9. 10. Bein Th. Germanistische Mediävistik / ...
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9. 10. Bein Th. Germanistische Mediävistik / ...
9. . 10. Bein Th. Germanistische Mediävistik / Thomas Bein. Berlin : Erich Schmidt Verl., 2005. 253 s. 11. Dinzelbacher P. Mentalitaet / P. Dinzelbacher. http://de. wikipedia. rg/ 12. Farbiges Mittelalter?! Farbe als Materie, Zeichen und Projektion in der Welt des Mittelalters : 13. Symposion des Mediävistenverbandes 1 5 März 2009. Programm und Abstracts. Bamberg : ZeMas, 2009. : www.farbiges.mittelalter.de 14. Oguy O. Stand und neue Schwerpunkte in der Germanistik der Ukraine / O. Oguy // Dritte Bayerisch-Ukrainische Germanistentagung an der Ukrainischen Freien Universität München . München, Lwiw : BaK, 2005. S. 58 70. 15. Wegera K.-P. Grundlagenprobleme einer mittelhochdeutschen Grammatik / K.-P. Wegera // Sprachgeschichte. Ein Handbuch zur Geschichte der deutschen Sprache. Berlin : W. de Gruyter, 2000. S. 1304 1320. 456]. T SKNOTA utyskiwa , , - , 45 , , , , , , , , , , - , - , , - , - , nuda ), ( )[ ]; ,( ) [ 302] ; , 46 - !) , [ nudy na pudy. ]. - nuda. , , , , , , , , , , , , , , , ), - , - , , - , , chew his ear off under hatches cotton-picking TETM: A Thesaurus of English Traditional Metaphors, London and New York: 47 Routledge bumbledore Like a drone in a bussa would talk a glass eye to sleep , , , eat her heart out Have an aching tooth troska, smutek, t sknota, Rdza trawi elazo, troska cz owieka, Smutek jak rdza elazu i robak drzewu sile cz owieka szkodzi, t sknota sta a si robakiem, który po era , Jako mól odzie y, a robak drzewu, tak smutek sile cz owieka szkodzi . , Ukryty robak wierci mu w sercu, mia robaka, który mu toczy serce, robak serce gryzie , (Dr czy robak niepokoju, Gryzie go zmartwienie jak robak, robak zgryzoty toczy wn trze jego duszy/mu sumienie S ownik frazeologiczny j zyka polskiego. T. 1 2. Warszawa : PWN, 2002 nuda zabójcza, wielkie, potworne nudy na pudy <wielkie, niezno ne, nudzenie si przejmowa nud , rozprasza nud , robi co z nudy, z nudów, umiera z nudy, z nudów <nudzi si bardzo, wstopniu trudnym do zniesienia>, ), (W ) nuda cechuje (co) ( ), ( ). lukrecja z miodem/mas em/myd em, rycynowy nudny jak flaki z olejem, nudny jak nudny jak kasza na rzadko, nudny jak olej Nudno jak w klasztorze, Nudzi si jak diabe na pokucie, Nudzi si jak mnich w klasztorze, Nudny jak wielkopostne kazanie Nudny jak flaki z olejem nudny Wprost Patriotyzm jest nudny S owo patriotyzm kojarzy si z agresj i smierteln nud Wersja soft patriotyzmu nie zawiera agresji, jest za to banalna, ckliwa i nudna jak flaki z olejem [Wprost s. 40]. 48 nudny jak lukrecja z miodem/mas em/myd em, lukrecja lukier polewa do wyrobów cukierniczych, sporz dzona z roztopionego cukru, czasami z dodatkiem rodków aromatyzuj cych lukrecja melancholy as: melancholy as a graveyard on a rainy day melancholy as a Quaker meeting-house by night a sick monkey melancholy as a sick parrot as a gib-cat horse a tar-barrel a thunderstorm The black ox has trodden on my foot a collier's miserable as a rat in Like a dying duck in Gooseberry eyes Dull as a Dutchman under the harrow [Ire Get/Have your tail down - ), , , ( 49 < >: - , [2, 110]. , - . / / , / , , [4, 287]. 1. -1995. 2. 2003. 461. - 3. / : 4. 50 5. . 6. 1998. 7. III. : 720 c. : : 10.02.19 / . , 2009. 45 . 8. Warszawa : PWN, 2004. 9. mentalnych / M.Danielewiczowa // Studia z semantyki porównawczej. Nazwy barw. Nazwy wymiarów. Predykaty mentalne. Cz 1. Warszawa, 2000. S. 227-248. 10. TETM : A Thesaurus of English Traditional Metaphors / Ed. P. Wilkinson. L. : Routledge, 1992. METALANGUAGE IN IRIS THE SANDCASTLE SHOPIN P. Y. Luhansk Taras Shevchenko National University Presentation of communication and thoughts of the characters and author in fiction is one of the most relevant themes of literary criticism. Describing the personality of the author and her characters provides an opportunity for the reader to learn their perception, memories, thoughts, feelings, pleasures, pains, drives, needs, desires, purposes and goals. Metalanguage is the material that enables scientists and readers to comprehend deep thought patterns, hidden motives and suppressed emotions because linguistic reflexivity reveals value priorities of a personality, his or her intelligence, convictions and beliefs. Looking in the depths of consciousness appears to be one of the reasons why Iris Murdoch lets us see the metalinguistic activity of the characters. It is the most important way of character presentation in The Sandcastle. The current study will look closer at linguistic reflexivity of the main characters and s The Sandcastle as one of the essential characteristics of the narrative style of the novel. We will also make an effort to classify metalanguage according to the nature, functions and structure of the utterances in the novel. We have chosen this work of Murdoch because it abounds with instances of linguistic reflexivity. It is not only the subject matter of a number of dialogues but also a part and parcel of the inner speech of the characters. We believe that the investigation of the discursive nature of metalanguage in Iris The Sandcastle is quintessential for any literary analysis of the novel. Reflection concerns not only particular lexical units but it is also connected with cognizing the process of communication in all its complexity. Linguistic consciousness of the rception is achieved at the stage of linguistic reflexivity as reflection, related to human behaviour and interaction with other people. 51