Cognition, Communication, Discourse最新文献

{"title":"Professor Maureen Minielli and communication studies in Ukraine","authors":"I. Shevchenko","doi":"10.26565/2218-2926-2019-19-09","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-19-09","url":null,"abstract":"","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129828663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mise en scène in the original and adaptation: narrative organisation of the event in its internal symbolism","authors":"Z. Ihina","doi":"10.26565/2218-2926-2019-19-03","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-19-03","url":null,"abstract":"This article explores narrative organisation of the event in the literary story Nunc dimittis by T. Lee and the screen version of the same name. The event in its entirety of concrete episodes is a change of states with the known and the unknown confronting each other throughout the whole narrative. The character of the known side is a young criminal, while a female vampire and her servant stand for the unknown. The literary story and its screen version (the filmic narrative) are brought to comparison in terms of the authentic retranslation that reproduces the original event in another (cinematic) medium in detail, but with minor fluctuations seen in each episode separately. In the article, the mode of retranslation is shown according to the pattern the original – a transponent, where the original is the initial, primary work, and transponents are the products of intermedial, or extracompositional reinterpretation (in this article the only existing screen version is at issue). All adaptations, notwithstanding their number, make up the matrix of a certain narrative together with the original. The literary as well as the filmic episodes of Nunc dimittis resolve into three types of mise en scène where the latter term is defined as the elements that make up the event. The types suggested include the enclosed mise en scène keeping all the participants inside up to its end; the pass-through mise en scène that adheres to one of the characters who is in and out; the open mise en scène where the characters take turns in coming and going. Minor differences between the original and its transponent concern the symbolic load on the names of characters and their actions, which do not change, but rather amplify the original message of the story.","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"1996 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128198630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Intersemiotic translation: meaning-making in film and musical art","authors":"T. Lukianova, A. Ilchenko","doi":"10.26565/2218-2926-2019-19-05","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-19-05","url":null,"abstract":"Our research is based on two blocks of material (film adaptation and film-related soundtrack). It aims to analyse intersemiotic translation of a literary work into a film which involves procedures of intralingual translation; look into the semiotic resources of cinematic discourse – visual, sound and light effects, non-verbal means of communication in cinema, symbolism in films, color, etc.; compare written descriptions of associations, emotions and sensations provided by amateur Ukrainian and professional music and film review English subjects to reveal the mechanisms of interpreting the multimodal texts. We assume that the use of transformations in the process of adaptation brings about changes in the verbal component, compresses the text, adds or omits information, etc.; the audiovisual component, however, compensates the reduction of information that was presented verbally in the literary work (Besedin, 2017). Semiotic units contribute to reconstruction of meaning (Krysanova, 2017, p. 25; Peirce, 2000). We also experimentally approach the intersemiotic translation of the film into the medium of a piece of music. Our hypothesis is that such an intersemiotic translation (Jacobson, 1959, p. 233) of a film into a soundtrack will evoke similar associations in amateur and expert recipients despite their different professional and cultural backgrounds. Ingarden’s idea (1937/1973) of a work of art as an intersubjectively accessible object and Hardy’s theory (1998) that views meaning-making as intersubjective spontaneous nonlinear dynamic proving that affect, intuition and sensations are more powerful than linear rational reasoning are in the core of the research.","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127808302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theme of madness in a short story “The System of Doctor Tarr and Professor Fether” by Edgar Allan Poe and in a similarly-named film by Claude Chabrol","authors":"A. Stepanova","doi":"10.26565/2218-2926-2019-19-07","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-19-07","url":null,"abstract":"The article considers the theme of madness as a cultural phenomenon in its romantic (Edgar Poe) and postmodern (Claude Chabrol) film interpretation. The study is based on the cultural and philosophical concept of madness grounded by Michel Foucault. The historical existence of madness phenomenon has two types of its perception distinguished, ‘cosmic’, which is the tragic madness of the world, and ‘critical’, which is peculiar to human consciousness and behavior, generating the ironic understanding. According to the philosopher, the cosmic and critical cultural experience of madness is embodied in visually plastic (pictorial) and verbal (literary) forms respectively. The verbal and literary specifics of creating an aesthetic image of madness within the romantic canon in Edgar Allan Poe’s story is compared with the peculiarities of the visual-sound plastic form of the images in Claude Chabrol’s film, created in the style of surrealism. In Poe’s story madness appears as a local phenomenon, a state of human consciousness determining the way of thinking and the specifics of behavior. The main way how the writer creates the characters includes their behavioral characteristics and speech. In Chabrol’s film interpretation the theme of madness unfolds gradually, being embodied in visual images, the pace of the film, the changing intraframe composition, the specific movement in the frame, the speed and rhythm of cutting, the color and sound of the film. Within the postmodernism aesthetics the director, inserting surrealistic Buñuel’s intertext, using the techniques of playing with the audience and varying interpretations of the end, focuses on the cosmic experience of madness, transforming Poe’s romantic-ironic interpretation into a understanding the “tragic madness of the world”.","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114600807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Libertinism in English Restoration drama: a cognitive-pragmatic perspective","authors":"O. Marina","doi":"10.26565/2218-2926-2019-19-06","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-19-06","url":null,"abstract":"This paper aims to explore LIBERTINISM as a discourse-generative concept of the English Restoration and its manifestations in the 17th century drama. In the focus of attention are: the dramatic discourse of the seventeenth century and social and historical conditions that predetermined the origin and development of libertinism in the Restoration drama. In this article, I argue that during the Restoration LIBERTINISM thrived along with such concepts as EMPIRE, HONOUR, LOVE, MODE, SCIENCE, TRADE, and WIT. It is stated that after years of bans and prohibitions libertinism began to develop as a reaction against an overly religious dominant worldview that was imposed on the English people during the Interregnum. It is confirmed that libertinism was widely disseminated in the play-houses which were reopened by Charles II after almost a twenty-year break. In this article, I argue that libertinism takes its ideas from the teachings of René Descartes and Thomas Hobbes; it viewed as extreme hedonism and rejection of all moral and religious dogmas. Charles II himself set an example which was emulated by his courtiers and therefore libertine modes of behaviour were demonstrated to the general public as role models by the aristocracy which regained power with the Restoration. I also claim that as during the English Restoration many play wrights either were libertines or wrote about libertine behaviour and adventures in their plays, the dramatic discourse of the seventeenth century gave rise to a new type of English identity–the English Restoration libertine-aristocrat. Accordingly, the dramatic discourse and dramatic performances of the seventeenth century were the means of establishment, reiteration, and dissemination of the libertine ethos.","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131556577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The textual issues of meaning-making in theatre and film: a semiotic introduction","authors":"P. Torop","doi":"10.26565/2218-2926-2019-19-02","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-19-02","url":null,"abstract":"In the semiotics of culture, text is a complex notion. Text as a whole emerges at the touchpoint of innerand extratextual relations. Thus, text is a ternary whole made of signs (e.g., language is the ‛material’ for literature), specifically used (due to its artistic structure), and constructed in a certain cultural-historical context (including the author’s worldview, their life experience, etc.). As a result, textual meanings vary on the subtextual, textual, and functional levels depending on the semiotic resource (‛word’), text, and work of art. Scholars use a range of criteria to analyze the structure of the text as a hierarchical phenomenon. On the one hand, to interpret the text structure is to compare it with the structure of the sign system (a semiotic approach) and the structure of the work of art (a functional approach). On the other hand, the structure of the text can be analytically described as compositional (from the point of view of exposition, rising action, climax, falling action, resolution, etc.), architectonical (title, epigraph, prologue, chapters, epilogue etc), or narrative (plot, story). The poetics of text, or the conceptual artistic whole, comprises the next level of analysis. Poetics is based on textual and intertextual characteristics, and proceeds from the conceptual value of the structural features of text. From the viewpoint of contemporary multimodal culture, the same text may exist in different discursive formats, especially on the web, thus becoming an interdiscursive phenomenon (cf. Wildfeuer, 2014). Long before the Internet era, the issues of disourse in text, and text in discourses were partly described by Bakhtin. Meaning-making and text mentality depend upon the medium. In different media, meaningsof the same text diverge (a) due to a particular purposeor target-oriented activity (resulting in crossmediality, which is characteristic of marketing, education, and so on); (b) motivated by the necessity of creating secondary texts (pictures, music, film and theater adaptations, translations, comic books, parodies, etc.) corresponding to transmediality. In both cases, text proves to be a result of convergence (cf. Pearson & Smith, 2015; Jenkins, 2006); in collective memory, the image of text is stored as a mental whole. Textual meanings, the structure, and poetics of text are its internal characteristics. The interdiscursivity of text may be either internal or external. Internal interdiscursivity, for example, is an upspring of the writers’ own illustrations as a part of their text as in Vonnegut’s Breakfast of Champions (1973). External interdiscursivity is a variation of the same text in different discourses for different target groups such as Homer’s Iliad in prose for adults and in adaptations or simplifications for children. Eco concluded:","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131854282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Constructing negative emotions in cinematic discourse: a cognitive-pragmatic perspective","authors":"T. Krysanova","doi":"10.26565/2218-2926-2019-19-04","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-19-04","url":null,"abstract":"This article reveals cognitive-pragmatic properties of constructing negative emotions in English feature cinematic discourse. This research is underpinned by semiotic theories, linguistic theory of emotions, discourse studies, cognitive linguistics, the theories of conceptual integration and joint attention, which stipulate an integrative approach to the multisemiosis of negative emotive meanings by verbal, non-verbal, and cinematographic semiotic resources. This research stressess the polycoded and multimodal nature of cinematic discourse, where a combination of visual and acoustic modes changes dynamically in the film time and space. Adopting an interactional-dynamic perspective on emotive meaning making in film, I claim that negative emotions in cinematic discourse are emergent multimodal dynamic constructs resulting from the online interaction of verbal, non-verbal, and cinematic resources, which takes place at primary and secondary stages of film making. The primary semiosis of negative emotive meaning occurs in the screenplay, which is an integral part of cinematic discourse and presents a film cognitive model. The secondary semiosis takes place in the film diegesis through a combination of verbal, non-verbal and cinematographic means specific for a particular negative emotion. In feature cinematic discourse, I distinguish eight combination patterns of multimodal semiotic resources depending on a set of criteria: quantitative vs qualitative or synchronous vs sequential configuration patters. The collective author’s intention and film genres influence the choice of cinematic techniques and their configuration patterns.","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129546278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Conceptualization of South Ossetia conflict by Russian bloggers","authors":"S. Abdramanova","doi":"10.26565/2218-2926-2019-18-01","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-18-01","url":null,"abstract":"The present study analyzes the narratives by Russian bloggers on the 2008 South-Ossetia conflict. This analysis of political discourse is underpinned by the principles of cognitive linguistics, developed on the basis of bodily experience of human beings. The combination of different approaches leads to a more comprehensive analysis and concise interpretation of events taking place in society. This cognitive-discursive perspective differs from traditional studies of mass media narratives which mostly base on Discourse Analysis (DA) and/or Critical Discourse Analysis (CDA), i.e., language in use is studied from the perspective of meaning on/ above the level of sentences and through the relationship between language and society, as well as language and power. Methodologically, this study was conducted on the basis of integrative speech analysis, critical discourse analysis, and cognitive linguistics. From the cognitive point of view, bloggers’ discourse is based on concepts evaluated positively (BENEFIT, FAIRNESS/HONORABLE CASE), negatively (CONQUER, PROBLEM, VANDALISM, NEGOTIATED MATCH), and neutrally (DEMONSTRATION, TEST). From the linguistic point of view, in their discourse, bloggers extensively use metaphors, which belong to the most effective ways of expressing opinions and are widely used by the media to create vivid images of the events described. A qualitative generalization of the data of content analysis proves that the attitude of Russian bloggers to the conflict is quite diverse, there is no consensus about how the war was fought, about its results, about the current situation and future prospects for the region.","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122662628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A discourse identity of the fool-wisecracker in the carnival space of the USA and Great Britain","authors":"V. Pasynok, Viktoriya Opanasivna Samokhina, S. Tarasova","doi":"10.26565/2218-2926-2019-18-06","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-18-06","url":null,"abstract":"The paper reveals functional and communicative characteristics of a discourse identity of the fool-wisecracker as the main subject of the carnival communicative space of the USA and Great Britain. This discourse identity combines qualities of a fool as a person who fools everybody around as conscious negligence, wit, joy and laughter as well as qualities of one who can ridicule, joke and shudder for others. The study involves the linguo-philosophical method along with dialectical principles to the study of the object. According to analysis of the lexeme fool a discourse identity of the fool-wisecracker is represented by the corresponding lexemes clown, jester, buffoon and trickster. Discourse identities of the clown, the jester and the trickster belong to the socio-professional sphere which is determined by their professional affiliation (official place of work, education). The buffoon and the trickster belong to the unprofessional sphere – every person under certain conditions is able to acquire characteristics of the fool-wisecracker. In order to create humour and manipulate the addressee, these types of the fool-wisecracker compose incongruent communicative situations by verbal, non-verbal or supraverbal means. A discourse identity of the fool-wisecracker is actualized with the help of the dialectical principles – interconnection, contradiction, historicism and creative linguistic activity. Each type of the fool-wisecracker in the USA and Great Britain uses certain ways to create a comic effect: the clown – verbal means (hyperbole, assonance, alliteration) in conjunction with supraverbal ones (costume and attributes); the jester – intellectual humour expressed by linguistic means (stylistic devices); the buffoon – purveyor improvisations (noodle stories, bawdy stories, jokes and fables); the trickster – stylization under the folk trickster (irony and sarcasm in speech).","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130990843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prosodic models of accentuated personalities’ English public speeches","authors":"A. Kalyta, I. Andrushchenko","doi":"10.26565/2218-2926-2019-18-03","DOIUrl":"https://doi.org/10.26565/2218-2926-2019-18-03","url":null,"abstract":"The paper advances typical prosodic models of the accentuated personalities’ English public speeches. The inaugural and convention speeches delivered by the American presidents and British prime ministers within the second half of the 20th century served as the material of the study. It was found out that the effective realization of any public speech is determined by the rational choice of linguistic as well as the adequate use of prosodic means for its organization. The authors regard the accentuated language personality as a speaker with enhanced traits of his/her character or temperament which are revealed in the process of his / her communicative activity within the range of acceptable psychological norm and beyond it. It is outlined that in order to conduct the study of prosodic features of the English accentuated personalities’ public speaking the authors created the program and methodology of a complex experimental phonetic research which was carried out in four stages. It is singled out that the politicians, whose inaugural and convention speeches were analyzed, belong to four types of accentuation of their character: demonstrative, impulsive, obsessive-compulsive, and paranoid. The determined prosodic peculiarities of the accentuated politicians' public speaking which were gained by means of the auditory analysis are presented. Besides, the results of the acoustic analysis of the experimental material, linguistic interpretation and generalization of the obtained data enabled the authors to figure out the invariant and variant prosodic models of the accentuated politicians’ public speaking.","PeriodicalId":237005,"journal":{"name":"Cognition, Communication, Discourse","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133603325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}