The article regards relations between situational and information structures of discourse. Analyzing the possible configurations between these two types of structures, the authoress aims to present their role in discourse comprehension - the process which implicates creation of discourse representation. The situational structures are defined as a sequence of frames (Goffman, 1991). Each frame permits to conceptualize one event forming a part of information introduced in discourse. The authoress proposes to apply the notion of cognitive event and their typology introduced by R. Langacker to describe the variations of situational structures of discourse. The information structures are defined as hierarchically organized thematic-rhematic structures. She distinguishes three levels in their thematic part represented by: global theme, theme of group of sentences and theme of sentence. The rhematic part is divided in two levels: the first one contains rhematic groups, the second rhemes of sentences. The authoress focuses her attention on the highest level of information structure and describes the relations between the units of situational structures - frames and cognitive events - and choices regarding the global theme of discourse.
This article analyzes syntactic differences that regularly occur in two Bulgarian translations of the Bible. These two translations are at present commonly available. These are (1) 'Bibliya sirech knigite na Sveshtenoto pisanie na Vethiya i Noviya Zavet', published in 1998 by the Convocation of the Bulgarian Orthodox Church, and (2) 'Noviyat Zavet na nashiya Gospod Iisus Hristos', published in 2002 by the Bulgarian Biblical Society. Whereas the former text exhibits archaic features, the latter is a typical text written in the contemporary Bulgarian language. The observed contrasts regarding the clausal syntax (especially regarding the position of the subject) suggest that a functional analysis is required, both with respect to the location of the theme/rheme distinction in the sentence structure as well as the properties of sentential intonation. The general conclusion reached by the author is that the convocative translation manipulates word orders in such a way so as to render a non-neutral (archaic) style whereas the translation by the Biblical Society uses intonation for this purpose. In the latter case this happens because of a tendency among contemporary translators to place the subject in the sentence-initial position to avoid the subject-predicate inversion. The inversion is typical of the convocative translation and in some sentence types it gives rise to a non-natural intonation.
This paper addresses the importance of the thematic criticism and recovery of the place of the religious motifs in the literary analysis. The objective of the presented paper is, first, to identify some key aspects in the development of motif theory based on the achievements of well-known researchers in the field of thematology. Furthermore, the paper addresses the issue of the partial disregard of Biblical motifs in Bulgarian educational materials after 1989 as a result of communist heritage. The research question concerns the effect of introducing the Biblical imagery and motifs on the learners’ literary interpretive competences. It also tries to point out possible strategies for improving the reception of such motifs and offers an innovative way of introducing such textual elements. Since the motifs are not explicitly formulated in the original authors work, every lecturer must be able to identify them and to determine their place in the structure of that work. The paper argues that teaching should focus only on the study of the original Biblical texts but on pointing to the way certain Biblical elements function and on drawing the learners’ attention to the fact that their meaning can change depending on the context. The paper emphasizes the need for including religious motifs in the textbooks and instruction materials for learning and teaching literature, as well as the importance of Biblical knowledge for cultural growth and shaping aesthetic taste.
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