The article provides a comparative study of Kazuo Ishiguro's novel "Never Let Me Go" and its film adaptation directed by Mark Romanek. The analysis is made in the context of the theory of intermediality, which involves the interpenetration of various forms of information transmission. According to modern views on intermediality (I. Rajevsky, L. Elleström) it has been established that screen adaptation belongs to "medial transposition" which are understood as the transformation of one media into another by re-coding. The objective of the article is to study the problem of re-coding of literary works by means of cinematography, since it is the transfer of original author's plots to the screen that creates a wide interpretive field for intermediality research. Literature and cinematography both benefit from their interaction. For cinema, these are engaging plots and challenges in reproducing the original literary style and genre, while for literature; it is an increase of readers and bigger attention to the literary work. The indisputable advantage of cinematography is visual and audio elements that can create a brighter picture of the changed emotional state of the characters, and therefore the film is able to involve the viewer into the events depicted on the screen. The article examines the issue of film language, which is understood as a means of expressing artistic reality in cinema using a set of technical and metaphysical methods for creating reality. Thanks to editing, the director managed to recreate the time-space structure of the novel, which combined three different time life periods of the characters. Important compositional elements were preserved; in particular, considerable attention was paid to the visual interpretation of the basic symbols of the novel.
Статтю присвячено дослідженню англомовної наукової термінології та виявленню лексичних, структурних та семантичних особливостей термінів у романі Герберта Веллса "Машина часу". Науково-фантастичні романи насичені термінологічними одиницями, які описують новітні досягнення людства та зображують технології майбутнього. Популярність науково-фантастичного роману зумовлена висвітленням наукових розробок та технологічних досягнень. Основна частина науково-фантастичної лексики базується на термінологічній лексиці, яка докладно описує поняття різних наукових процесів та явищ. Вивченням та функціонуванням термінів та терміносистем займається термінознавство, яке досліджує спеціальну лексику з позиції її типології, походження, форми, значення, а також використання, класифікації та формування. Проаналізовані терміни з різних галузей науки є невід’ємною частиною науково-фантастичного роману "Машина часу". Вони сприймаються та описуються у своєму номінативному значенні як конкретні деталі науково-технічних процесів і явищ. Терміни постійно змінюються, і це активно відображено в науковій фантастиці. У романі Герберта Веллса "Машина часу" проаналізовано велику групу наукової термінологічної лексики, яка семантично пов’язана з поняттями різних соціальних наук – математики, фізики, хімії, біології, географії та астрономії. Термінологічна лексика, використана в науково-фантастичному романі Герберта Веллса, виражена простими (терміни-іменники, терміни-прикметники, терміни-дієслова, терміни-прислівники) та складними термінами.
The article examines the multimodal metaphors which actualise the concept of CHORNOBYL in the five episodes of the miniseries Chernobyl. The procedure of the analysis includes identifying and selecting the multimodal metaphors following the Filmic Metaphor Identification Procedure, construing and describing the structure of key and sub-metaphors with the target domain CHOR-NOBYL, distinguishing the modes of the domains, interpreting the meanings and attitudes that are mapped onto the target domain. The source domains DETECTIVE STORY, ESPIONAGE, DISEASE, HOSPITAL are cued via the combination of visual, auditory (sonic and musical), and verbal (written and spoken) modes.
The article deals with the techniques of how to involve university first-year students in speaking using the activities for small groups. The experiment was carried out at Vasyl Stefanyk Precarpathian National University with the freshmen of the Department of Foreign Languages. The focus of the research was on speaking skills as they are considered to play a significant role in enhancing students’ communicative competence. The experiment is of high methodological value as it was based on two types of studying, namely online and in class. The aim of developing speaking skills is threefold. It is a splendid opportunity to practice real-life communication. Any speaking activity can be provided feedback, which will make learners understand the level, progress, and language difficulties they face. The teacher’s productive feedback can evoke students’ great satisfaction from a speaking activity and positively influence their wish to take part in the discussion. It is crucial to find the most suitable ways to help learners speak English fluently and adjust methods and techniques how to engage them in speaking activities. To carry out the experiment qualitative and quantitative methods were used successfully. The observation was selected to do the qualitative research, namely for observing the learners’ participation during their work in small groups, which were selected as a means of conducting speaking activities in the class. The quantitative method in this research was represented by two questionnaires. The purpose of them was to find out students’ attitudes toward this kind of work before and after the experiment. The overall results proved to be positive and the experiment confirmed the hypothesis that engaging students in small group work could contribute to their greater participation in discussion activities. The data of the observation and questionnaires revealed that the learners felt more confident in small teams and they understood some responsibility for their work.
The study presents an experiment aimed at discovering similarities and differences in how American and Ukrainian participants perceived contemporary free verse. Three poems were examined from the perspectives of intertextual/infratextual/intratextual context dimensions. The presence of intertextual characteristics – reflecting social reality and metaphoric content – was recognized by the majority in both groups of participants, yet across the groups, there were differences in the degree of value placed on each characteristic. Differences in views on the infratextual contexts reflect the variability of functions performed by the initial/intermediate/closing parts of the poems. As regards intratextual context dimension, there were significant similarities in the participants’ views on the imagery, in the constructed text-worlds, emotional responses, interpretations, and encountered difficulties. The analysis of the intratextual contexts of the poems indicates that some texts may drive readers’ interpretations, thus reducing the role of culture in their reception.
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