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The article features the results of contrastive analysis of phraseological creativity in two discourse types, cinematic discourse and discourse of children’s literature. In the study, we develop the parametric approach to linguistic creativity, with the parameter of phraseology displaying both language and discourse specific character. Two compiled subcorpora of cinematic discourse and discourse of children’s literature contingent in size, genre, creation period, addressee orientation and key pragmatic strategy, serve to explore the activity (frequency) distribution of phraseology as well as its creative language productivity. The Theory of Phraseological Creativity provides the criteria for demarcating creative and non-creative uses of phraseological units. Their further analysis in two subcorpora has shown that whilst their total activity in both discourses is similar, it is the cinematic discourse that demonstrates significant prevalence in phraseological modification, which evidences in favor of its higher discourse creativity potential. The study helped reveal the specificity in the phraseological modification strategies applied in cinematic discourse in contrast with discourse of children’s literature. Furthermore, we addressed the problem of parametric contingency which brought forward other criteria in demarcating creative and non-creative uses of phraseology in discourse. To explore the linguistic creativity parametric contingency, we assessed the joint activity of parameters correlating with phraseology use. Following the procedures of parametric activity processing in HETEROSTAT software and vector-space modelling, we received two discourse-specific phraseological contingency profiles. Their contrastive analysis revealed higher contingency values in the discourse of children’s literature. Moreover, it disclosed discourse-specific functional differences in creative and non-creative phraseology use in the discourse types contrasted. Whereas non-creative phraseological units in cinematic discourse displayed low correlation with other parameters of linguistic creativity, their creative uses displayed higher correlation. The same did not stand true for discourse of children’s literature, which demonstrated high correlation in both cases. Consequently, we concluded that the stimulating function is more typical of linguistic creativity parameters activation contingent with the creative uses of phraseology. In discourse of children’s literature apart from the stimulating function, the contingent parameters also display the compensatory function, with both functions stimulating the children’s comprehension of phraseology and simultaneously enhancing discourse creativity. The results suffice to show that the distribution of two functions – compensatory and stimulating – is discourse-specific, which extends the knowledge about linguistic and discourse creativity.
The article features the results of contrastive analysis of phraseological creativity in two discourse types, cinematic discourse and discourse of children’s literature. In the study, we develop the parametric approach to linguistic creativity, with the parameter of phraseology displaying both language and discourse specific character. Two compiled subcorpora of cinematic discourse and discourse of children’s literature contingent in size, genre, creation period, addressee orientation and key pragmatic strategy, serve to explore the activity (frequency) distribution of phraseology as well as its creative language productivity. The Theory of Phraseological Creativity provides the criteria for demarcating creative and non-creative uses of phraseological units. Their further analysis in two subcorpora has shown that whilst their total activity in both discourses is similar, it is the cinematic discourse that demonstrates significant prevalence in phraseological modification, which evidences in favor of its higher discourse creativity potential. The study helped reveal the specificity in the phraseological modification strategies applied in cinematic discourse in contrast with discourse of children’s literature. Furthermore, we addressed the problem of parametric contingency which brought forward other criteria in demarcating creative and non-creative uses of phraseology in discourse. To explore the linguistic creativity parametric contingency, we assessed the joint activity of parameters correlating with phraseology use. Following the procedures of parametric activity processing in HETEROSTAT software and vector-space modelling, we received two discourse-specific phraseological contingency profiles. Their contrastive analysis revealed higher contingency values in the discourse of children’s literature. Moreover, it disclosed discourse-specific functional differences in creative and non-creative phraseology use in the discourse types contrasted. Whereas non-creative phraseological units in cinematic discourse displayed low correlation with other parameters of linguistic creativity, their creative uses displayed higher correlation. The same did not stand true for discourse of children’s literature, which demonstrated high correlation in both cases. Consequently, we concluded that the stimulating function is more typical of linguistic creativity parameters activation contingent with the creative uses of phraseology. In discourse of children’s literature apart from the stimulating function, the contingent parameters also display the compensatory function, with both functions stimulating the children’s comprehension of phraseology and simultaneously enhancing discourse creativity. The results suffice to show that the distribution of two functions – compensatory and stimulating – is discourse-specific, which extends the knowledge about linguistic and discourse creativity.
This article initiates research on the representation of Russia in French comic books. From 1849 to the present about 400 volumes have been published. In this paper, the notion “comics about Russia” include: a) a book of comics in which the action takes place either in the tsarist Russia, the USSR or contemporary Russia, b) a book in which a character or a place of the above period are involved. After an overview of the types of books and genres of comics about Russia (documentary, historical, adventure, science fiction, comical, as well as literary adaptations), an analysis of the visual aspect of comic books, mainly the covers, is given. Such recurring elements as snow, red color, five-pointed star, trains, blood, weapons, beautiful girls, ugly old ladies, and old cars are considered. We discuss the reasons for the practical absence of such stereotypes as black caviar, bears and some others. Then we analyze the role of the Russian language in the realization of the image of Russia, on the example of borrowed words, toponyms, anthroponyms, and utterances. Сyrillic, transliterated text and insertion of certain letters from Cyrillic into Latin are examined, as well as the presence or absence of translation and its correctness. The author underlines cases in which nonexistent toponyms, names and surnames, remotely resembling Russian words, are used. The question is whether such errors are accidental or indicate the authors' evident lack of interest in the adequate depiction of the reality. At the end of the paper the author proposes a frame for the analysis of any comic book about Russia. Apart from the mentioned above, this frame takes into account such aspects as characteristics of the "Russian" personages and their actions. Hopefully, the frame will make it possible to observe the evolution of the image of Russia, the link between stereotypes and the type of comic book as well as to compare the same image in French mass-media, literature, and movies. In the future we would like to find out whether the use of these stereotypes comes from the authors' insufficient knowledge of the Russian reality, or from their intention to create and reinforce the existing stereotypical image of this country.
The present paper provides a review of the most discussed issues with regard to creating a universal formal approach to study the politeness theory. What we see now is the lack of a proper metalanguage, and proliferation of various theoretical approaches: the presentday terminology describing polite behavior is represented by a variety of concepts: ‘appropriateness’, ‘saving face’, ‘face constituting’, ‘rapport management’ etc. along with a great number of diverse discursive practices in different cultures makes it quite a challenge to provide a coherent overview of politeness strategies. However, despite considerable fragmentation in politeness theory research we can observe certain consistency in the chosen methods for the interpretation of empirical material and experimental data. Firstly, specialists avoid using the term ‘politeness’ in theoretical reasoning due to abundance of peripheral semantic components realized in the speech of language users from different cultures, and restrict its employment to the interviewing of respondents. To interpret certain behavior as (im)polite and analyze its perception, the impact of expectations and norms is increasingly taken into consideration. Although research of authentic verbal interaction based on discourse analysis is still quite common, a greater focus on paralinguistic aspects of communication can be predicted. Research findings in the politeness theory will be more and more applied to discursive practices to benefit the health and welfare of the society.
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