Cognitive Poetics

Il convegno internazionale "Da Archimede a Luca Valerio: giornate di storia delle matematiche per (e con) Pier Daniele Napolitani" vuole essere un'occasione per riflettere sulle tematiche di ricerca più care a Pier Daniele Napolitani in occasione dei suoi 73 anni. Come appassionato docente di Storia delle matematiche e Presidente del Progetto Maurolico e dell'Edizione Nazionale degli opera mathematica di Francesco Maurolico, Pier Daniele ha condiviso con quanti lo avevano collega, collaboratore o maestro un intenso percorso di studi esteso dall'Antichità classica al tardo Rinascimento. Queste giornate in sua compagnia tenteranno di tracciare un bilancio sullo stato degli studi di storia delle matematiche in Italia e non solo.

In the second half of the 20th century, the role of linguistics in analyzing literary texts went beyond the mere examination of linguistic elements and features of the text and embraced the effects of mental processes in the formation of the literary texts. One of the approaches that mainly deals with these new concerns is Cognitive Poetics. This approach, considered as a new way of thinking about literature and reading literary texts, involves the application of Cognitive Science, particularly Cognitive Linguistics and Cognitive Psychology to literary texts. This article, through taking advantage of two fundamental and interrelated mechanisms in Cognitive Poetics, namely Image Schemas and Mental Spaces, does its best to read Beckett's Watt (1953). According to Fauconnier & Turner (2004), the interaction of these two mechanisms provides the means for the movement of mind in its conventional way which historically has formed the logical and rational way of thinking. It can be deduced from this hypothesis that any sort of illogical and irrational thinking is the consequence of a situation in which the conventional interaction of image schemas and mental spaces are disrupted. Based on the assumption that Watt is a quest through human mind, this paper intends to find out what happens to the various forms of interaction between image schemas and mental spaces in the mind of the Protagonist Watt that his speech becomes more and more disordered until it finally does not make any sense at all.

Brandt (2021) ignores Peircean indices as signs and fits them into the category of symbolic signs if they are intentional. He names the third group of signs as diagrams and considers them, along with iconic and symbolic signs, to complete semiotic aspects of the art of life. In this research, we intend to illustrate that Persiancalligraphy has characteristics similar to diagrammatic signs and can be fitted into the category of diagrams. For this purpose, by using the structural perceptions of Persian calligraphy, Gestalt rules and semiotic blending, we analyse perceptually and conceptually a known work of Persian calligraphy art. To discover perceptual meanings, we apply Gestalt rules in the spaces of this work. The meaning obtained from this type of 'ception' is not person-dependent and culture-dependent. Perception of a sign occurs due to the stimulation of Gestalt principles in our mind. For example, if two points are in the scope of our vision, our mind creates a line by stimulating the principle of 'similarity'. This line, in fact, is invisible, but it can be perceived. In order for extracting the conceptional mening, we apply Brandt's blending theory to this work and name the resulting meaning as conceptual meaning. This meaning depends on how to perceive, which itself is dependent on perceptual perspective, and in addition, on our mental schemas. These two factors make conceptual perspective. Special attention has been paid to the perspective within the perceptual and conceptual analyses, because the way and order of observation as well as our schemas can change our interpretaion. It means that with a different perspective, a different interpretation is obtained. In order to conceive a sign, it is necessary to perceive it, because we first perceive the world with our senses. Then, with the formation of mental spaces and the presence of mental schemas, the 'meaning space' is created in our mind. This kind of approach to conceptualization was founded by Fauconnier and Turner in 1997 under the name of blending theory. Brandt, while criticizing the theory of mental spaces proposed by Fauconnier and Turner, presents a supplementary model of the semiotic blending, which includes five mental spaces as well as mental schemas as a conceptualisation interface. According to the model used for the conceptual analysis of this Persian calligraphy work, conceptual meaning is the result of our perception lead to a blending space and our schemas. The analysis of the considered calligraphy work from the perceptual and concetual points of view, focusing on the imagination factors such as selection, perspective, prominence, dynamicity, syntagmatic and paradigmatic relations, clearly illustrated that this calligraphy work can be considered as a diagrammatic sign in nature; because the organization of calligraphy forms based on these cognitive contents has been done in such a way that guarantees the conception of the work. It is assumed that perceptual and conceptual meanings, in addition to the space of Persian calligraphy, can also be obtained in the space of other human arts, based on what was tested in this research..

In this study, we examine common intonational formulas with fixed meanings, revealing a tendency towards symbolisation. It is characteristic that the primary representational function typically remains intact but transitions into the domain of formal features and structural elements. The semantic aspect, however, enriches with new, secondary content where the status of the symbol becomes paramount. We are not merely discussing musical language figures but also musical symbolism, closely intertwined with culture, encapsulating numerous semantic formulas.
This article seeks to extend the ideas of Bence Szabolcsi, Deryck Cooke,
and Jaroslav Jiránek regarding the functions of migratory intonations. The
Hungarian scholar argued for the existence of universal principles of “sche-
mata-invariants” in musical thinking, while the English musicologist devel-
oped the concept of “basic turns of the musical vocabulary”, with the latter writing about “incoming semantic elements”. Intonation is a historically
and culturally rooted category; each era forms its intonational thesaurus
with its semantic range, relevant to the existing worldview and cultural par-
adigm.
Analysis and arguments are illustrated through the works of Frederic Chopin and Pyotr Tchaikovsky. Utilising the schema method, the author analyses the semantics and characteristic instances of applying chords of the altered subdominant, “migratory” intonations in shaping the semantic context of a musical theme, the peculiarities of climaxes, and the transformation of reprisals against the semantic figure of sorrow in the works of Chopin and Tchaikovsky.
The basis for isolating structures with similar meanings lies in the extensive reservoir of musical memory (auditory analogies, associations), and intonation-speech experience. The author concludes that the mechanism for forming migratory intonations is multi-layered, with its ultimate result being the formation of stereotypical sound connections. Throughout the evolution of the musical language, intonational turns or specific semantic figures gain relevance. Hence, speech and music are socially conditioned forms of human consciousness, founded on a shared intonational nature, the physical laws of sound, and the psycho-physiological processes of its perception. The most apparent similarity parameter between speech and music, from which the commonality of forms of existence and storage of sound information emerges, is communicativeness.
Musical and speech intonation indirectly encapsulates information about the subject (age, gender, mental state), the group to which the individual belongs, and the cultural paradigm of the era. All these information flows national, gender-based, historical, individual-style-based, image-thematic – converge in musical or speech intonation, representing the intonation of culture and can revive in the creations of later times.

The article is devoted to Joseph Brodsky’s ideas
about poetic language. They are described as an
aesthetic auto-conceptualization or myth-making
project of the poet based on the analysis of his
essay s, public speeches and “Eclogue 4th (Winter)”.
“Eclogue 4th” has not been sufficiently studied in the
context of J. Brodsky’s ideas about language. Meanwhile,
this is one of the first texts in which they are
formulated. This text demonstrates that in the formation
of the poet’s ideas about the poetic language,
mediated by national ideas, the works of foreig n
author s played an important role. J. Brodsky’s belief in
the creative power of the Russian language was partly
based on his passion for the poetry of W.H. Auden
and D. Walcott, as well as on the actua lization of
modernist archaism (Neo-Scythian mytho logy, referring
to the 4th book of Herodotus’ “History”).

Soll ich also, von dieser Art von Analyse ausgehend, die Abschweifungen forcieren und mein Niveau narrativ in Richtung von labyrinthischen Gängen und Verschachtelungen à la Tristram Shandy noch weiter senken? Der Gedanke, die Selbstbeobachtung beim Übersetzen der Gedichte Tzaras (und vielleicht auch anderer) dazu zu missbrauchen, mir die unterschiedlichsten Verläufe und Verstrickungen von der Seele zu schreiben, war mir schon vor längerer Zeit gekommen.

In this paper, I propose translation as a main tool for a sensualistic and hermeneutical approach to texts. In agreement with the writer and thinker Euphrase Kezilahabi, who claims that the text has to be considered as a living event, I propose to look at a text not as an object but as a living body. I ague that this approach reduces the distance between the body of the text and that of the reader. Perception can thus be used as a means to know and critique a literary text. I present a multifocal sensualistic analysis based on an analogical idea of knowledge, taking translation as a tool to push the critic to focus on the text word for word (not excluding the paratext or the context). The translations discussed here are poems by Kezilahabi and a proposal for a Swahili translation of the poem L’infinito by the Italian poet Giacomo Leopardi.

Исследование понятия достоверности началось в период античности, в Новое время Г.Гегель, Л. Витгенштейн, М. Хайдеггер обозначили актуальные дефиниции понятия в аксиологическом и гносеологическом дискурсе. Достоверность как технический термин сегодня является одним из основных критериев инженерии ИИ, программирования, входит в область таксономии когнитивных наук. Проблема достоверности определяется как основная в
семантических исследованиях личных значений, формы глубинных знаний во вторичных знаковых системах. Изучение глубинных знаний и системы личных значений связано с определением способа передачи уникального непосредственного жизненного опыта, основанного на применении метафоры. В процессе изучения механизмов формирования системы личных значений ученые приблизились к пониманию феномена табуированной достоверности как особенности мышления, когнитивному свойству, характерному для
мифологического сознания, притчевого нарратива; свойства, ассматриваемого в гносеологической парадигме.
Ключевые слова: достоверность, латентное знание, метафоризация, субъективное шкалирование, табуированность, притча, миф.

On

The Question Concerning Technology In China
An Essay in Cosmotechnics
by YUK HUI

At least since Martin Heidegger + Jacques Ellul, philosophy has studied some alarming subjective/objective conditions emanating from ubiquitous scientific techniques applied throughout modernity. Why technology innovates all cultures sooner or later deepens further questions about how different political histories have been overruled by technical accomplishments to lead to Anthropocene postmodernism.
This designed critique extends the thinking from another technical legacy—a provocative, probative book—into the digital noosphere where mathematical + literary heritages continue to diverge.

Any rectangle can transfigure many conceptual triangles; e.g.,
history, cosmology, technology—3 sides, each sharing 2 points.
When East & West extend 2 sides, the third stretches them philosophically, technically, historically, geometrically; literally & figuratively in line with one another & both modern. The poetics drawing understanding from making living an art actually draw more understanding on all sides & contiguous areas—circles or polygons inscribed within the triangular form tangent to the 3 sides or outside the triangle touching the 3 points. But who can understand geometric poetics without language? A Chinese character differs in shape from an English word: Triangular 人, i.e., a person, touches 1 point with Heaven, 2 points with Earth.

Reîntoarcerile biografismului în istoriografia
literară a ultimilor 30 de ani reprezintă un efect de recul,
o reacţie, să zicem, atât faţă de mai vechile abstracţiuni
ale Noii Critici franceze, cât şi faţă de teroarea mai noilor
Studii Culturale. Nefiind, cu toate acestea, singurul cotlon
de defulare a „traumelor” intelectual-literare, adunate
pe parcursul celei de-a doua jumătăţi a secolului XX,
biografismul reprezintă azi varianta post-umană a (re)
normalizării studiilor literare.

This article presents an analysis of negation forms in Philip Larkin’s poetry, specifically forms negated by suffixes and prefixes. Drawing on the literary stylistic analysis approach, as proposed by Geoffrey Leech, we progress from linguistic description to literary interpretation, with the assumption that linguistics and literature should complement one another. We discuss nine poems by Larkin, with the focus placed on patterns that deliver precise understanding of the text’s unifying theme. The major argument is that the frequent use of negation forms by Larkin is not arbitrary; rather its use might illustrate an effort meant to make these forms resonate with the poem’s atmosphere and social contexts. The results suggest that linguistic choices and poetic style have helped Larkin convey messages concerning three themes, namely, 1) uncertainty, 2) futility of life, and 3) agnosticism. By focusing on Larkin’s poems and the ways in which the poems are read, different strands are plaited, and multilevel stylistics approaches help readers to focus on the gaps concerning social contexts that could illuminate other possibilities and meanings.

The turn of the nineteenth century marked an inflection point in modern
painting and sculpture accompanied by new experimentation and research in literature, a movement that has yet to recede in our time. Russian artists and writers found themselves at the very center of a historic moment. The February Revolution of 1917 propelled this development forward in Russia into the second half of the 1920s. Notably, modern and experimental currents in the plastic arts maintained close contact with the verbal arts, this interaction being the topic of the present chapter. The mutual influences came to be so important that broader over-arching aesthetic principles may have been revealed as students of the various art forms under each category stepped back to consider this possibility. The argument will be made that the different branches of modern art and literature laid bare principles and devices that in fact were not new to modernism. But it was the early twentieth century critics and theorists who were the first to launch an explicit research program focused on foundational underpinnings, one that would try to study art from a scientific point of view. This initiative was associated most notably with the early period of Futurism.

The paper explores the metaphorical link between the physical and metaphysical realms as depicted in the selected poems of John Donne. Through a close analysis of Donne's poetic works the paper investigates how skilfully Donne weaves together the tangible and intangible aspects of existence, creating an innate connection between the physical world and the metaphysical realms of love, spirituality, and the human condition. Through his use of metaphors, paradoxes, and conceits, he invites readers to contemplate the complex relationship between life's material and spiritual aspects. By analysing a range of Donne's poems, especially "The Ecstasy," "A Valediction: Forbidding Mourning," and "The Flea," the study aims to demonstrate how Donne employs metaphors to bridge the gap between the tangible world and abstract concepts such as love, spirituality, and the soul.

Аннотация. Статья посвящена проблеме актуализации когнитивной и коммуникативной категории выдвижения в художественном тексте. Данная категория рассматривается в качестве когнитивно-коммуникативного параметра авторского отступления в английской литературе XIX–XX веков. В статье рассматриваются некоторые лингвистические средства реализации этого параметра.

Ключевые слова: выдвижение, когнитивно-коммуникативный параметр, авторское отступление, средства реализации, конвергенция, фигура-фон.

No recuerdo la fecha que la conocí esa es la verdadera razón por la que ahora mido el tiempo con las agujas y jeringas que salen a mi encuentro al llamarlas por sus nombres. Me aseguro de no perder la cuenta apilándolas sobre una telaraña a la vez que advierto a los vecinos que allí es prohibido jugar.

This article proposes that certain styles of thinking have the effect of limited or expanding a researcher's awareness of anomalous aspects of Consciousness. By altering one's thinking style, one can appreciate and understand that the current scientific concept of subjective/objective duality is incorrect.

Предлагаемый материал является результатом обобщения, анализа и систематизации теоретических и эмпирических данных по исследованию языка и интеллекта, проблемы вербальной организации человека. В работе представлена концептуальная модель структуры языкового сознания в виде вербально-смыслового конструкта, структурируемого блоком декларативного вербального знания и процедурным блоком (речевых механизмов). Ключевые слова: вербально-смысловой конструкт сознания, смысловая единица, декларативное вербальное знание, речевой механизм.

I have a motto taped to my computer monitor, a partial quote, one extracted from Shakespeare: "Kill the Lawyers." This urge to commit a planetary lethal act is displaced from its intentions into a sort of comic excess: we laugh at the hyperbole of the idea(probably mis-interpreted out of context). Yet the thought as expressed is not far from the
consciousness of anyone who has had personal dealings with the law, in any form. That one MUST react to the whims and the demands of this system, no matter how egregious, insane or mistaken be its claims, strikes fear and loathing into the very spirit of those so affected.
What kind of humanity must we be who allow the legal, and political, Lilliputians to bind us to their meaningless world?

It is commonly thought that Time seems to accelerate as we get older.
Although there has never been any detailed explanation, or even proof, of this phenomenon - a few thoughts are offered here.

If this is true, at least subjectively, then one possible explanation is that our memory "frame-rate" declines along with other cognitive capacities as we age. This then gives us a sped-up experience of Time, similar to watching an old Chaplin film, where the frame-rate of the camera was greatly reduced, so that action seems stupidly accelerated.

However, there is another - perhaps more "Proustian" - possible explanation.
If, as we age, each new emotional experience triggers more and more internal reflection and emotional resonance with other stored memories and experiences, then our "frame-rate" while taking in such a new experience would appear to be reduced.
Less attention is given to the actual new experience, and more is given to its emotional resonance.

If this is so - then apparent memory loss (non-demented) would just indicate a stronger mental emphasis on emotional integration as compared with earlier emphasis on storing vivid and intense new experience.

A few examples from Proust's "Remembrance of Things Past" and from Bergman's film "Wild Strawberries" are given.

Este trabajo estudia algunos aspectos del procesamiento cognitivo del poema “Ruina”, de Fede- rico García Lorca, adoptando un enfoque empírico. La muestra está conformada por registros de lectura escritos por estudiantes universitarios bajo la consigna de realizar la tarea metacog- nitiva de anotar con la mayor sinceridad posible todo lo que ocurriera durante las sucesivas lecturas del texto. En esta ocasión, he seleccionado algunos fenómenos que se advierten con mucha frecuencia en los registros y podrían ser especialmente significativos si se los pusiera en relación con la poética del autor: las dificultades de integración que produce el poema y el rol que desempeñan las emociones y las imágenes mentales durante el proceso. Para realizar este primer sondeo de la muestra con vistas a un posterior análisis cualitativo más profundo, utilizaré herramientas de poética cognitiva. Aunque me concentro en aspectos puntuales, es importante tener en mente una explicación general sobre la actividad de leer literariamente. Tomo como base algunas propuestas que siguen el conocido modelo psicolingüístico de Kintsch y van Dijk, pero buscan también procesos que singularicen la lectura literaria y, entendiendo las emociones como una parte de la cognición, sostienen la idea de un procesamiento emocional del texto.

'La speculazione edilizia', pubblicato nel 1957, è il primo romanzo in cui Calvino congiunge narrazione e riflessione sul tema della città, facendo di quest’ultima il nucleo poietico e sineddotico per raccontare in controluce i primi anni del "miracolo" economico e restituire il senso di un’epoca di "bassa marea morale". Negli anni successivi Calvino torna a ragionare sulle profonde trasformazioni occorse al paesaggio metropolitano in 'Marcovaldo' (1963), trasfigurando il dato di realtà attraverso un registro maggiormente favolistico. L’intervento si propone di illuminare l’immaginario urbano dello scrittore tra la fine degli anni Cinquanta e l’inizio degli anni Sessanta riflettendo in maniera più ampia sul-
l’evoluzione della poetica calviniana in quegli anni cruciali e sulle metamorfosi del suo "realismo speculativo" (secondo la formula di Milanini), operando una rilettura delle due opere alla luce delle posizioni teoretiche – "la letteratura della coscienza", "l'integrazione mancata", "la tensione tra individuo, storia e natura" – che emergono nella produzione saggistica coeva.

В статье рассматривается лингвистическая специфика изображения луны в творчестве известного французского поэта, драматурга и сценариста Жака Превера (1900–1977). Выделяются такие семантико-стилистические особенности, как персонификация луны, изображение единства луны и солнца, а также луна как метафора счастья и луна как метафора смерти. Материалом для анализа послужили стихотворные и прозаические произведения из сборников Choses et autres («Одно и другое», 1972), Grand Bal du Printemps («Большой весенний бал», 1951), Histoires et d’autres histoires («Истории и еще истории», 1946), La pluie et le beau temps («Дождь и вёдро», 1955) и Soleil de nuit («Ночное солнце», 1980). Основным методом исследования является лингвостилистический и лингвокультурологический анализ текста. По итогам исследования делается вывод о специфических коннотациях, которыми наделена репрезентация луны в произведениях Превера, а также о языковых средствах, используемых автором для их передачи.

Figure and ground are cognitive devices for text analysis, indicating a phenomenological relation between literature and human beings. So critical research by cognitive poetics approach, on one hand, includes the possibility of analyzing texts considering the author, text and reader simultaneously, although different traditions have emphasized on just one or two of them. On the other hand, it gives phenomenological value to the literary research for the reason that it is created based on body, mind and human life. The concepts of figure and ground were first introduced in Gestalt Theory, and they were later developed in cognitive poetics to make the comprehension of a text possible, as lack of figure in any text can lead to a flat reading. Figure could be created through repetition, unfamiliar naming, innovative metaphor, creative syntactic ordering, use of puns, inner rhyme in a text, or any other technique which results in deviations from the expected use of language.  This paper draws on the function of figure and ground to analyze a poem by Nima Yooshij, entitled “Oh, Humans” through a cognitive poetics approach. It studied how analytical devices of cognitive theory with neurocognitive and psychological bases could explain the cognitive deviation from the Persian classic meter. Furthermore, it embodied a way that "the self" as a core of consciousness is interpreted through the structural arrangement of the words as well as "the other" as the historical memory in the background. Moreover, this poem is cognitively and structurally classified in three episodes based on the figure and ground's usages, so the iconicity (similarity) of the form-meaning could reflect the absence of dialogue between the self and the other through discursive worlds. This proposes that the representation and recreation of the author-reader’s world through the form (structural arrangement) in a literary work equals the meaning that a text’s world tries to create. Therefore, the study of meaning is not disjointed from the form, that is, the cognitive conformity of form-meaning in this poem conceptualizes the self and the other, as it is conceptualized in the society


Keywords: Cognitive Poetics, Figure and ground, Nima Yushij, Oh, Humans

On
THE NECESSITY OF THEATER
The Art of Watching and Being Watched
By Paul Woodruff


To be short & neat this digitally designed review lightens critical contrasts by mentioning how differently science & theater present understanding. It alludes to how ways to think about any subject are conditioned by methodologies. It concludes that though technology & politics may reign over everyday life, live theater by combining philosophy & art onstage before an open-minded audience needs a principal role in civilizing an electronic world.

A priori, cogito, never trust a teacher to teach only what is being taught nor a learner to learn only what is being learned. Subjects, as Kant philosophized, have other meanings, meanings that can't be taken & understood as if whole. (Cracking eggs works for cooks not hens.) Useful subjects science loves are cut into useful objects. In contrast subjects on stage with philosophy & art enact drama whether in the Globe Theatre, a post-Platonic academy, on screens & inside brains. Creatively alive characters think & act & enter & exit a special space for a certain time for others. Without tyrannical technology or politics, unmastered casts give & take different parts to assemble whole plays. Anyone who thinks, acts, teaches & learns, who plays in scenes & audiences, characters & roles, that someone truly exists as another someone (you & you) whom everyone else can see & know (another you). To be or not to be perchance to dream necessitates attention less to displays & more to live theater. What passes for knowledge can limit people to their own spectacle without seeing the plot serving them daily addiction for packaged goods. However preferred & prepared, cracked eggs do not make entire subjects whole.

This article focuses on three texts that blur the boundaries of form—I Love Dick (1997) by Chris Kraus, Simple Passion (1991) by Annie Ernaux and Suite vénitienne (1983) by Sophie Calle. They can be read as autofiction in both their construction and autobiographical basis. The texts come together through their singular focus on a male other, who on each occasion is a subject without a voice. The article charts the development of the term autofiction to situate the texts, then through close readings draws out how they use the form to universalise the personal and to demonstrate a constructed ‘I’ through writing. The article focuses on the way the texts offer a reconfigured autobiographical relationality between women and men, and in this a disruptive excess. The article proposes that the characteristics of ‘autofiction’ support these achievements.

This article analyzes the interconnection of culture, language and conceptualization. Culture is a fact that has a negative and positive influence of human behaviour on it. Culture is changing by society. The lexical elements of language should be regarded as preserved elements of cultural conceptualization. These elements are cultural elements and categories. These conceptualizations create the cultural cognition. The highest stage in the development of culture is creative stage. Its essence is not simply to change the world, but create phenomena.

Il saggio parte con una breve ricognizione delle varie forme d'intermedialità che interessano chi studia il rapporto tra musica e poesia e propone di osservare il punto d’incontro tra musica e poesia nella comune radice timica, emozionale, che si concentra sugli affetti evocati nel destinatario. In conclusione si ripercorre quanto detto facendo riferimento alla canzone «Hallelujah» di Leonard Cohen.

This article argues that Fernando de Herrera, Renaissance Spain's foremost poetic theorist, blended classical poetics and rhetoric with facultative psychology to craft a revolutionary framework of poetic thought in his most important work, the Anotaciones (1580). Drawing on James J. Murphy's concept of metarhetoric, the analysis foregrounds how in the Anotaciones Herrera intertwined semantics, cognitive processes involving perception, imagination, and memory, and key rhetorical and stylistic doctrines to theorize the pursuit of wonder as poetry's normative goal. This complex framework was made possible thanks to the often-neglected influence of Aristotelian philosophy on Herrera. Thus building on Aristotle, Herrera originally contributed to the construction of the epistemological paradigm of the Spanish Renaissance by developing one of the period's most versatile explanations of how poetry and language engage the mind.

Revista TAUP: nº1

editado por Mylena Godinho, Jéssica Iancoski, Mabelly Venson, Belise Campos



https://books.google.com.br/books?id=gGX5EAAAQBAJ&pg=PA71&lpg=PA71&dq=marcelo+calderari+miguel&source=bl&ots=sQ5dVjWBN7&sig=ACfU3U2IqAcX9MEwW7rc5uEkY0M9lbvA6Q&hl=pt-BR&sa=X&ved=2ahUKEwjmobiQ4NGGAxVlK7kGHdaNLy04ggEQ6AF6BAgFEAM#v=onepage&q&

יד אלוהים בעולם כיד אמי במעי התרנגול השחוט בערב שבת: 100 שנה להולדת יהודה עמיחי - תרבות וספרות הארץ 10.11.2024

כולם תמימי דעים שהיתה למשורר יהודה עמיחי יכולת וירטואוזית להעמיד דימוי, להגיד "כמו". אבל גדולתו האמיתית היא בכך שהוא רתם את הדימוי השירי כצורה להיות המייצג של פרויקט החילון והמבצע של החילון עצמו. במלאות מאה שנה להולדתו של עמיחי

המסה נכתבה לרגל חגיגות המאה שנה להולדתו של עמיחי בוירצבורג, ויצאה לאור באנגלית בספר: "על שולחני מונחת אבן": ספר יובל ליום ההולדת המאה של יהודה עמיחי (הוצאת Königshausen & Neumann, וירצבורג 2024) בעריכת: בורקרד הוזה, דניאל אוסטהוף ויונה־דביר שלם

Elena Ferrante is the nome de plume of an anonymous writer who is highly successful on the international stage and whose success far exceeds that of other authors of contemporary Italian literature. In this study, we approach Ferrante's authorship investigation as a verification problem since we cannot be sure whether the real author behind Ferrante's pseudonym is among the candidates we have considered in previous studies. For this reason, we applied the General Impostors (GI) method using the Cosine Delta distance in both a corpus of 150 novels written by 40 authors (39 candidates and Elena Ferrante) and a non-literary corpus of 113 texts signed by 14 different entities (12 authors, a collective author, and Elena Ferrante). In the literary corpus, Starnone emerged as the most likely author of Ferrante's novels. Results were quite different in the second case: Starnone was not the only possible author since, in many non-literary texts, Raja, Martone as well as the E/O publishing house staff and publishers, seem to have authorial contributions. The GI method not only confirmed previous results but also improved our knowledge of this case since it provides a measure of the attribution strength.

Functional linguistics is one of the theoretical linguistic trends, which emphasizes the social and contextual role of language. Michael Halliday's theory of functional linguistics analyzes words by penetrating the inner layers of the text by focusing on ideational, interpersonal and textual trans-roles. In the present research, Goli Taraqi's novel, The Return (Bāzgasht), has been examined based on the theory of Halliday's functional linguistics and from the perspective of Ideational Metafunctions to explain verb processes and determine the frequency and application of each process. The main question of the research is to examine the frequency and type of application of each of the verb processes to show how these processes are reflected in the text of the novel. In fact, the purpose of the research is to investigate the role of ideational trans-role processes in shaping the semantic system of language and how it is represented in the social and cultural context of the novel. Examining the mental processes of the novel's main character, which is manifested in verbs such as thinking, feeling, seeing, etc., indicates frustrations and mental tensions of a passive woman who tries to identify the existential aspect of her character. Behavioral processes in verbs such as dreaming, wanting, making a decision, etc. indicate a change in her attitude. The material process expressed in verbs such as buying, selling, writing, going, etc., implies a change of attitude and recovery of independent female identity. Also, material and then behavioral processes have a higher frequency than mental processes. The course of the processes is also from the mental to the material.