Wyniki wyszukiwania - Biblioteka Nauki

1

Jazyková kreativita při tvoření názvů nových prostředků činnosti

100%

MATUROVÁ M.

Bohemistyka

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2017

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nr 2

115-125

EN

The present article investigates ways in which new words are formed to name objects which do not have established names in the Czech language. In particular the author focuses on vocabulary related to the Dedra e-shop, mainly kitchen appliances and objects related to cooking. The vocabulary is examined through the prism of Jaroslav Kuchar’s seminal study Word Formation in the Czech Language and the author pays attention to all ways of word-formation, including blending. The author concludes that most words in the examined vocabulary were composites, both from local Czech words and hybrids combining a Czech word with a foreign one; derivatives using the “ator” suffix were quite common too. As far as the formal/colloquial level is concerned, some words were neutral while others were colloquial, which – the author points out – seems to have been driven by a desire to be witty. The author also points out that it is not possible to assess how viable the new words will be.

CS

Vývojové tendence současné české slovotvorby jsou lingvisty sledovány dlouhodobě a velmi zevrubně. Slovní zásoba jazyka je proměnlivá a rychle reaguje na dynamické změny ve společnosti. Důležitým faktorem je bezesporu i vliv cizích jazyků, dnes především angličtiny, která proniká do mnoha oblastí současné slovní zásoby. Některé studie se věnují utváření nových pojmenování na chatu, v e-mailové a SMS komunikaci (např. Svobodová 2005, Jandová 2006), jiné se zabývají komunikací na diskusních fórech (např. Lišková 2008, Chejnová 2009), pozornost lingvistů vzbuzují také neologismy na sociálních sítích. V této stati si budeme všímat relativně nových názvů prostředků činnosti, jež vznikly pro účely internetového obchodu Dedra.1 Naším záměrem je ukázat, byť na omezeném množství lexikálních jednotek, čím byly motivovány, které slovotvorné postupy se při vytváření pojmenování uplatnily a které slovotvorné prostředky byly přitom využity.

2

K významům slov s komponentem -braní

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Nzimba S.

Naše řeč (Our Speech)

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2022

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tom 105

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nr 2

106-111

EN

The paper deals with the meanings of the compounds with the component -braní. This component has not been lexicographically treated yet despite its productivity in contemporary Czech. We describe the word-formation bases which are combined with the component -braní and define the prototypical meaning of these compounds – ‚a public (gastronomic, cultural, etc.) event‘.

3

Identifikace konstituentů kompozit u předškolních dětí:

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Kadlecová A. , Nagy M. , Mertins B. , Donevska S.

Naše řeč (Our Speech)

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2014

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tom 97

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nr 3

146-163

EN

The paper presents research concerned with the ability of children to identify Czech compound constituents and the factors affecting this ability. It focuses on the constituent family size effect, i.e. the number of compounds sharing the constituent (type frequency), and it also compares the results with an English study by Krott and Nicoladis (2005). Unlike the English study, the Czech data do not confirm the family size effect on the child’s success during the identification. The primary factor seems to be the knowledge of the motivating word. Our paper discusses differences in Czech and English compounding and points out some problems of the reliability of the results achieved using a child-questionning method (“Why do we call a merry-go-round a merry-go-round?”).

4

Anglická slovesná kompozita s adverbiálním komponentem

80%

Stašková N.

Časopis pro moderní filologii (Journal for Modern Philology)

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2024

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tom 106

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nr 2

145-159

EN

The article addresses the topic of English compound verbs and their origin and occurrence in contemporary English. Traditionally, they are considered to be the least numerous group among English compounds, and in addition, some authors (Marchand, Adams) consider them to be secondary (non-canonical, pseudo-) compounds, which are not formed by compounding, but by conversion and back-formation. On the one hand, the collected sample of 200 compound verbs, 90% of which form 32 sets (lexical families) and fall into five groups according to their adverbial modification, suggests that the number of compound verbs is on the increase. On the other hand it appears to confirm Erdmann’s thesis that new compound verbs tend to arise directly on the basis of schemas or patterns, i.e. by analogy with a specific compound (one constituent of which serves as a patternforming element), rather than by conversion or back-formation.

5

Poznámky k poetice Dostojevského: Bratři Karamazovi

80%

Chlupáčová K.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2015

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tom 51

29-35

EN

Dostoyevsky in his novel The Brothers Karamazov develops to unusual extend a play with the language material, with narrative principles, with the semantics of words. These techniques contain future predictions, returns to the past, the system of repetition and variations creating a great semantic space behind many expressions on the level of poetic positions. The wealth of the semantic perspectives, of references to the hidden unknown content, the mysterious significant ciphers are integral part of Dostoyevsky’s poetics. Author with a great favour allocates objects and pronouncements which become an image and a symbol, in the text they go across many mutually not united figures at the same time. The favourite Dostoyevsky’s method are the most various word plays and funs. The funs used to be often based on mingling of reality and metaphor. Dostoyevsky understands the extensive lexical body of his novel like a poet: language, semantics and stylistics by means of expression have for his writing a crucial importance.

6

„Neposlouchám, co mi říká, zato slyším, co nepovídá.“ Vyprávěcí postupy a kompozice próz Anny Blažíčkové

80%

Smějsíková M.

Slovo a smysl - Word & Sense

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2019

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tom 16

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nr 31

174-190

EN

This study analyzes narrative techniques, self-reflexive features and elements of composition in three published novels for adults by Anna Blažíčková: Woodbine, Now Something from Life, and Waiting in the Crowd. Picking up on the use of real names and events in Woodbine and Now Something from Life, reviews tend to emphasize the autobiographical dimension of these works. This study aims to present a new perspective, focusing on Anna Blažíčková’s work as a whole, thus revealing the full repertoire of elements and practices featured in the texts, as well as the self-contained world of her prose in which the sentient subject is inscribed.

7

Je možná nová klasifikace českých kompozit?

80%

Štichauer P.

Časopis pro moderní filologii (Journal for Modern Philology)

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2013

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tom 95

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nr 2

113-128

EN

The article offers an overview of Czech compounding based on the classification put forward by Sergio Scalise and Antonietta Bisetto (cf. Bisetto — Scalise 2005; Scalise — Bisetto 2009). The classification is based on a combination of two hierarchical levels of analysis. The upper level divides compounds according to the grammatical (or syntactic) relation between the constituents into coordinate, subordinate and attributive structures. The lower level splits each of the three “macrotypes” into endocentric and exocentric compounds (on the basis of the presence / absence of a head). It is only at this point that the different lexical categories enter the scheme giving rise to various combinations (such as A + N, V + N and so on). Against the background of such a classification, which is in some important respects divergent from the onomasiological approach, the paper also concentrates on two special cases: first, on so‑called parasynthetic compounds of the type modrooký, vysokoškolský, bezvětří, nosorožec and others; second, on so‑called juxtapositions (spřežky), such as pomstychtivý or smysluplný, which are usually left aside within the onomasiological framework not being considered as fully‑fledged compounds.

8

Psát okem na zeď cely… Črta k vězeňské lyrice Václava Renče

80%

Wiendl J.

Slovo a smysl - Word & Sense

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2019

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tom 16

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nr 31

132-146

EN

This article presents an analysis of Václav Renč’s lyrical poetry from the period of his imprisonment by the Communist regime in 1951–1962. From Renč’s extensive collection of prison poems (including such lyrical-epic compositions as Cinderella of Nazareth, first published in book form in 1969; Prague Legend, 1974; and Loretan Light, 1992; as well as several poems collected in Meeting with the Minotaur, 1969) we take a look at the nineteen poems Renč included in an anthology of his works from 1941–1962 under the title Lark Tower (1970). To the section of lyrical texts from the years 1951–1962 the poet gave the title Without Echoes. In particular, the study focuses on how Renč’s lyrical poetry from the period of his imprisonment builds upon his previous critically acclaimed poetry, simultaneously aiming to address the question of what makes this work unique. The unique quality can be found in the formal precision of the texts, which represents the poet’s effort to maintain his moral integrity and identity while in prison, while at the same time, by virtue of carefully constructed allusions to the verses of certain poets with whom Renč had worked as a poet and translator before his imprisonment, strengthening his sense of inner freedom. A key starting point for the aesthetic composition of the prison poems is the combination of various expressive and often elementary contradictory motifs, perspectives or attitudes, a process typical of prison poetry in general. In Václav Renč’s poetry, this initial moment is re-envisioned on the principle of the so-called lyrical dichotomy, which, on the basis of subtle gradational and compositional techniques and intersections, connects distinctive opposites into subtle poetic images. However, this is not the expression of a selfcentered aesthetic game, but an attempt to articulate — and cope with — a new and exacting life situation. In this way, Václav Renč’s poetry, which had always been characterized by its compositional and figurative rigor, would later become more austere in its semantics, at the same time gaining in intensity, depth and reach.

9

"Vícehlasí" v českých lidových písních: několik textovělingvistických sond do jejich textury

60%

Daneš F.

Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)

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2012

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tom 73

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nr 4

312-323

EN

This paper demonstrates the mutual relations between the various “voices” in Czech folk songs and the way in which these voices can be identified. The introductory section characterizes the specific features of the songs: the concision and condensation of their structure, as well as their emotionality of expression. The second section is devoted to the analysis of a selected corpus of folk songs from the perspective of heteroglossia. Their texture appears as a net of relations and functions which operate on different levels, stand in mutual complementarity, partly overlapping, and show differing relevance. Using methods of text linguistics, the author concentrates on two relations and functions – speech acts and compositional functions – as well as personal attitudes. The analysis focuses on utterances with the communicative function of appeal, i.e. on the interrogative and addressing turns which are quite frequent in Czech folk songs, on their interactive structure and modes of direct and indirect speech. The author shows that the song genre has two faces: it is a compact combination of verbal text and its musical part (the tune) which may appear to be uneven in their mutual relations. The last section deals with the phenomenon of intertextuality in the song structure.