Polska klasyfikacja rodzajów i typów stylizacji językowej jako narzędzie opisu wybranych zagadnień stylistyki japońskiej

Celem niniejszego artykułu jest odniesienie polskiej klasyfikacji stylizacji językowej przeprowadzonej przez Dubisza (1996: 17-20) do pewnych ustaleń z zakresu badań nad stylistyką języka japońskiego. Wspomniany wyżej polski podział stylizacji językowych zastosowano w celu opisu stylistyki języka mówionego, który został utrwalony w tekście jako zapis rozmów oraz dialogów postaci literackich i komiksowych. Dwie spośród pięciu klas stylizacji wydzielonych przez Dubisza zostały wykorzystane w celu rozpatrzenia wyników badań nad stylistyką japońskich gatunków multimodalnych (Kinsui, Yamakido 2015). Japońskie stylizacje językowe rozważono pod kątem wpływu cech indywidualnych postaci na style językowe oraz multimodalnego charakteru komiksu i powieści ilustrowanej. Podjęcie tej próby umożliwiło wydzielenie pewnych innowacji w obrębie istniejącej polskiej klasyfikacji stylizacji językowej. Polish classification of the varieties and types of speech stylization as a tool for addressing selected areas of Japanese stylistics Summary: The aim of this study is to apply the classification of speech stylization proposed by Dubisz (1996: 17-20) to some findings reported on in studies on Japanese stylistics. The classification was utilized to describe the stylistics of spoken language, transcribed into text as a record of the utterances of fictional characters in Japanese literature and comic books. Two out of five classes of stylizations defined by Dubisz were used as reference points for reviewing the results of studies on the stylistics of Japanese multimodal genres (Kinsui, Yamakido 2015). Japanese speech stylizations were evaluated with regard to the impact of individual traits of characters on their speech styles and to the multimodal nature of genres such as comic book and illustrated book. This attempt has led to the proposal of some innovations in the Polish classification of speech stylizations.

Embracing Darkness and Silence: A Cognitive Reading of Trauma in A Small Silence, by Jumoke Verissimo

The purpose of the present article is to discuss how A Small Silence (2019), by the Nigerian author Jumoke Verissimo, conjures up a provocative approach to traumatic memories. The tropes of silence and darkness—closely bound to the Nigerian context where power outages are frequent—are sensuously explored in evocative prose. Darkness is offered as a refuge against the blinding effect of light, and silence is oftentimes preferred to healing through narrativisation. Desire and Prof, the two main fictional characters, devise a peculiar dialogue of half-uttered and unspoken words—and reminiscences—that are arguably in tune with cognitive literary approaches to individual trauma. In addition, in this article an Oriental aesthetics is deployed to delineate the novel’s use of shadows and isolation. In contrast to classical trauma fiction, A Small Silence presents a less experimental literary narrative of individual trauma. At the same time, the novel rejects simplistic binaries such as trauma-health, dark-light, forgetfulness-memory and mind-body. Rather, it lingers in a space between individual healing and Nigeria’s intricate neocolonial circumstances.

Extraction of Linguistic Speech Patterns of Japanese Fictional Characters using Subword Units

This study extracted and analyzed the linguistic speech patterns that characterize Japanese anime or game characters. Conventional morphological analyzers, such as MeCab, segment words with high performance, but they are unable to segment broken expressions or utterance endings that are not listed in the dictionary, which often appears in lines of anime or game characters. To overcome this challenge, we propose segmenting lines of Japanese anime or game characters using subword units that were proposed mainly for deep learning, and extracting frequently occurring strings to obtain expressions that characterize their utterances. We analyzed the subword units weighted by TF/IDF according to gender, age, and each anime character and show that they are linguistic speech patterns that are specific for each feature. Additionally, a classification experiment shows that the model with subword units outperformed that with the conventional method.

Tove Janssons bildebok Vem ska trösta knyttet? som heltedikt

Tove Jansson’s Picturebook Who Will Comfort Toffle? as a Heroic Poem This article offers an analysis of Tove Jansson’s picturebook Vem ska trösta knyttet? (Who Will Comfort Toffle?) from 1960 as a heroic poem and dramatic monologue, representing an alternative reading to earlier studies of this picturebook as a coherent narrative. Drawing on theory about heroic poetry, poetry and picturebook analysis, we provide a reading that expands those interpretations of Vem ska trösta knyttet? that emphasize the romantic and psychological projects of the book when read as a narrative story. By reading Vem ska trösta knyttet? as a heroic poem, we explore the text as an uttered, ritualistic, and iterative event rather than solely a narrative with fictional characters. Read in the tradition of the heroic poem, Toffle is (still) the hero, where lyrical language and structures allow the reader to remember and retell the poem, letting Toffle’s deeds live on beyond the alleged time of events and the performative declaration by Toffle.

Relatable Motives and Righteous Causes; or, Why the Sympathetic Antihero is Not a Moral Psychological Mystery

Morally flawed antiheroes in TV and film, such as Dexter Morgan and Dirty Harry, often inspire sympathetic engagement from audiences. Media scholars have argued that it is these antiheroes’ status as fictional characters that allows audiences to flout their moral principles and side with the antiheroes. Against this view, I argue that these problematic sympathies can be explained without reference to a special fictional attitude. Human morality is sensitive not only to abstract moral principles but also to the concrete motives and situations of an individual moral agent, and the motives and situations of the sympathetic antihero very often seem exculpatory.

Momentary versus Retrospective Sexual Consent Perceptions

Perceiving potential indicators of a person’s willingness is an integral component of sexual consent. Preliminary qualitative evidence using vignettes suggested that consent perceptions can change over the course of a sexual scenario. In the present study, we extended previous research by directly comparing momentary and retrospective sexual consent perceptions using a quantitative study design. Employing a staggered vignette protocol, we examined participants’ (n = 962; 72.0% female) momentary perceptions of fictional characters’ sexual consent and compared them with participants’ retrospective perceptions of the characters’ consent. We hypothesized that participants would demonstrate a hindsight bias in that they would retrospectively indicate they thought the fictional characters were first willing to engage in sexual behavior earlier than when they did momentarily. We found that differences in participants’ momentary versus retrospective perceptions of characters’ sexual consent varied by the type of behavior. As we expected, participants demonstrated a hindsight bias for making out. Contrary to our hypothesis, participants were hesitant to retrospectively report that the characters were willing to engage in the other sexual behaviors (e.g., oral, vaginal, anal sex) at a point earlier than their momentary perceptions. That momentary and retrospective sexual consent perceptions significantly differ corroborates previous recommendations that sexual consent be conceptualized as an ongoing process.

Translation of forms of address from Portuguese to Turkish through English: The case of José Saramago’s A Jangada de Pedra

The study of forms of address in translation is a type of register analysis that provides an interesting insight into the way specific linguistic patterns are transferred from one language to another. This article explores how the forms of address are rendered in the Turkish translation of A Jangada de Pedra (1986) by the Portuguese author José Saramago. Paratextual and textual analyses demon­strate that this work has been translated into Turkish through the English translation of the book, and that the English translation has influenced the choices of the Turkish translator. The findings of the study seem to support the hypothesis that using a mediating language/text that lacks similar forms of address as the ultimate source and the target languages/texts can cause shifts in tenor, which results in a different reading of interpersonal relationships between fictional characters in the target text.

Holding a Mirror up to Nature

Shakespeare has been dubbed the greatest psychologist of all time. This book seeks to prove that statement by comparing the playwright's fictional characters with real-life examples of violent individuals, from criminals to political actors. For Gilligan and Richards, the propensity to kill others, even (or especially) when it results in the killer's own death, is the most serious threat to the continued survival of humanity. In this volume, the authors show how humiliated men, with their desire for retribution and revenge, apocryphal violence and political religions, justify and commit violence, and how love and restorative justice can prevent violence. Although our destructive power is far greater than anything that existed in his day, Shakespeare has much to teach us about the psychological and cultural roots of all violence. In this book the authors tell what Shakespeare shows, through the stories of his characters: what causes violence and what prevents it.

Artefactualism as an Ontology of Art

<p>This thesis argues for artefactualism about works of art, which is the claim that works of art are artefacts. It does this by considering the cases of works of music, and works of fiction, and arguing that each of these are artefacts, or existent, created, individual entities. To do this, it argues against anti-realist, eternalist, and type theories in these domains. The thesis draws on arguments made by philosophers such as Amie Thomasson regarding fictional characters and Guy Rohrbaugh regarding repeatable works of art.</p>

Artefactualism as an Ontology of Art

<p>This thesis argues for artefactualism about works of art, which is the claim that works of art are artefacts. It does this by considering the cases of works of music, and works of fiction, and arguing that each of these are artefacts, or existent, created, individual entities. To do this, it argues against anti-realist, eternalist, and type theories in these domains. The thesis draws on arguments made by philosophers such as Amie Thomasson regarding fictional characters and Guy Rohrbaugh regarding repeatable works of art.</p>