juan de Avalos, whose name became a kind of bridge connecting the monumental sculptural traditions of Spain and Latin American countries. When the Paraguayan dictator A. Stroessner visited the Valley of the Fallen, the complex impressed him greatly by the synchronization of the Spanish and Paraguayan ideological narratives. The result was an invitation from J. de Avalos to participate in the creation of the Victorious Peace Monument (A la Paz Victoriosa) in Paraguay. Turning to the sculptor’s work and the fate of his projects, one can see semantic parallels in the monumental sculpture of the authoritarian periods in Spain and Paraguay, as well as the metamorphoses occurring both with the works of J. de Avalos themselves and with the attitude towards them. The transformation of his Paraguayan sculptural group by Carlos Colombino created a new meaning in the Square of the Missing, and the monument itself, instead of the triumph and glory of the leader, paradoxically acquired a new decolonial meaning - the memory of the Indian peoples. In Spain, in debates about memory, the state of conflict becomes more important than memory itself, which cannot but cause concern for the future of the legacy of J. de Avalos in his homeland.

Vārdi zagt un zaglis senajos latviešu rakstu avotos

In the article, the words zagt ‘to steal’ and zaglis ‘thief’ and other formatives of the verb zagt, which are the recent entries in the Historical Dictionary of Latvian (LVVV), are discussed, paying attention to how these entries are made and what problems the authors of the LVVV meet. The verb zagt (compare with Lithuanian žàgti), often used in the written sources of 16th–17th centuries, is at the basis of the word zaglis, and, for example, substantives zādzība, zadzējs, zagšana, adjective zadzīgs, adverb zagšu. These derivatives are mostly mentioned in the 17th-century dictionaries. In the early texts, only substantives zaglis and zādzība are often used. LVVV also has an entry of the reflexive verb zagties, as well as apzagties, sazagties, nozagties. The prefixed verbs derived from the verb zagt have the largest diversity; they are mainly used in the dictionary of Ch. Fürecker, for example, aizzagt, apzagt, nozagt, pazagt, pārzagt, sazagt etc. The semantics of these verbs is a difficult task for the authors of the LVVV. The basic word zagt is not characterised by semantic diversity; in the early texts, it is most often used in the concrete meaning ‘to steal’, also common for today’s user of Latvian, similarly to the word zaglis ‘thief’.The word zagt is common already in the texts at the end of the 16th century; it is often used in the religious texts of the 17th century and in the translation of the Bible – most often in the well-known context of the commandmend “Tev nebūs zagt” (You shall not steal). In the Bible, an extraordinary word group zagt sirdi ‘to steal the heart’ is used, supposedly, with a meaning ‘to cheat, to deceive’. The word zaglis in early Latvian texts has several characteristic word groups, for example, kā zaglis naktī ‘as a thief in the night’, zagļi un slepkavas ‘thieves and murderers’, an idiom karsts zaglis ‘hot thief’, also a proverb “Zaglis dabū zagļa algu” (A thief gets thief’s pay) is often used. The derivatives of the verb zagt (zagšu, nozagties) have a meaning connected with a secret action and movement; in modern Latvian, it is characteristic of the reflexive verb zagties ‘to steal, to sneak’. Also, the word groups, for example, kā zaglis ‘as a thief’ or kā zaglis naktī ‘as a thief in the night’, have this shade of meaning ‘secretely, unnoticed, stealthily’. Such semantic parallels of the verbs zagt, zagties (taking another person’s property/secret action, movement) are characteristic of many Indo-European languages.

Hypallage is a rare bird. Not.

Hypallage, a “marginal” rhetorical trope, is defined as a combination of seemingly incompatible features and has been exploited since antiquity in poetic and narrative discourse, e.g., angry crowns of kings (Odes of Horace). Here the hypallactic incompatibility arises from the position of angry as a prenominal modifier of crowns rather than of kings. We deny that hypallage is a rare phenomenon restricted to belles-lettres; rather, we claim that hypallage is a highly entrenched mechanism in ordinary language. We demonstrate that structural and semantic parallelisms exist between prototypical hypallactic transpositions and the marked placement of constituents in clausal, morphological, and speech act constructions, as well as quantifier and adverbial placement. Hypallactic expressions constitute a violation of the Iconic Proximity Principle. Nevertheless, they are a means for a speaker to convey complex meanings at any level of grammar and discourse with a minimum of coding effort. The exploitation of hypallactic anti-iconicity by a speaker and its resolution by a hearer are made possible by shared conceptual models, the conceptual metonymies and/or metaphors operating on them, and pragmatic inferencing. We conclude that the prioritizing of figurative motivation at the expense of iconicity is a pervasive cognitive mechanism in language.

Semantics of Exāmen

In the major French and German etymological dictionaries of Latin, there is some puzzlement over the semantics of exāmen: how can one word refer to a measurement or examination, but also to a swarm of bees? Walde and Hofmann suggest these two disparate meanings stem from the diverse meanings of the verb exigō (<*ex-agō, ‘to drive out’), from which exāmen derives. They claim these two senses of exāmen become two words in the Latin Sprachgefühl. Ernout and Meillet agree: there is more than one exāmen in the Latins’ sentiment linguistique. I, too, agree. But this approach does not tell us why these terms derive from exigō, nor does it give any hint of an underlying concept which measurements and swarms of bees share, which makes a derivation from exigō appropriate to both.
 The present paper addresses this puzzle by reducing the two meanings of exāmen to one meaning of the parent term *ex-agō: ‘to drive out.’ In sum: a swarm of bees is a ‘driving out’ or outpouring, and a measurement or examination is a ‘driving out’ or setting out for scrutiny. This interpretation is moreover supported by semantically parallel uses of cognate terms in other Indo-European languages, notably Greek and Old Irish, and by semantic parallels in English and in the Slavic language family. Along the way, I touch upon a philosophical puzzle: at what point do evolving linguistic items with a common source become distinct from one another?

Searching for a Semantic Parallel to the Concept of Depression

Abstract This paper examines whether a semantic parallel to the modern use of the word depression can be identified in ancient Greek. To that end, it retraces the development of the lexical family of the verb θλίβω, ‘to press’, and the abstract noun θλῖψις to gain the emotional and psychological meaning of ‘pressure’ or ‘affliction’. An analysis of the collected data suggests that a similar valence may be found in Hellenistic and Imperial Greek. However, this development is disregarded by authors with greater stylistic ambitions. Even physicians such as Galen continue to use θλῖψις solely in a physical, concrete sense. Conversely, the conceptualization in the singular of the word de-pression is lacking in ancient Greek. An antecedent may be identified in the formation of the prefixed verb καταθλίβω and the derived noun κατάθλιψις, found only from Late Antiquity onward, but this retains a concrete valence.

Lexico-Semantic Features of the Most Popular Tiktok Videos in Pakistan

This research aims to conduct a stylistic analysis of selected content from TikTok using both lexical and semantic approaches. The study analyzes the meanings of sentences and phrases used by content creators on TikTok, as well as various figurative devices employed. A qualitative method was used to conduct the analysis, and the selected content was categorized under various stylistic analysis categories, including semantic parallelism, semantic deviation, lexical deviation, lexical parallelism, and code mixing. Neologism, lexical parallelism, and code mixing were examined under lexical stylistics analysis. Two content creators and five videos from each were selected for the analysis. The study found that both content creators used semantic and lexical parallelism to emphasize specific ideas and create humorous effects in their videos. Additionally, specific stylistic devices were used to convey subliminal messages, including taunting politics, highlighting an increase in robbery cases, and criticizing married life.

Сонет як текст

In the proposed article, the sonnet is considered as a linguistic and literary phenomenon that manifests a certain textual continuum, regardless of its presentation in written or oral form. The multidimensional nature of the text has largely influenced different approaches to understanding and analysing its phenomenon, and hence numerous definitions and categorical characteristics. The problem of textual categories, or categorical features, is the subject of considerable philological literature, but due to the synthetic-analytical status of the text with its hierarchy of categorical features, researchers have not yet been able to determine a proper differential description of the latter. Although almost everyone considers coherence and integrity to be the dominant categorical features. The understanding of the sonnet as a textual structure based on such features led to the description of the means of expressing coherence and integrity against the broad background of the works of Ukrainian authors of the 19th – 21st centuries. The different types of figurative and semantic parallelism are described, particularly in its dynamic development based on syntactic parallelism. The means of coherence based on syntactic figures of the period are analysed, which are distinguished by the expressiveness of the theme and the ability to convey different modalities in the organisation of the integral textual structure of the sonnet poem. It is noted that lexical, lexical-grammatical, in particular, root repetitions (even though the repeated word is traditionally tabooed by the canon) are widely cultivated in the studied sonnet texts, act as important factors of semantic and structural coherence, provide step-by-step development of the theme in its dynamic, aesthetic expression, and determine the integrity of artistic perception. Thus, coherence and integrity as the main categorical representatives of any text in their hierarchy are indispensable categorical features of the sonnet text.

About the character of deification of the Egyptian Queens of the New Kingdom

The article analyzes the character of deification of Queens of the New Kingdom on the basis of their official representation in Egyptian pictorial and textual evidence. In order to reveal the nature of the deification of Queens and the essence of their theological role as a whole, the article discusses specific methods and features of assimilation of Queens with the goddesses. (first of all, goddesses Hathor, Isis, Maat, Mut, Nekhbet) or goddess of the solar-Eye (Hathor/Tefnut). By “deification” the author means endowing a Queen with the features of a goddess, and two aspects of this phenomenon are distinguished: the deification of living and dead Queens. The focus of the present study is only the deification of living Queens. The author puts the trend to assimilate them with goddesses in close relationship with the evolution of the ideology of royal power and the so-called “solarization” of the image of the ruling king, which reached its maximal expression under Amenhotep III and Ramses II (the period of Akhenaten’s reign which deserves a special study was deliberately omitted). The bulk of the evidence for this trend is provided by pictorial sources, and in particular, the individual iconography of Queens. The study of the selection of sources allows drawing a fundamental conclusion that there were undoubtedly various semantic parallels between the Queens and the principal goddesses of the Egyptian pantheon. Nevertheless, the assimilation of Queens with the goddesses, with some exceptions, did not reach a level of complete identification with the latter, and these parallels themselves were drawn mainly means of iconography, and not laudatory phraseology.

Между утопией и трагедией: конвергенция фаустовского мотива «гомункула» и ключевых образов романа «Доктор Живаго»

The purpose of study is to identify the semantic and figurative parallels of the second part of Goethe’s “Faust” and B.L. Pasternak’s novel “Doctor Zhivago”. The subject of study is the influence of Goethe’s text on the text of Pasternak, who started writing the novel simultaneously with the completion of Faust translation. The relevance of study is due to the significant interest of Russian literary criticism in translations performed by poets and prose writers of the 20th century and, in this regard, the study of conscious and unconscious intertextual dialogue penetrating into the author’s work of writers-translators. Using the comparative-historical and structural-semantic method, the “double optics” of writing “Doctor Zhivago” is revealed: the novel was created under the influence of the mystical text of the second part of Faust encrypted by the author and, in a certain sense, is a continuation of Faust on Russian soil. We prove that the two texts have homologous key themes: the theme of new people, revealed by Goethe in the images of Euphorion and the homunculus, Pasternak – in the images of the heroes of the novel by Yuri Zhivago and Pavel Antipov. We formulate semantic parallels between the image of the homunculus and the understanding of the Russian revolution as a whole: it is proved that reading the text “through Goethe” is a fruitful semantic key to Pasternak’s text.

STYLISTIC FIGURES AS MEANS OF AFFIRMATION IN THE ENGLISH SLOGANS: LEXICAL, SYNTACTIC AND PHONETIC FEATURES

Problem statement. Today in conditions of modern development of digital technologies communication undergoes substantial changes which influence the character and form of people`s interaction. Today communication is mainly carried out by means of text messages, being generated and percepted not only by means of technical devices, but also with the help of items of clothes. Text messages function like slogans, performing certain pragmatic function and are characterized by stylistic features. The research is aimed at determining stylistic features of the English slogans, represented by affirmative constructions. Their classification, quantitative analyses on the lexical, syntactic and phonetic levels are presented. Results. The slogans on clothes are characterized by poly-discourse character. Their pragmatic functions are realized by means of the following stylistic method: stylistic figures, rhetorical colours, phonetic stylistic means. The most popular stylistic method of the linguistic representation of the English slogans is stylistic figures. They include parallel construction, parcellings, phetorical questions, abbreviations, argumentation, conditional sentences and inversions. Conclusion. Stylistic methods used in slogans serve as translators of axiological perceptions of the representatives of the youth. The texts of slogans are characterized by combination of syntactical understatement, lexical density and semantic parallelism. The linguistic models relevant for the discourse of the youth are characterized by the use of laconic brief (block-like) information, truncated syntactic constructions, aimed at exerting intensive emotional influence on recipient. Prevailing affirmative syntactical constructions, representing the semantic features of creative, non-trivial attitude to themselves and the world is the key features of the discourse of the youth.

Alliteration and Rhyme in the Traditional Kakataibo Chants of Emilio Estrella

This paper studies alliteration and rhyme in the traditional Kakataibo chants of Emilio Estrella Logía, one of the most important Kakataibo sabios of the present era. For alliteration and rhyme, consonants which are able to be in coda position according to Kakataibo syllable structure play a central role. Alliteration is sporadic and based on the repetition of fricative consonants in passages of indeterminate length. It occurs in syllable onset and freely within a line and across lines, the latter by adjacency. Kakataibo rhyme is also sporadic, its domain is the final syllable of the line and the nucleus of it; only the nasal consonant /n/ can occupy coda in end-line syllables. Kakataibo true rhyme, as opposed to rhyme in lists created by repetition or semantic parallelism, is by adjacency and within vowel passages of indeterminate length.

Transparent Sonic Sculptures in Site-Specific Intermedia Music

The paper deals in the first part with the centripetal juxtaposition of Marcel Duchamp’s Sculpture Musicale and John Cage’s 4’33”. Both pieces became the starting points of the author´s creation of acousmatic comprovised music saving/transforming unique soundscapes (mostly) in Slovakia. The sounds of specific environments (with semantic social meanings) as a kind of unique musical-sonic sculptures were involved in his musical artistic projects: e. g. Animation of Silence (in Music) of Puppets (2000), or Nitrian Atlantises (2013) dedicated to the part of the pre-ancient history of Nitra as well as to semantic parallels of this period in the contemporary life of the city. Melancholy (2017), co-created with the fine artist Slavomír Zombek and the poet Peter Milčák, has changed the site of a desolate cowhouse near Levoča to the site-specific gallery/concert hall of sounding events. Sonic Sculpture of Bin (2018) inspired by Duchamp’s idea mentioned above was realized in a deserted refinery in Rimavská Sobota as site-specific sonic-musical piece, as well as other transparent sonic sculptures Cockroach Lure (2019) with intermedia artist Petr Nikl, and two pieces, La Mer (2021/2022) and ÚÚÚ-FFF-ÓÓÓ (2021), dedicated to two great Slovak conceptual intermedia artists, Milan Adamčiak and Július Koller. In the final comment, the author writes about the phenomena of sonic photography – related to the ideas of Roland Barthes’ La Chambre Claire – which can be appropriated as an organic part of transparent sonic-musical sculpture.

Semantic Parallelism in Love Poetry in the Umayyad Era, Analytical Study - Selected Models

This study, was named with (Semantic Parallelism in love Poetry in the Umayyad Era, Analytical Study - Selected Models-) tries to investigate semantic parallelism as one of the stylistic features in love poetry in the Umayyad era, where it sheds light through this technique on some of the technical aspects inherent in the content of the lyrical text and exploring its depths, drawing on the opinions of some Western critics, ancient Arab scholars and contemporary Arab researchers.
 The study examined the nature of semantic parallelism and its importance in literary and critical studies, and then went through the application of the topic of semantic parallelism to selected models of love poetry in the Umayyad era for a number of stallion poets, through two main aspects: synonymous parallelism and contralateral or congruent parallelism, in order to reveal The effectiveness of parallelism in supplementing the poetry with a number of artistic and moral characteristics and stimulating the recipient, in addition to creating a kind of moral and verbal cohesion in the creative poetic text.
 The study also dealt with semantic parallelism through all types of love Poetry in that period, and in some cases it drew illustrative charts for the purpose of clarifying the idea and ease of acceptance by the recipient.

Niklas Luhmann’s theory of social systems: the postmodern character of society’s descriptors

The article carried out a comparative analysis of the basic provisions of the theory of social systems by N. Luhmann and the principles of the philosophy of postmodernism. Considering the categorical apparatus of N. Luhmann’s concept, the author finds points of semantic intersection with a number of key concepts of modern social philosophy, as well as mutual resonation of basic principles. The article proves that the comparison of the theory of social systems by N. Luhmann and the philosophy of postmodernism can be carried out according to several criteria: subjective (general scope of research), historical (common time and context of occurrence) and meaningful (when the perspective of consideration is shifted, it becomes possible to identify semantic parallels named theories). Thus, the article draws a parallel between N. Luhmann’s subjectless sociology and the postmodern concept of the absent subject. In accordance with the theory of social systems by N. Luhmann, the subject is non-communicative by definition. In the conceptual apparatus of the philosophy of postmodernism, a meaningfully similar rejection of the interpretation of the subject in its classical sense is fundamental. A meaningful connection between the concept of binary truth by N. Luhmann, on the one hand, and the subjectivist theory of truth in postmodernism, on the other hand, is revealed. Thus, the truth in the context of N. Luhmann’s social system depends on its relevance for the individual, fitting into the system of knowledge that is significant for him at the moment, the truth is modeled in a non-static context and can be re-evaluated in a subjective way, depending on the shift in the focus of the relevance of one or another fragment of knowledge of the individual. Similarly, in postmodern philosophy there is a subjectivisation of truth, which turns out to be a variable not only in the socio-cultural frame of reference, but also in the frame of reference of the individual. Thus, the article proves that there are semantic parallels in the theory of social systems of N. Luhmann and postmodern philosophy, which allow us to say that, independently of each other, N. Luhmann, on the one hand, and postmodern authors, on the other, develop a new vision of cognitive processes within the post-non-classical type of rationality.