Kalba ir kontekstai / Language in different contexts 2017, t. 7, d. 2

The object of the current paper is related to lexical borrowings of European languages. The aim of the article is to discuss the most significant theoretical approaches to the integration of borrowings and to show the types of their assimilation on the example of Lithuanian and Russian. The research work aims at analysing lexical borrowings from different lingua franca, to determine their etymology, to show their integration types in the Lithuanian and Russian languages, as well as to establish differences between lexical borrowings and their standardized equivalents in both languages.

Lithuanian discourse reflected in Henryk Sienkiewicz᾽s prose arises from metadiscourse and displays multidimensional and complex nature. Gaps, inconsistencies and understatements found in his works have received a number of interpretations today, too. An important line of research is reception of Sienkiewicz᾽s literature in Lithuania. The following aspects determined by the Lithuanian-Polish cultural interaction in the 19th century should be observed: complementary function of Polish literature, bilingualism, late formation of standart Lithuanian, heterogeneity. The reception of Polish literature in Lithuania in the second half of the 19th century had two forms, namely integrative (Sienkiewicz) and differential (Orzeszkowa, Prus). The present study deals with juxtaposition of Potop and the first historical Lithuanian novel Algimantas written by Vincas Pietaris under the influence of Sienkiewicz, which has not been explored yet. It is important to note that archives in Vilnius have not been examined yet, including the Wróblewski Library, where smaller or larger discoveries can be made.

Tyrimo metodas – analitinis-aprašomasis. Tyrimas parodė, kad tiek prancūzų, tiek lietuvių tyrėjai skirtingai klasifikuoja anglicizmus pagal jų analizei reikalingus kriterijus. Anglicizmų kriterijai yra dažnai panašūs. Anglicizmų kategorijos yra susikirstytos remiantis įvairiais lingvistiniais kalbos aspektais: fonetiniu, grafiniu, morfologiniu, gramatiniu, semantiniu, leksikologiniu, sintaksiniu ir kt. Pastebėtina, kad semantiniai anglicizmai yra minimi beveik visų pateiktų lingvistų klasifikacijose. Kategorijų skirstymas priklauso nuo skirtingų anglicizmo ištirtumo kriterijų: kilmės, formos, reikšmės ir diachroninio požiūrio.

Many phenomena in language are expressed by phrases with the noun water because water, as a known element of the world, participates in the comprehension of the reality and the representation of abstract entities. This study presents a facet of the conceptual structure of the noun ‘water’ in its notion as an ‘element.’ A correlation with deep cognitive knowledge of a natural phenomenon is demonstrated and represented by the noun ‘water’, and symbolic values are ascribed to ‘water’ in I. Bunin’s prose in the context of metaphorical constructions with the word water and its substitutes. This study also highlights the notion that the conceptual framework of water knowledge, existing as the impression of archetypal representations and a mythological model of the world, becomes the basis for the formation of the symbolic meanings of the noun ‘water’ in language, as well as an existent form of abstract ideas (comprehended in I. Bunin’s prose by means of aquatic images) such as life and death, mythical chaos, combined dualities of the cradle and grave, and others. Moreover, the formation process of the symbolic values of the noun ‘water’ (Chaos, Life and Death, Eternity, Path, Memory, Prima Materia, Life-giving Bosom, etc.), which appear in the writer’s texts as meaningful fragments of lexeme semantics, are determined by deep structures of knowledge as presented in the system of language itself. The deep-semantic roles, or more precisely: semantic actants, whose position can be taken by the noun ‘water’ and its analogues in the structure of the sentence, act as a form of deep (pre-lingual) knowledge representation, associated with the natural phenomenon nomination. Thus, it is stated that semantic roles of AGENT, SOURCE, INSTRUMENT, etc., determine the symbolic meanings that have found their objectivity in the noun ‘water’ in the prose of I. Bunin. Formalization of the deep (prelingual) knowledge of water phenomenon, which is hidden in the linguistic form and determines the semantics of the noun ‘water’, allows us reconstructing the very process of generating symbolic water values in the writings of I. Bunin, revealed on the basis of the distribution of this lexeme.

Įteisintos bendrinės kalbos normos ir joms iliustruoti parinkti pavyzdžiai ne visada atspindi dabartinę kalbos padėtį, atliepia kalbos vartotojų reikmes, todėl aktualu iš naujo peržiūrėti kai kurias teikiamas rekomendacijas, tikslinti normų ir klaidų ribas, nustatyti kodifikacijos santykį su gyvosios kalbos vartosenos polinkiais. Vienas iš rūpimų gramatinių formų vartojimo klausimų – daiktavardžių skaičiaus normiškumas. Vartosenoje dažnai pasitaiko įvairuojanti – norminė ir nenorminė – daiktavardžių skaičiaus raiška. Straipsnio tikslas – panagrinėti kai kuriuos daiktavardžių skaičiaus kategorijos raiškos atvejus, iškelti svarbiausius vienaskaitos ir daugiskaitos formų konkurencinės vartosenos ypatumus dabartinėje lietuvių kalboje. Straipsnis remiasi 2016–2017 m. Lietuvos edukologijos universiteto Lietuvių kalbotyros ir didaktikos katedros atliekamu lietuvių kalbos gramatinių formų dabartinės vartosenos, konkurencijos ir polinkių tyrimu. Tyrimui aktualūs gramatinių formų vartojimo ir gramatinio įforminimo atvejai imti iš specialiai projektui sukaupto reprezentatyvaus rašytinės ir sakytinės dabartinės kalbos tekstų korpuso ir papildomų šaltinių: dažnai iš interneto, kitų dabartinės vartosenos tekstų. Atlikta analizė paremta ne tik realiąja dabartinės kalbos vartosena, bet ir vartotojų nuostatų analize (apibendrinti moksleivių anketų ir kalbos tvarkytojų bei redaktorių apklausos duomenys). Vienas iš nagrinėjamų dalykų – abstrakčiųjų daiktavardžių skaičiaus formų variantai ir norminis jų vertinimas. Dabartinės vartosenos stebėjimas leidžia teigti, kad vienaskaitinių daiktavardžių daugiskaitos vartojimo atvejai linkę plisti. Atkreiptinas dėmesys ir į tai, kad ne visada skaičiaus formų pasirinkimas aiškus ir apibrėžtas. [...]

Straipsnyje nagrinėjama apibrėžtumo ir komparatyvumo funkcinių semantinių laukų sąveika XII–XIII a. Uspenskij kodekso tekstuose, parašytuose bažnytine slavų kalba. Taip pat analizuojama, ar gali lyginamoji reikšmė veikti būdvardžių paprastųjų arba įvardžiuotinių formų vartojimą lyginamosiose konstrukcijose. Analizei pasitelkiamos tik tokios lyginamosios konstrukcijos su jungtuku ßêî (àêû), kurių lyginimo objektu einančiame daiktavardiniame junginyje yra būdvardis. Nagrinėjamose lyginamosiose konstrukcijose dažnesnės yra paprastosios būdvardžių formos, šiuo atveju jos vartojamos daiktavardiniame junginyje su daiktavardžiais, kurių reikšmė nėra aktualizuota, tai yra daiktavardis vartojamas nereferentiškai. Jis yra tik tam tikros grupės su tam tikru požymiu atstovas. Daiktavardis nėra siejamas su konkrečiu daiktu, o reiškia apibendrintą sąvoką. Įvardžiuotinės formos vartojamos tik tuo atveju, jeigu yra lyginama su unikaliu objektu arba su visa grupe (generalizacija). Taigi galima teigti, kad būdvardžio forma priklauso ne nuo požymio intensyvumo ar požymio apibrėžtumo, o nuo viso daiktavardinio junginio funkcijos. Taip pat būdvardžio formų pasirinkimo šiuo atveju negalima sieti ir su einančiu pažyminiu komparatyvinėje konstrukcijoje būdvardžio predikatyvumo laipsniu.

Any type of translation involves an interaction of two or more cultures, and the receiver of the message frequently is culturally distant from the source culture. The occurrence of cultural references in the original results in the necessity to withdraw from the habitual meaning-to-meaning translation as explication of the meaning of the source text is required. Even though it is universally accepted that each language possesses adequate resources to express any idea, this premise does not extend to the field of culturally-specific concepts. The scope of potential cultural equivalents is determined by the level of cultural proximity since such thematic areas as clothing, food, technologies, ethnic traditions, etc., as well as such intuitively perceived language features as culturally-charged humour may not necessarily overlap between the source culture and the target culture. Hence, the absence of an equivalent presupposes its substitution by an analogue. Consequently, audio visual translation by default involves a compromise with the precision of the rendering. A special case is the phenomenon of the cultural mediator. In the situations of the depicted culture being different from the source culture (for example, a Hollywood film showing China), the translator faces the challenge of working with a text featuring cultural adaptation from the Chinese culture to the American culture. The intentions of the characters may be reflected more precisely if the paradigm of the depicted culture is considered as the background for translation. Ideally, the translator should be well-versed in the depicted culture so that the translation focuses on the interaction of the depicted culture and the target culture essentially omitting the source culture. In terms of the philosophy of language, the Skopos method highlighting the pragmatism of translation based on the functionality of the text and the similarity of the ‘translated’ message serves as an efficient methodological tool. The rendering of the idea of the source text and its presumed impression on the target audience thus serves as the ultimate goal of audio visual translation.

The article aims at revealing and describing the lingua-cultural concepts in the ancient Germanic heroic epic referring to the examples of Germanic epic poems and songs of the Middle Ages. It has been determined that the basic concepts determining ancient Germanic mythopoetic picture of the world are anthropomorphic concepts: Man and Woman, correlating in their turn with a wide range of other types of concepts, such as: wealth, clothing, gold, gems, etc. The aforesaid (peripheral) concepts are correlated with the macro-concept Man and act as symbols of a high social status and power. The concept Man in the mythopoetic picture of the world is a hierarchically complex cognitive-verbal structure, the basis of which is mainly formed by moral and ethical, as well as emotional and psychological characteristics

The birch tree is one of the most respected and beloved trees for Belarussian people, which has a significant place in Belarussian literature, pictorial art, folk tradition, everyday life, and household. The symbolism of the birch tree is very diverse. In art work focusing on a foreign theme, writers often turn to foreign traditional images to create the image and mood. This is most often observed in the history of Georgian-Belarussian literary relations. Georgian literature focusing on the Belarussian theme has mastered traditional characteristics of Belarussian artistic thought developing the birch tree into the image of a woman. This artistic image (woman as a birch tree) is traditionally unfamiliar for Georgian original literature, yet its existence in modern Georgian literature is due to the fact that Georgian literature has actively mastered this image of the birch tree, i.e. a woman from Belarussian literature. There are nearly no Georgian art works created on Belarussian theme where we do not meet a birch tree. The birch tree is an unalterable attribute of Belarussian landscape and one of the most important elements of the image of Belarus itself; the birch tree is perceived as a symbol of female beauty, tenderness and kindness. Symbolism of the birch tree has become a generic part of Georgian artistic thought. It has become understandable and acceptable for both Georgian writers and readers. Appearance of the artistic image of the birch tree in Georgian literary works (D. Kvitsaridze, R. Gvetadze, I. Mosashvili, D. Ivardava), created on the Belarussian theme, associative and symbolic personification of the birch tree with a beloved woman, stems from the peculiarities of Belarussian artistic thought, since Belarussian theme repeatedly convinces us that different literatures affect and enrich each other, as well as diversify the theme and artistic-expressive tools of each other.

The article analyses two plays, “Žemaitė sutinka Šekspyrą” [Žemaitė Meets Shakespeare] (2006) and “Van Gogho ausis” [Van Gogh’s Ear] (2007–2008), by Kostas Ostrauskas (1926–2012), one of the most prominent postmodern Lithuanian playwrights. Published in the collection, “Paskutinis kvartetas” [The Last Quartet] (2014), the plays highlight the themes of art and culture, expressing and understanding art, as well as the role and significance of art. Ostrauskas’ works provide a great deal of material for intertextual and interdisciplinary research. In this article, his plays are discussed from the perspective of language philosophy and comparative cultural research, touching upon important issues of language (also art language), truth, language and mutual understanding, and intercultural dialogue. The article points to the paradox of people’s mutual understanding, such as reaching an understanding among unlike parties and having a misunderstanding among alike ones, also language inadequacy to reality and one of art principles – incompleteness. In “Žemaitė Meets Shakespeare”, Ostrauskas continues the dialogue with one of the most constant partners, Shakespeare, and looks at his early reception in Lithuania. He uses Žemaitė’s (1845–1921) egodocuments and the correspondence with Povilas Višinskis in particular, who encouraged to read Shakespeare and taught her drama principles based on Shakespeare’s works. Although the conversation between the two playwrights, an enlightened and a profane one, or between the two cultures, the high English Renaissance and the low Lithuanian peasant, reveals a huge gap between them, it also brings out a common feature – itality. In “Van Gogh’s Ear”, Van Gogh’s conversations with Gauguin conceal the notion of language insubstantiality and the fact that language is the gateway to a paradoxical reality that cannot be fully perceived. Gauguin admits that it is impossible to achieve consistency and clarity in art. On the other hand, the imperfection of language (and art language) is the advantage of an artwork. In fact, it is the condition of its verisimilitude. Ostrauskas’ thinking is a reflection of his own creative method and a recognition of tragicomic efforts to understand the world and express it using the language of art.