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Authors: Euihyeon Na, Inyoung Choi, Taek-Ho Lee, Hyeseon Lee, Mi Jung Rho, Hyun Cho, Dong Jin Jung and Dai-Jin Kim

conducted regarding the implication of game genre as a specific factor influencing IGD. Most previous studies have reported that the genre of game was associated with specific psychopathological profiles in individuals suspected of IGD, thus suggesting that

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. 1993. Analysing Genre: Language Use in Professional Settings. London and New York: Longman. Analysing Genre: Language Use in Professional Settings

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INTRODUCTION The Devil is a relatively common image in Latvian folklore. Although he is not often mentioned in charms, and due to the relatively short form of the genre, not all of the features and expressions of this character are understandable

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Introduction Disciplines vary in the types of communicative genres they use to disseminate knowledge and citing patterns used within these genres. However, while scholars have acknowledged this difference in knowledge

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Authors: Abraham Hafiz Rodriguez, Sarah Nath Zallek, Michael Xu, Jean Aldag, Lori Russel-Chapin, Tobias A. Mattei and Norman Scott Litofsky

& Richard, 2009 ). In addition, despite the recent expansion of scientific literature exploring outcomes-based research aimed at investigating how common, popular music genres (e.g., classical) may be beneficial for various applications related to

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, G. 2013 . Applying a Multidimensional, Register-sensitive Approach to Visualize Normalization in Translated and Non-translated Dutch . In: Lefer , M.-A. & Vogeleer , S. (eds) Interference and Normalization in Genre

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The Neo-Latin occasional poetry is a rarely explored field of Hungarian literary history. József Batthyány was addressed with almost 160 — mostly printed, but some in manuscript — works of art, poems and speeches during his 40-year service as high priest. The main idea of these was the overwhelmingly excessive appraisal of his pastoral and personal merits. The apropos of the works were the Archbishop-Cardinal’s birth and name days, his investiture into ecclesiastic positions and his diocese visits. In this study I examine the poems from the point of view of their genre, including the theoretical background of some 18th-century poetics, among which the Palaestra by Jacob Masen undoubtedly had the biggest influence on the contemporaneous poetic approach.

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The expression xuuč yaria can be translated as ‘story’ or ‘gossip’, and indeed, they are short stories about interesting, extraordinary or sometimes fearful events heard or seen by the storyteller. As far as their content is concerned, the stories are colourful and ramifying, and it is beyond doubt that the xuuč yaria has some connections with domogs, tales and even heroic epics. Unfortunately, research into this field has begun relatively recently, so these connections are far from being clear. Moreover, the xuuč yaria stories are interesting not only from the point of view of folklore, but they also shed light on the history of ideas, since the first ones were collected in the 1950s, and thus some of them reflect the political atmosphere of the socialist era. In this article an attempt is made to give the broader outlines of the xuuč yaria as a genre of Mongolian folklore, and establish a typology in the hope that it will be helpful for further research.

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The psychological concept of the uncanny (“das Unheimliche”) has been established in studies by E. Jentsch (1906) and S. Freud (1919). On the grounds of cultural and textual references, which can be found in these studies, one might regard the uncanny as a discourse construct contained in various literary, evaluative, and visual texts stretching from the late 18th century to the First World War. In my paper, I wish to discuss the assumption that the scherzo genre, commonly seen as founded on Haydn’s opus 33 string quartets and coming to a first fruition in various Beethoven cycles shows a particular propensity to act as the musical vehicle for an uncanny quality. The closer scrutiny of two “programmatic” scherzi (those are the 3rd movement of Mahler’s 2nd Symphony and L’Apprenti sorcier by Dukas) might shed light on the advantages of a genre-oriented approach when musical meaning is concerned.

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Corpus-based studies in the field of word-formation have looked at translated language with the aim of (i) assessing the role of the source language (SL) in the overuse of certain derivational affixes in the target language (TL) and (ii) examining translationrelated, SL- and TL-independent trends such as the normalization of creative lexis. However, two aspects of the word-formation features of translated language remain underresearched: (i) language-pair specific properties which lead to a marked decrease in the use of certain word-forming devices in the target texts compared to their source texts (here referred to as ‘language-pair specific morphological decrease’) and (ii) the genre-sensitivity of word-forming devices in translated language. To examine these two aspects, we report on a corpus-based case study of the French translation of the English un- and in-prefixes. The translation data makes it possible to identify the following language-pair-related factors which are responsible for morphological decrease in French target texts: morphological productivity, diverging polysemy and partial phraseological equivalence. The study also shows that morphological decrease is significantly more frequent in fiction than in news, thereby indicating that genre also plays a major role in shaping the word-formation features of translated language.

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