Stock Phrases Research Articles

Towns in Kalidāsa’s Kāvyas and the Thesis of Urban Decay

This essay tries to look at the way in which Kālidāsa approaches towns in his three kāvyas: Meghadūta, Kumārasaṁbhava and Raghuvaṁśa. Most of the descriptions are stereotypical, using stock phrases and formulaic expressions, some of them straight from texts like the Arthaśāstra. However, there is one city that is described somewhat realistically—Ayodhya, which was deserted following Rāma’s departure. Both these—the stereotypes of prosperous towns and the realism of a decayed town—fit into the pattern of ‘urban decay’ presented by historians on the basis of archaeological evidence, a landmark in Indian historiography.

A scribal device in oral clothing: functions of formulaic language in early Chinese divinatory texts

This paper aims at broadening the scope of what the term ‘formula’ encompasses by studying a written context of formulaic applications and their complex connections to ritual performance. More specifically, it examines the interplay between the oral and the written in the language of the late Shang 商 (ca. 1230–1046 BC) oracle bone inscriptions (OBI). Drawing on the study on ‘formulaicity’ by Wray and Perkins, I propose a definition of formulae based on the OBI evidence and identify the structure-based formulaic types as found in the divinatory records. I then discuss the functions that formulae perform in the divinatory record. I suggest that formulae should be considered a scribal device, a set of stock phrases and technical words used by the scribes to record divination results. They formed a toolkit which was meant to facilitate the composition of written records on hard media. The writing act occurred after (and separately from) the oral divinatory act. Therefore, the oral and written coexisted but were independent from each other within the context of divinatory performance.

“Here doth Shee Mourne:” Epitaphic Compulsion in Isabella Whitney’s Lament upon William Gruffith’s Death

ABSTRACT This essay argues that “The lamentacion of a Gentilwoman vpon the death of her late deceased frend William Gruffith Gent.” in The Gorgeous Gallery of Gallant Inventions (1578), attributed to Isabella Whitney, is a witty reimagining of one of the most popular Renaissance literary genres: the epitaph. The poet's grief revolves around the personal consequences of her secret lover's death, handling stock phrases and situational irony to strangely moving effect. While the poem's first-person speaker invokes the epitaph only to repudiate it, the three quatrains framing the text (written in the third person and therefore generally attributed to the volume's editor Thomas Proctor), pins down the mourning presence with the epitaphic “here.” This paper suggests single authorship of the doubled text by showing how the poem posits personal lament as the site of interment located by the spatial demonstrative “here,” to fashion a poetics of closure in which the voice of the languishing female poet becomes, through linguistic and textual splitting, a living epitaph for the dead beloved.

BRIEF ANALYSIS OF NONSENSE STOCK WITTICISMS IN BRAZILIAN PORTUGUESE

In this manuscript, I discuss the linguistic traits, the effect, and the function of combinations like “do not confuse X with Y”, commonly found in Brazilian Portuguese (não confunda X com Y). For that, I touch on issues related to phraseologisms, situational formulae, and stock phrases. Due to their peculiar syntax and semantics, I also discuss the presence of bisociative and absurd humor in such combinations. The study corpus consists of 40 occurrences extracted from the internet, mainly from blogs. My analysis has both reiterated the highly colloquial status of such structures, as a type of stock phrase used in a specific situation (warning someone about a possible confusion) and revealed that they make use of different linguistic mechanisms associated with nonsense, especially, through spoonerisms and wordplays, the result of which are illogical and absurd constructions.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0022/a.php" alt="Hit counter" /></p>

Language Disorder of Autism In ‘Atypical’ Series (2017-2021): A Psycholinguistics Study

The purpose of this study is to recognize what kind of language disorder experienced by Sam as an autistic in ‘Atypical’ series 2017-2021, to describe what factors of language disorder experienced by Sam, and to describe what therapy of language disorder for Sam. The researcher uses qualitative method for doing this research. The data was taken from the utterances of autistic, Sam Gardner as the main character. There were 60 phenomenon of language disorder, 58 receptive language disorder and 2 expressive language disorder. The most common symptom of receptive language disorder experienced by Sam is difficulty following verbal directions 21 data, followed by interpreting words or phrases 19 data, not appearing to listen 12 data, limited vocabulary 3 data, difficulty understanding complex sentence 2 data, and demonstrating lack of interest 1 data. Meanwhile, Sam just experienced two symptoms of expressive language disorder, word-finding difficulties 1 data and over-reliance on stock phrases 1 data. This phenomenon occurs caused by many factors, whether difficulty in joint attention, failed in integrated the information with semantic attributes, autism symptoms such as echolalia, deficits in ToM, trouble in retrieval words, etc.

Language Disorder of the Main Character in Dancing in the Rain Movie

This study is aimed at finding out types of language disorder and explaining the symptoms shown in each type of language disorders experienced by the main character in “Dancing in the Rain” movie. This study uses descriptive qualitative method. The data of this study are in the form of words, phrases, sentences and behavior which taken from the main character’s utterances and behaviors during his engagement in activities. The result of this study shows that the two types of language disorder: expressive language disorder and receptive language disorder were experienced by Banyu Anggoro as the main character in ‘Dancing in the Rain’ movie. Each type of language disoder shows some different symptoms with varying occurrences. The symptoms shown in receptive language disorder are not appearing to listen, difficulty following verbal directions, limited vocabulary, difficulty understanding complex sentences, difficulty interpreting words or phrases, and demonstrating lack of interest. Meanwhile, the symptoms of expressive language disorder are word-finding difficulties, limited vocabulary, over reliance on stock phrases, and difficulty coming to the point of what they are trying to say.

Publishing your scholarship: a survey of pearls from top reviewers

ABSTRACT Experts have described ways to improve peer review quality. Perspectives from expert reviewers are largely absent in the health professions education literature. To gather guidance from expert reviewers, to aid authors striving to publish and reviewers aiming to perform their task effectively. This study surveyed the Journal of Graduate Medical Education (JGME) ‘Top Reviewers’ from 2017, 2018, and 2019. ‘Top Reviewers’ perform four or more reviews per year, with high average ratings. Top reviewers were sent an 11-item survey in February 2020. The survey included three demographic questions and eight open-ended, free-text questions about the concepts reviewers most often target in their reviews. We calculated descriptive statistics and performed a thematic analysis of open-ended responses. Of 62 eligible top reviewers, 44 (71%) responded to the survey. Only eight (18.2%) and seven (15.9%) respondents reported having ‘stock phrases’ or a reviewer template used for reviewer feedback to authors, respectively. The what (research question, methods), how (presentation, writing), and why (relevance, impact) were the resulting themes summarizing how reviewers categorized and responded to common problems. For ‘really good papers’ reviewers found the what acceptable and focused on how and why. For ‘really bad’ papers, reviewers focused on big picture feedback, such as the value of the study. Top reviewers from a single health professions education journal appear to have similar approaches to conducting reviews. While most do not use stock phrases or templates, they share similar strategies to differentiate ‘good’ vs. ‘bad’ papers through the what, why, and how of a manuscript.

‘Apostles’ in 2 Peter 3.2: Literal Predecessors in Faith or Literary Records of their Witness?

2 Peter typically does not receive much attention within the study of early canon development. This article, however, focuses on the term ἀπόστολοι in 2 Pet. 3.2 and examines whether it points beyond historical followers of Jesus so as to implicitly include the written legacy produced by them or by their close associates. My inquiry consists of three components: (a) a survey of Justin Martyr’s use of ἀπόστολοι in his stock phrase ‘memoirs of the apostles’ as a roughly contemporaneous analogue to 2 Peter, (b) a study of the juxtaposition ‘apostles’ and ‘prophets’ in 2 Pet. 3.2 and (c) an inquiry into 2 Peter’s literary dependence on the canonical gospels.

Pot, kettle: Nonliteral titles aren’t (natural) science

Researchers may be tempted to attract attention through poetic titles for their publications, but would this be mistaken in some fields? Although poetic titles are known to be common in medicine, it is not clear whether the practice is widespread elsewhere. This article investigates the prevalence of poetic expressions in journal article titles from 1996–2019 in 3.3 million articles from all 27 Scopus broad fields. Expressions were identified by manually checking all phrases with at least five words that occurred at least 25 times, finding 149 stock phrases, idioms, sayings, literary allusions, film names, and song titles or lyrics. The expressions found are most common in the social sciences and the humanities. They are also relatively common in medicine, but almost absent from engineering and the natural and formal sciences. The differences may reflect the less hierarchical and more varied nature of the social sciences and humanities, where interesting titles may attract an audience. In engineering, natural science, and formal science fields, authors should take extra care with poetic expressions in case their choice is judged inappropriate. This includes interdisciplinary research overlapping these areas. Conversely, reviewers of interdisciplinary research involving the social sciences should be more tolerant of poetic license.

Inner-biblical Quotations in Old Testament Narratives: Some Methodological Considerations (e.g., 1 Sam 15:2 and Deut 25:17-19)

ABSTRACT In the study of inner-biblical quotations in Old Testament narrative literature, much insight can be gleaned from the scholarly endeavour in the last twenty years of defining and interpreting allusions and quotations in the prophetic literature. Author-intended quotations from a precursor text should be distinguished from stock phrases and the use of recurrent identical phrases. Among the viable criteria for discerning the direction of dependence in quotations, it is relevant to mention unfamiliar language usage in one part of the parallel, dependence on context, and signs of interpretation for rhetorical purposes. These criteria are used to test the case of the parallel locutions in Deut 25:17-19 and 1 Sam 15:2-3. The article also stresses the need for a thorough study of repeated phraseology in the narrative literature. Keywords: Direction of Dependence, Formulaic Language, Method, Quotation, Verbal Parallels

The Speaking Difficulties Encountered by Non-English Students in Language Classroom

This research, entitled “The Difficulties Encountered by Non-English Department Students in Speaking English,” was a study at the Faculty of Teacher Training and Education Muhammadiyah University of Mataram. It was conducted to investigate difficulties encountered by Non-English Department students in speaking. The participants were 15 students from the second semester of Indonesian Department Muhammadiyah University of Mataram. It also aims to investigate the factors which are face by Non-English department students in Speaking English. This research used descriptive quantitative approach. Based on the data from test the difficulties encountered by a second-year student of Indonesian department are first was from the grammar aspect, there were 80% of students almost entirely inaccurate expect in stock phrases. Second, fluency aspect, there were 73% speech is very slow and uneven except, for short or routine sentences. Third, it is the pronunciation aspect; there were 73% of students gross error, and very heavy accent makes understanding difficult require frequent repetition. Fourth is from the vocabulary aspect there were 60% of students their vocabulary limited to basic personal and survival areas. The last it is from comprehension aspect there 55% of students understand only slow, very simple speech on common social and touristic topics; requires constant repetition and rephrasing. Factors were faced by Non-English department student in speaking English there are two factors, from internal factors and external factors. Internal factors such as they are a quiet person; they are hard to learn, difficult to remember vocabulary, difficult to pronounce the word, lack of grammatical mastery, they are lazy to memorize vocabulary, they are lack of confidence and fear of making a mistake. From external factors, they are seldom speaking English in the class, and their environment is not used English, and they prefer to use their mother tongue.

Lexical Features of Yang Mingkun’s Performance Language

Three transcribed versions of the Yangzhou storytelling of Pi Wu lazi 皮五辣子 (Rogue Pi Wu) describe how Pu Lin 蒲琳 (fl. 1780), Yu Youchun 余又春 (1919-1995), and Yang Mingkun 楊明坤 (1949-) tell the story of Pi Wu in performance (Wang Yingzhi 王穎芝, 1996; Wang Cheng 王澄, et al., 1985; Yin Boda 殷伯達, et al., 2015).1 The taoyu 套语 (stock phrases or setting phrases) and verses employed by Pu Lin in his oral performance have been transcribed to create the atmosphere of a storytelling event. In contrast to Pu‟s version, the transcribed texts of Yu and Yang are simple, as there are more stock phrases and verses applied to the Yangzhou pinghua in Pu's version than in the other two versions combined. Moreover, the differences in the use of colloquial words between the three versions are considerable. Yang Mingkun's narrative of Rogue Pi Wu relies on the lexicon of the Yangzhou dialect; the Yangzhou dialect acts as a vital comedic element in Yang's presentation. Why does his version demonstrate a specific linguistic style of expression among the three transcribed texts? In this article, I will examine the differences in wording among the three texts and explore the comedic elements in Yang's presentation with a view to illustrating why Yang's narration of the story of Pi Wu sounds colloquial and why Yang uses the current style of language expression. Firstly, I will explore the differences in the application of stock phrases, verses, and colloquial words among the three texts. Then, I will explore why Yang relies on the lexicon of the Yangzhou dialect when reciting the story of Pi Wu. Next, I will explore the comedic elements applied by Yang Mingkun during his performance. Finally, I will argue that Yang has developed a special style in line with the expectations and requirements of the audience.

“After These Things” and its Composition in Genesis

Abstract As a formulaic phrase that appears in Genesis to connect sequential narratives, critics have attributed “after these things” to a single literary stratum or to redactional insertions into developing narrative blocks. Drawing upon the other attestations of “after these things” from the biblical corpus, this article explains that “after these things” in Genesis may be viewed as a stock phrase, one that a composer or a redactor may employ in the absence of quantifiable chronological data to express the passage of an indefinite amount of time between two consecutive events.

THE HUMOROUS INTRADISCOURSE OF THE LINGUISTIC PICTURE OF THE WORLD OF THE OCCUPIED CRIMEA

Introduction. The Crimea is the most remarkable example of the events of the recentyears, where a language breakdown was caused by the violation of the geographical boundary.In contravention of the territorial integrity of Ukraine, new words, expressions specific to the periodof the annexation-occupation of the Crimea appeared in the language. Lexical neologisms functionas part of the humorous intradiscourse and perform one of the most important functions in the modernUkrainian culture of laughter – having in derision an opponent through the humorous incongruityof the generally accepted rules.Purpose. The aim of the paper is to examine certain lexical innovations, languagepatterns, as well as Internet memes, in the linguistic picture of the world of the occupied Crimeathrough the laughter world perception of reality.Methods. During the study, the method of contextual interpretation analysis, as wellas the method of direct observation of the material, followed by the generalization of the obtainedresults, was used. This approach made it possible to build linguistic units in the context of discourseanalysis and enabled to identify new approaches to the “laughter communication” study fromthe standpoint of its effectiveness, based on the analysis of verbal and nonverbal communicationfactors that create a humorous effect and function within the framework of humorous intradiscourse.Results. Evaluative factor is determining for the linguistic picture of the world, as itreproduces the peculiarities of the world perception paradigm of speakers, i.e., a certain “worldpicture”. The study has enabled a better understanding of the mechanism of the main language patterns (a set of stock phrases, statements or naming units adopted in a particular cultureor environment) of the “Krymnash” adherents’mentality included in the linguistic world view ofthe occupied Crimea. The list of the main language patterns is systematized and summarized.The paper presents an attempt to interpret part of the most important linguistic mechanisms thatpromoted the active spreading of the ideas of the Crimean occupation followers and influencedthe public opinion and beliefsystem; in particular, to render them through the humorousintradiscoursewith comic interpretations. Extensive coverage is given to comments and posts of a Ukrainianblogger who lives in the Crimea and keeps the Russian-language information and satirical diary“Novosti Krymnasha” (“The Krymnash News”) under the nickname of the CRIMEAN Banderite.The author reveals the ironic and sarcastic world picture of the diary.Conclusion. The author concludes that lexical innovations, language patterns as wellas Internet memes, created in the occupied Crimea and caused by the annexation of the peninsula,have a humorous effect in the linguistic picture of the world of Ukrainians and Ukrainian-centeredinhabitants of the occupied Crimea through the laughter world perception of reality.

This Old Man: All in Pieces by Roger Angell

Reviewed by: This Old Man: All in Pieces by Roger Angell Mike Broida (bio) Roger Angell, This Old Man: All in Pieces (Anchor Books, 2015), 320 pp. To live a "long and happy life" is one of those stock phrases with interchangeable parts: one might wish for a "long and productive" life or a "long and healthy" life or even the Trekkie motto to "live long and prosper." But what does it mean to live a long life, well after most of one's friends, colleagues, and loved ones are gone, and why do we desire it so? Born in 1920, nonagenarian and longtime New Yorker editor Roger Angell confronts the beauty and pain of this "long life" in This Old Man: All in Pieces, which Angell refers to as "a portrait of my brain at 94: a different serving, with good days and bad days in there, some losses and recurring afterthoughts right next to a midnight haiku, a fugitive great movie, a party conversation reborn." Angell is perhaps the last of The New Yorker's old guard of editors and writers; his mother, Katherine White, was an editor, and his stepfather, E. B. White, a frequent contributor. As an autobiographical retrospective, This Old Man presents a sort of writerly memento of life in and around the famed and quasi-secretive magazine. Filling the nooks and crannies between Angell's longer features and articles are inter-office memos, cartoons from the magazine, notes for the annual Christmas poem "Greetings, Friends!", and letters to numerous writers—including a charming correspondence with the poet Philip Levine and a kindhearted rejection letter to Ann Beattie, in reference to a story where "no one here [at The New Yorker] could recognize these people; they don't seem to have any connection with real life." In his tribute to former colleague William Maxwell and the bevy of famous writers he worked with, Angell sneaks in his own philosophical convictions about writing and its tug on the human spirit: I believe, rather, that their stories [those of Maxwell's authors] are the same stories that we tell ourselves, each of us, over and over, every day and every night, returning to our distant or recent past, possibly in search of happiness but much more often in the hope of finding an unexpected window or bend in the path there. We want our stories to come out differently, but they never do. [End Page 335] The assembled mass of essays makes Angell's collection feel part tip sheet—as in pieces like "Storyville," about his time as fiction editor for The New Yorker—and part history of the magazine, replete with tributes to men and women of yore: Harold Ross, Donald Barthelme, Edith Oliver, William Maxwell, and John Updike, among others. This rosy nostalgia—many of the pieces have the candor and warmth and soft edges of a story told by one's grandparent—suits Angell's preferred subject, baseball, nicely. As a sport, the "national pastime" is ripe and romantic in American consciousness. There is great power in Angell's ability to recast many of the long-ago greats who were never immortalized by the advent of the video camera. One is "The Heater from Van Meter," Cleveland Indians pitcher Bob Feller, nemesis and archrival to Angell's boyhood Yankees: "He'd glare in at the batter over his upraised left shoulder, kick his front leg straight across, and clamp down in late delivery and at the same instant, it seemed, the catcher was straightening up with the ball in his mitt again." Many of Angell's more recent pieces on baseball take a short form, often whimsical and nostalgic, such as a tribute to Derek Jeter after his retirement, as noted in "S'Long, Jeet" (a "Talk of the Town" piece), or recaps of World Series sagas in "The Best" or "Post Patsy," where "A World Series opening game always feels like a kid's first trip to Luna Park—a sunlit space, with good things happening all day." Angell's remembrances, from Jackie Robinson to Vladimir Nabokov, fill the implicit obligation of one of advanced age—to be a repository of memory and...

The Blue Stain: A Novel of a Racial Outcast by Hugo Bettauer

Reviewed by: The Blue Stain: A Novel of a Racial Outcast by Hugo Bettauer Adam J. Toth Hugo Bettauer, The Blue Stain: A Novel of a Racial Outcast. Edited by Peter Höyng. Translated by Peter Höyng and Chauncey J. Mellor. Rochester, NY: Camden House, 2017. 144 pp. Hugo Bettauer, an author virtually unknown to the U.S., will see new appreciation with the recent translation of his novel The Blue Stain: A Novel of a Racial Outcast. Originally titled Das blaue Mal: Der Roman eines Ausgestoßenen and published in 1922, Peter Höyng and Chauncey J. Mellor's new and first translation of this book will make it more accessible to audiences in the English speaking-world. The translation of this novel arrives at a critical and relevant time particularly in the U.S., as the novel tells the story a half-white/half-black protagonist of Austrian and African-American descent and his life in various parts of the United States and Vienna. The novel offers crisp perspective during the U.S.'s ever-present crisis of racism and social injustice. Rather than nitpicking and fussing over the details of the translation, however, I will focus on the translators' note, the introduction, and the afterword, as these matter a great deal to those gaining access to Austrian literature without the benefit of the German language under their belt and therefore weigh heavily on the work's overall success. Höyng and Mellor's notes on the translation process accurately explain how they rendered the novel into English but offer limited perspective behind some of their decisions. When explaining how to translate the interjection "Wehe," Höyng and Mellor assert that "possible dictionary translations for 'Wehe' were 'alack' and 'woe is me,' both of which sounded hopelessly stilted and obsolete, reminiscent of shallow melodrama, and out of character for Zeller. 'Good grief' was also rejected, because it evokes Charlie Brown's use of this stock phrase in Peanuts and the bemusement it conjures up. 'Good Gracious' showed up, but seemed a bit too pretentious, British, and possibly effeminate" (Höyng and Mellor, ix). For whom "Good Gracious" may seem pretentious, how the expression may seem too British, and why it would [End Page 99] sound too effeminate (or effeminate at all) remain unanswered. While I can appreciate any amount of constraints the translators may have had in writing their notes, their target audience seems to only be one that speaks English but not German. Dwelling on such Kleinigkeiten in their introduction diverts the reader's attention away from the text as a whole and down a rabbit hole on semantics and approximation. That said, the careful attention Höyng and Mellor gave to the work's title and the translation of pejorative language against African-Americans in the original and in the translation express the importance of the novel itself and could itself hardly be considered trivial. Höyng's introduction gives the most thorough contextualization of the novel possible, guiding its readers through Bettauer's known biography and the historical milieus of the book and its author. Höyng notes that "The Blue Stain represents the first novel in German to address racism in the United States in the twentieth century" (xv), stressing an important part of the novel's position within the Austrian literary canon. He also emphasizes the important parallels made between Austria and the U.S. regarding race that converge in the novel, namely the "1867 law emancipating the Jews," when Jews "had been granted their civil rights" (xix, xiv). By stressing this historical event, Höyng draws attention to the parallels between institutional anti-Semitism in the Habsburg Empire and institutional racism against African-Americans in the U.S. While I think the historical similarities are a good place to start bringing these historical events into dialogue with one another, additional contextualization of de jure and de facto anti-Semitism in the Habsburg Empire before and after emancipation in 1867 would help the readers see the historical differences between the experiences of Jews in the Habsburg Empire and African-Americans in the U.S. The more critical points made about Bettauer's...

HISTORICAL CONTEXT AND IDEOLOGICAL STAMPS IN POLITICAL DISCOURSE

The article is devoted to the interpretation of historical narrative in the context of political discourse. The purpose of the article is to demonstrate what language means are used to create ideological texts interpreting historical events. The article states that political discourse practices, adopted in any given society, are designed to give the “right” interpretation of the original historical narrative for public use. One of the most characteristic features of political discourse is the use of cliches and stock phrases. The article presents the analysis of how language expressions acquire stock phrases status, and it also stresses that figures of speech have the tendency of transformation in cliches which primarily have not a reference value, but a powerful evaluation capacity, based on the non-triviality, distinctiveness and novelty of expression. The article states that in the political discourse metaphors play a crucial role. Metaphors form their semantic bridgehead in the socio-political discourse. Journalistic metaphors are focused on the estimated effect generation - positive or negative, and they give to a discourse a dynamic saturation or a confrontational tension. Suggestive capacities of cliches are actively used by political technologists in the development of ideologies which provide power control over the public consciousness through the imposition of stereotypes and mental schemes introduced in the cognitive frameworks of a society. It is believed that the role of the ideological cliches is mostly pronounced in the states with tough political regime. However, ideological cliches equally inherent in political discursive practices of western countries which consider themselves as democratic ones, these cliches are accurately integrated in the social value system and corresponding language picture of a society.

Some Thoughts On Erotic Poetry

Some Thoughts On Erotic Poetry Rodney Koeneke (bio) 1. Sex gets boring; the erotic spices it up. Language gets boring; poetry spices it up. We expect them both to do too much. 2. "Erotic" and "poetic:" each the kind of word, as Elizabeth Bishop said of "friend," that "spreads all over the place, and tells nothing of the actual place it means to name." Their power is in the spreading, not the naming. 3. Erotic poetry should be an easy place to find. Its syllabus is remarkably, suspiciously, invariable: Sappho and Ovid, Catullus and the Song of Songs. The Whitman of Calamus and Stein of "Lifting Belly." Cavafy, the troubadours, the Amarushataka. Sufis in an allegorical mood. Donne before the preaching. Naughty Herrick and nasty Swinburne. You'll have more you want to add, but I bet you wouldn't take any of these away. 4. "Erotic" and "poetic" both resist definition, hazy enough to pass as universals. That's part of their appeal; when we're feeling relativistic and alone, dizzy on the accelerant of history, they attract with the thought that everyone's always felt this, always done it. 5. Is any poem about sex erotic? The Earl of Rochester—filthiest poet in English—neatly detaches erotic mooning from earthy fucking: Were all my body larded o'er,With darts of love, so thick,That you might find in ev'ry pore,A well stuck standing prick; Whilst yet my eyes alone were free,My heart, would never doubt,In am'rous rage, and ecstasy,To wish those eyes, to wish those eyes fucked out. Given the right mood, I guess a cock from every pore might be erotic, like the promise to fuck the beloved's brains (or eyes) out. But so too is Elizabeth Bishop, inviting her lover to come wash her hair: The shooting stars in your black hairin bright formationare flocking where,so straight, so soon?—Come, let me wash it in this big tin basin,battered and shiny like the moon. Come, let me wash it. 6. The erotic's less about subject matter than mood: an interpretive aphrodisiac. In this way, it's like the poetic. Get your reader into the right state and any language feels like poetry. Late Ashbery's got this down cold: Out there, the air is moist Ican tell walking through it.Thank you so much for coming in.It's late isn't it,almost grotesque.My crew will be in touch. The line breaks, taming statement into stanza; the metrical symmetries, "off" enough to sound spoken but nearly matching—two lines of four stresses, a line of five, another four; the near rhymes ("I," "it," "in"/"grotesque," "touch"): all work the reader up into the mood of poetry. But the content's studiedly anti-poetic in its diction and content, its stock phrases and clichés. Like camp turns a lamp into a "lamp," the poetic, once it's signaled, can bracket nearly any phrase as "poetry." A touch from any part of her had done 't: Her hand, her foot, her very look's a cunt. John Wilmot, Earl of Rochester, "The Imperfect Enjoyment" 7. Imperfect enjoyment: the hard truth of erotic poetry? Reading some might help get you into the mood, but so long as you're reading, the pleasure it points to is deferred. Reading's inherently unsexy. Inward, mostly solitary, it asks very little from the body. Like anything, it can be eroticized. The exchange between reader and writer lends itself easily to metaphors of penetration, top and bottom, onanistic pleasure or the masochist's surrender. But dress it up however you like, the sex stays metaphoric. Unless sex itself is a metaphor, at its best when it points to something beyond itself. Enjoyment's imperfect: the hard truth of erotic poetry? 8. Cuffed as it is to the symbolic, an erotic poem may expose something crucial about both sex and poetry. "If I feel physically as if the top of my head were taken off, I know that is poetry." It's the "physically" that tingles. Without it, we're in the safe room of simile: "as...

СТЕРЕОТИП В ЯЗЫКОВОМ СОЗНАНИИ:ПСИХОЛИНГВИСТИЧЕСКИЙ АСПЕКТ

The main purpose of the article is to systemize different approaches to the understanding of the term “stereotype” in the framework of psycholinguistic researches. V.V. Krasnyh gives her vision of the concept “stereotype” and the classification of stereotypes. Y.A. Sorokin reveals the meaning of the term under study in relation to the concepts “stock phrase” and “cliches”. V.A. Ryzhkov analyses the international stereotypes in the framework of the theory of speech activity.E.F. Tarasov gives the definition of social stereotype through the analysis of fragments of language consciousness of Russians and foreigners. N.V. Ufimtseva underlines the role of interethnic communication in the formation of stereotypes. The originality and the relevance of the study are determined by a comprehensive analysis of the concept of “stereotype” in the framework of the interdisciplinary scientific direction.

Expanding to the peripheries: A corpus-based study of the development of the Japanese discourse marker toiuka

Many languages have common or stock phrases that are used when the speaker is unsure about how to say a certain thing, as with such English expressions as how should I put it? and something like X. In conversation, one strategy to avoid turning into a silence is to give a tentative choice with the hope that the addressee will understand the speaker's meaning. The Japanese discourse marker toiuka started as such a parenthetical expression that appears in mid-sentence and indicates the speaker's difficulty in lexical choice. It subsequently shifted to the utterance-initial and -final positions and gained new uses. The present article examines the diachronic development of this expression, using data from the National Diet Minutes Corpus [1], the Ninjobon ‘Love Story Books’ Corpus [2], and the Taiyo ‘Sun Magazine’ Corpus [3]. We keep track of the pragmatic-semantic and syntactic patterns over time quantitatively and show from a usage-based approach how this gradual process occurred.