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This paper uses corpus data to analyse spoken expressions and discourse markers in Czech, applying these findings to corpus-based exercises for learners of Czech as a foreign language. The analytical section highlights the usefulness of parallel corpus in identifying suitable translation equivalents for prevalent Czech spoken vocabulary in English, French, and Polish as native languages from the learner’s perspective. The methodology outlines the process of finding appropriate translation equivalents in film subtitles, considering both meaning and spoken register. The pedagogical section introduces three corpus-based exercises designed to improve conversational skills, featuring authentic texts that familiarise learners with spoken vocabulary. This research builds on previous studies of the English language that did not use parallel corpora to identify translation equivalents in learners’ native languages — an essential factor for understanding a foreign language. In addition, tailor-made corpus-based exercises can be seamlessly integrated into everyday classroom activities to enhance language awareness among non-native speakers.

The article deals with the instantiation of variables in schemas within the Relational Morphology theory. On the basis of an approach to word-formation from concept to form, the article argues that for the question of what lexemes are retrieved from the lexicon to instantiate the variables in schemas in order to achieve the required meaning of the resulting word within the generative role of schemas, it is important to distinguish different functions of word-formation, namely those that provide mere variations on existing lexemes in contrast to the function of word-formation that provides names for concepts in the extra-linguistic world. In the first case, the variables in schemas are instantiated with lexemes on which we perform the variation, whereas, in the second case, the lexemes result from prior mental processing of the concept to be named. The paper thus also provides the description of the process of conceptualization within the naming function of word-formation and demonstrates the principles of conceptualization on various examples.

The article presents a quantitative corpus-based study that aims to shed light on the frequency and distribution of reporting verbs (for instance, indicate, posit, etc.) associated with evidentiality that are found in research article abstracts (RAAs) in applied linguistics and applied psycholinguistics, respectively. Theoretically and methodologically, the study is informed by the literature (Söderqvist, 2020; Szczygłowska, 2022), which demonstrates that reporting verbs may mark evidentiality in scientific discourse. In order to establish the frequency of the occurrence of reporting verbs associated with evidentiality, a corpus of RAAs in applied linguistics and applied psycholinguistics was collected and, subsequently, analysed in software program AntConc version 4.0.11 (Anthony, 2022). The results of the quantitative analysis revealed that show and suggest were the most frequent reporting verbs associated with evidentiality in the corpus of RAAs in applied linguistics and applied psycholinguistics alike.

Lexical association data is a valuable resource in psycholinguistics, providing researchers with empirical insights into which words are perceived as ‘belonging together’. One of the largest such datasets for English, the University of South Florida Free Association Norms database, is available freely online. The raw data format however requires some technical steps to tap into the potential it offers for network science, which can present a barrier for some researchers. This paper introduces a userfriendly command-line tool, fan_xplorr, that addresses this issue by providing linguists with access to the data. With the proposed tool, researchers can interactively display portions of the semantic network dataset in the form of interactive network graphs. The design of the tool enables linguists to access the dataset without advanced technical skills and promotes exploration within the dataset for psycholinguistic studies.

Intermediality is one of the most intriguing and discussed concepts within the contemporary art world, with a rich history in aesthetics. As a modern and contemporary artistic practice has disrupted conventional boundaries and pushed the limits of perception, leading to the emergence of innovative art forms and genres and challenging our understanding of the meaning of art. Intermediality is closely intertwined with multisensoriality, enabling artists to explore the use of different media, such as sound, light, and movement, in their works, leading to a truly multimodal experience for viewers. It has the potential to transform the way we educate ourselves about various subjects, including art, in a more comprehensive and immersive manner by engaging all our senses. In this article, I aim to explore the idea of intermediality from two different angles, by analyzing and classifying certain modern and contemporary artworks into different intermediality categories, and by discussing how intermediality relates to education, particularly within the context of the Master of Art Education program at the University of Granada. The postgraduate students of this course are provided with a methodology that helps them develop innovative learning activities centered around the idea of intermediality.

Intermediality refers to the interconnectedness of media that depend on, refer to and interact with each other, both explicitly and implicitly (Jensen, 2008) and can be regarded as part of the emergence of a post-human entanglement of living bodies with technologies, because each mediates the other (Bignell, 2020: 2). This article seeks to examine the way that intermediality and transmediality are so closely interwoven in the interactive television episode Bandersnatch. This interactive narrative folds into its structure the results of the convergence of video game techniques and aesthetics in television series production, as an example of the conversion of the medium according to the demands dictated by the evolution of technology and the audiences’ new expectations and social needs and can function as the threshold towards a reassessment of intermediality. Bandersnatch, a video game based on a “choose-your-own-adventure” book of the same name, is remediated and re-articulated from the book to the designed video game as the key feature of the narration and, simultaneously, as the key element remediated and implemented into the whole interactive episode. This allegorical approach, deliberately created by the episode's creators, triggers a reflection on the fluid and malleable relations between media forms and the transformation of each medium identity. Under this digital circumstance, the sensory copes in direct contrast with the palpable, revealing a complex conception of transmedial encapsulated in intermedial within user-generated contents.

This article aims to question the pact of mutuality, which has existed since the beginning of the 20th century between the novel and the cinema. More precisely, it will refer to the comparative approach, which highlights the dialogue among the arts, the analysis of the literary text and its reception by the world of cinema. This is why we chose Les Misérables, a classic text, which has seen many adaptations in French and other languages. We will then study the transition from the textual medium to the multimedia medium by focusing on the famous scene of Cosette in the nocturnal woods as the director Josée Dayan adapted it in 2000.

It is said that cinematic intermediality is linked to multisensoriality and the synesthetic experience of the viewer. In fact, Pethö asserts that even films which maintain the illusion of reality can be highly intermedial and through film, the real world can be “perceived ‘as if’ filtered through other arts (like painting) or (…) reframed, disassembled by other media” (2011b). The intermediality of cinema is based on the “(inter)sensuality of cinema itself, [on] the experience of the viewer being aroused simultaneously on different levels of consciousness and perception” (Pethö 2011b). The article focuses on the affective aspects of intermediality as encountered in Jean-Luc Godard’s late period, and more specifically, in his film Adieu au langage. Just as he did in his former film Film Socialisme, Godard engages in several stylistically similar experimentations with the formal and expressive qualities of the medium and explores how these techniques affect the viewer and subvert their expectations. The subversive elements of Godard’s late work are being explored and the focus is grouped around his formal and expressive experimentations thus offering new enhanced experiences to audiences and cinema-goers.

Review of the book Multilingualism: A Sociolinguistic and Acquisitional Approach by Sarah Buschfeld, Patricia Ronan, Manuela Vida-Mannl. Palgrave Macmillan, 2023. pp. 343. https://doi.org/10.1007/978-3-031-28405-2

Transgressing the boundaries of fiction and the real world, satire opens a dialogue between the aesthetic and political stakes of a work of art. A comparative analysis of “Springtime for Hitler” and “If You Could See Her”, comic songs from the 20th-century American musical films The Producers (1967) and Cabaret (1972) reveal multiple potentialities offered by intermediality in the construction of satirical meaning. Music critic Werner Wolf theorises narrativity and self-reflective irony as post-medial specific storytelling techniques that transgress media. An analysis of choreography and costume in the two case studies showcases how comic effect is produced through contrast, exposing the underpinnings of homogenising structures within both fascist and democratic contexts. Moreover, the works foreground their intermedialities through the aesthetic mode of Camp, defined in Susan Sontag’s seminal 1964 essay, “Notes on Camp” as a means of creating satirical meaning. Synthesising violent content with humorous form, intermedial interactions in the two case studies feature the employment of Camp–as an aesthetic and political tool–to engage their audience to expose the logical fallacies of the fascist symbolism and ideology that form the targets of musical satire.

The article approaches the relationship between design, memory and technoculture through a conceptual discussion of audiovisual culture and the techno-aesthetic expressions of sound design in digital games. Hence, instead of describing it for its technical aspects, sound design is more broadly framed here as a technocultural practice deeply related to an audiovisual memory of media. The paper also presents the concept of iconophonics, by articulating this theoretical framework with an analysis of sound design features in five digital games: Jazzpunk (2014), Rayman: Legends (2011), South Park: Stick of Truth (2014), Inside (2016) and Spec Ops: The Line (2012).

The introduction presents an overview of the concept of intermediality and how it is linked with other concepts such as experimentation, transformation, and liminality. Furthermore, the authors claim that intermediality in the post-media era revolutionises the notion of cinematic time and space and leads to an errant spectator, one that experiences various emotions throughout the viewing of an intermedial product.

Released in 2010, Scott Pilgrim Vs. The World is a romantic comedy directed by Edgar Wright and inspired by the geek culture. This movie has a particularly dense referential spectrum. Indeed, the director multiplies quotations from comics and video games during the story, through his dialogues or his frames. However, he does not just want to amuse the spectators by playing with their personal knowledge. Wright uses advances in digital imaging and adds various visual elements from other media cultures to his shots. The result is a series of interaesthetic hybridizations in filmic forms and narrative processes. Scott Pilgrim Vs. The World shows that the notion of intermediality invites us to question images without limiting them to their original medium.

Adaptation is frequently listed as a viable option for resolving multiple translational challenges, particularly in audiovisual arts and children’s literature, where the medium or content is altered to cater to age appropriateness, text comprehension levels, social values and commercial considerations. Notable examples include adaptations of classics e.g. Le Avventure di Pinocchio, Gulliver’s Travel, and Robinson Crusoe, etc. at different times. This research focuses on the classic Indian television animation series “The Jungle Book: The Adventures of Mowgli,” aired in India in 1989 which adapted Rudyard Kipling’s novel set in colonial India. The study explores whether the adaptation retains Kipling’s original imperialistic theme, how closely the animated version followed the novel, and how the classical Western narrative structure was reconstituted in the series. The research employs a qualitative approach to investigate the role of intermediality in audiovisual arts as a necessary element of media transformation. The study suggests that multimedia adaptations can be valuable tools for human bildung, enhancing an individual’s cognizance and emotional connection to the characters and themes. Examples of intermedial adaptations include sound-and-slide displays and audio-video television channels. The paper attempts to determine how adaptations contribute to the intermediality of audiovisual arts and the media transformation process.

The concept of agency and the position of the speaking subject in interpreting are key for an understanding of the interpreter’s role and the importance of codes of ethics, especially in community interpreting settings. The attempt to address these issues in an effort to establish a higher level of professionalism has been ongoing for many decades, but there is still a lot of controversy both in academic circles and in the practice itself. Scholars are still split between those who propagate a code of ethics which ensures accuracy, confidentiality, and impartiality and those who believe that the practitioner, under a different name (inter/cultural inter/mediator), is a mediator between cultures and thus, as the only agent of knowledge for all cultures involved in the exchange, should play a more interventionist role. And in the midst of this argument, all parties of the interaction (practitioners, users and providers of public services) may be deprived of their agency as speaking subjects. This paper will highlight some of the main arguments in this very sensitive issue and attempt an understanding of the significance of codes of ethics in dis/empowering the speaking subject, by taking a detour through the significance of Shakespearean names and Aristotelean virtues.

In our approach, we will attempt to demonstrate that Bataille’s fictional universe is immanent to an intimate dimension of being in the same way as eroticism, which is based on the dialectic of the prohibition and transgression, whereas its cinematic adaptation tends to distort them through a visual representation of sexuality rooted in explicit, debauchery and incestuous relationships. The transition from one medium, one form of expression and one system of signs to another is not without compromise, especially as the spectator becomes witness to a semantic shift, an alteration of meaning produced at the intersection of media frontiers.

At a time when the world is totally fantasized by the myth of digital culture, the reflection we wish to initiate will attempt to unveil the relationship between digital art and the art of space, through architectural projection. Where the visual and the symbolic merge, creating a third space between the real and the virtual, the visible and the invisible. Through a fictional world, set up in Refik Anadol's Living Architecture, our research will set out to analyze emerging practices in artistic activity, in which the digital occupies a prominent place as a vector of social inclusion. The digital revolution has profoundly altered human perceptual structures and our way of being in the world. Induced by new technologies, it is now omnipresent. The concept of digital art is thus confronted with multiple social challenges.

This paper probes into the different facets of bilingualism and bilingual education and attempts to answer the question of who is bilingual and what is his/ her proficiency in both languages. In bilingualism, there seems not to be ‘one kind of bilingual’. Proficiency in both languages can vary widely among bilingual individuals, ranging from basic conversational skills to excellent linguistic skills and fluency in both languages. Bilingualism also varies from individual to individual as it is acquired through various means; bilingualism can start from birth but it can also emerge in later life through education and/or immersion, or a combination of both. Given the aforementioned, an attempt has been made in this literature review to delve into the dynamic, multifaceted, and complex phenomenon of bilingualism, through the examination of concepts such as simultaneous childhood bilingualism, sequential childhood bilingualism, balanced bilingualism, dominant bilingualism, unbalanced bilingualism, early bilingualism, emergent bilingualism, and so on.

Up until recently, the bilingual tales of Danish author Isak Dinesen have been critically appreciated and discussed mostly in relation to their narrative complexity and dramatic theatricality. Focusing on her well-known story “Babette’s Feast”, this essay draws on Jacques Derrida’s understanding of supplementarity, on feminist insights into embodiment and recent new materialist theories to address, instead, the place of enfleshed materiality in her revisionist articulations of gender and community. It calls attention to how food, as live matter, impacts through the organic process of eating, the subject’s movement in and perception of physical, social and gender spaces, contributing thus to recent scholarly engagement with the significance of corporeality and material agency for her fictions’ sexual and cultural politics. Implicit in her re-assertion of the material, as it is argued, is Dinesen’s sharp critique of the Protestant valorisation of spirit over matter and the masculinist assumptions built into this spatial configuration.

Since their inception, video games have maintained a close relationship with cinema, leveraging their popularity to engage new audiences. In recent years, the aesthetics of cinema and video games have merged, creating a new hybrid form known as machinima. This virtual universe, where various artistic forms intersect, appeals to younger generations. Machinimas, designed for distribution, sharing, and sparking conversations, enable players to become creators, turning video games into tools for story development and artistic expression. The creation of machinima demands a variety of specialized skills, such as scenario creation, dialogue writing, storyboarding, and effective use of images, objects, and settings. This process validates the use of machinimas in education, offering a practical and instructive way to apply the skills necessary for their production. This article seeks to explore the interplay between video games and cinema, and to discuss the benefits and challenges of incorporating machinima into foreign language teaching, especially within a task-based teaching and learning.

Through the corpus of Chinese artist LuYang, this article aims to prove how artistic practices involving transmediatic crossovers affect both the conditions of creation, circulation and reception of a work. Using tools of media archaeology, it compares two of the artist’s recent exhibitions and puts this corpus in perspective with previous historical examples, locating his work in the path of cinema as a “post-cinematographic.” It also examines how Postmodernism is impacting contemporary artistic practices in New Media, in production, content and form, disseminating its terms in both the work and the discourse of artists. Finally, this article also delves deeper into LuYang’s artistic practice and introspection and considers how (binary) digital devices are paradoxically used as media for individuals to express and affirm their sexual or gender identity beyond binary oppositions.

Interview with Professor Marga van Mechelen, University of Amsterdam , Arnhem, Netherlands, 13 April, 2023

The study examines the contribution of Sotiris Skipis (1881-1952) to theatrical art, an aspect which has been neglected by contemporary research. It focuses on an almost unknown three-act drama of Skipis, which the present research retrieved from the rare collections of Greek libraries: Les Perses de l' Occident (The Persians of the West). The author published the work in Paris in 1917, before the bloodshed of World War I was beginning to wane, to openly condemn pan-Germanism and racism, even before the latter term prevailed. The paper explores the ideological, aesthetic, and dramaturgical substratum of the text reflecting the spread of racial theories in Europe is explored. It also interprets the reasons that did not allow for the stage realization of the play on Parisian stages at the time of publication, despite the warm praise from Parisian scholarship, and that it took more than a century to pull the play out of oblivion.

This paper delves into the intriguing phenomenon of mesoclisis in Old Occitan. Mesoclisis, the insertion of an object clitic pronoun within the verbal form rather than before or after it, is explored particularly within the context of future and conditional tenses. While mesoclisis is evidenced in both the future and conditional tenses in Old Catalan and Old Spanish, in Occitan, it is exclusively observed in the future tense. Notably, all clitics may feature in this construction, with a higher prevalence observed in the first person singular, especially with class I verbs. Furthermore, there appears to be a lexicalized association with verbs of speech, likely due to discourse-related factors. This investigation not only sheds light on the differential grammaticalization between the future and conditional tenses but also unveils an intermediate stage in their grammatical evolution, bridging the gap between Catalan and French linguistic contexts.

This study unveils insights into the spatial and social distribution of Portuguese lexical forms, or lexies, pertaining to urban life in the interior of São Paulo State. These lexies were collected through oral responses from eighty participants, elicited by nine questions addressing variants for terms such as ‘traffic lights’, ‘speed bump’, ‘sidewalk’, ‘curb’, ‘traffic circle’, ‘plot of land’, ‘city bus’, ‘intercity bus’, and ‘a small grocery store where one can also drink liquor at a counter’. The analysis examines whether these lexies establish themselves as predominant norms, indicated by both consistent spatial distribution and a relative frequency exceeding 50% across the localities surveyed. Out of the nine cases studied, eight meet this criterion, with the following overall relative frequencies: ‘semáforo’ 53%; ‘lombada’ 96%; ‘calçada’ 94%; ‘guia’ 84%; ‘rotatória’ 74%; ‘terreno (baldio)’ 79%; ‘ônibus’ (in the sense of ‘city bus’) 71%; ‘ônibus’ (in the sense of ‘intercity bus’) 51%. The ninth variant, ‘bar,’ nearly meets this standard as well, with a relative frequency of 41% just falling short of the minimum threshold.

This article sheds light on two enduring English loanwords in European Spanish, very well and yes very well, which have thus far evaded scholarly attention. Despite their long-standing presence and widespread use, these Anglicisms have rarely been encountered in written Spanish. This, coupled with their playful and informal nature, may have contributed to their perceived insignificance in academic inquiry. The study scrutinizes nearly a thousand instances of these loanwords from various sources to elucidate their contemporary semantic roles in European Spanish. The analysis reveals that their continued usage over time can be attributed to their versatility and wide-ranging semantic functions. Furthermore, it shows that, precisely because research on English loans has been strongly biased towards the written medium, these are likely to be but two among a number of time-honoured Anglicisms that remain unexplored.

Philosopher Byung-Chul Han argues that we are living in a transition from the “era of things to the era of non-things”. According to his perspective, things do not determine the world we live in: information does. Consequently, the profession of translation has become increasingly mechanized to meet the high demand for “information”, turning readers into compulsive consumers of words. Thus, there is a significant risk of confusing the symbolic representation of words with essential reality, neglecting the importance of context and paratext in the construction of meaning. This phenomenon can lead to a loss of meaning in the act of translation, diminishing its role as a bridge between cultures and languages. Borrowing from the axiom of Portuguese intellectual Rui Pereira in a society of “non-thought”, it is crucial to reflect on how “translating in times of non-translation” operates. In this regard, the objective of this essay is to analyze how paratranslation, from the Vigo School, can be understood as a space of resistance against a process of reification of the other’s existence in the act of translating. In the “AI era”, where translation has become an increasingly mechanized act, the examination of the paratexts surrounding this process serves as a way to return to the fundamental condition of translation: the human condition.

The dynamic development of automatic translators raises questions about the future of human translators. The aim of this article is to evaluate the French versions of an excerpt from The Books of Jacob by Olga Tokarczuk, made by Systran, Google Translate and DeepL, and to compare them with the reference translation made by a human translator. The translations were carried out in 2019 as part of the ATLAS association project ‘L’Observatoire de la traduction automatique’. The analyses show that the inability to interpret the original in a complex way leads to weaknesses in machine translators. This proves that the position of the human translator remains unthreatened in the field of translating high-quality literary texts.

This study explores the presence of community interpreters in lifelong learning contexts where adult learners engage in international education. It aims to uncover how adult learners perceive interpreters’ roles in educational settings through an online questionnaire. The research identifies interpreter roles, using Tryuk’s (2004) framework for community interpretation. It finds similarities between educational and community interpretation settings. Participants emphasize interpreters’ vital role in facilitating international education, ensuring accessibility, and reducing language-related stress. However, some note that interpreters can unintentionally introduce stress, especially without professional competence. Overall, this study provides pilot insights into adult learners’ perceptions of interpreters in educational contexts, revealing the complex dynamics of interpretation in international education.

Translating the theater of Gil Vicente poses a significant challenge, that only specialists about the author, with some rare exceptions, have translated his plays. Between the nuances of the text, the archaisms of the language, and the specificities of theatrical writing, this playwright has seen few of his plays, also known as autos, translated into French. At a time when the relationship between the translator and technological advancements is becoming increasingly intertwined, it is important to analyze how certain software, particularly those of Artificial Intelligence, perform in the task of translation and what their impact might be on future translations of Gil Vicente.

This article introduces the translator involved in the translation of art titles and art albums as an ambassador for art. Given the role of painting titles in the process of interpreting a work of art, but also in identifying it from other art products, the translator, as the artist’s spokesperson, has to perform a number of actions to enable the correct interpretation and identification of the work in the target culture. This is a very arduous and responsible task, which is particularly difficult in times of new media and the unlimited possibilities of digital reproduction and distribution of cultural goods. Based on the examples of translations of the titles of paintings by selected French painters published in Polish-language albums, the author shows the translator’s responsibility for the promotion and, above all, for the protection of the identity and integrity of works of art, especially those that belong to the public domain and are therefore deprived of proper protection.

Translation activity is traditionally perceived as monomodal, focused on the written or spoken word. However, the evolution of contemporary societies, increasingly visual, often pushes the translator to work on a multimodal product, where language is only one of the modes of communication, hence the emergence of models of multimodal translation. The present contribution studies the literary multimodal translation model based on the album Kłopot by Iwona Chmielewska, world-renowned author and illustrator. The contribution hopes to demonstrate the challenges and opportunities of the multimodal translation workshop, seen as a growing professional activity in today’s multimodal societies.

The article discusses the evolution of translator training through the experience of both a trainer and professional translator. It examines the historical and scientific perspectives of social roles and functions of translators. These serve as a starting point for analysing the current state of translation and its future. The profession of translation is currently in the process of change due to rapid technological and social advancements. The translators-to-be must possess new skills to adapt to these changes. To achieve this, universities should adapt their teaching methods and content to enable learners to cope with the new technical, social and communicational developments. These should equip translators-to-be with the necessary skills to meet the demands of today and tomorrow’s markets. Revision of the field history, past and contemporary research as well as practical professional experience provided in this article point to the training needs that must be fulfilled to meet the requirements of our time.

The socio-cultural role of translators is undergoing rapid changes in the lives of societies affected by globalization. The objective of the article can be summed up in questioning the traditional role of the translator consisting, among other things, in what Jean Peeters (1999) calls “the mediation of the foreigner”. The question that arises, therefore, concerns the possibility of existence of the strangeness and relevance of this notion in the globalized world. The process of unifying a global market for cultural, symbolic and literary goods calls into question the need for mediation at the level of languages and cultures. The aim of the article is therefore to analyze from the sociolinguistic perspective new sociocultural roles that could assume the translator in the face of the unification process.

The usefulness of machine translators (MTs) is virtually indisputable. Although, until recently, they could be considered almost the ‘enemy’ of translators, the rise of technology in our profession has changed from a threat to an opportunity to broaden skills and take on new roles (Moorkens, 2018). MT has evolved since its inception and, in particular, Statistical MT (SMT) and Neural Network-based MT (NMT) systems have become very popular. One question that deserves particular attention is whether these automatic resources are just as effective for a humanistic-literary translation as they are for a specialised translation in the scientific-technical field. In this article, we have compared the degree of appropriateness of a corpus of EN>ES translations produced by around one hundred 4th year degree Translation and Interpreting students at the University of Córdoba. The analysis shows, as could be predicted, that, although it is always necessary to revise the automatic target text, in the case of humanistic-literary texts it is essential to use MT only as a basis for a ‘human’ translation. Furthermore, and very pertinently, the students’ translation results were better when the texts were related to their own lives or had social repercussions with which they could sympathise.

Although the history of translation and its iconography mostly convey to us a vision of translation as an individual and solitary activity (Monti, 2018, p. 9), in Canada, which is officially bilingual and multicultural at the federal level, the practice of literary translation has recently increasingly taken collective forms. In the following paper, the analysis will be based on two examples of a collaboration between literary translator Arianne Des Rochers with Natasha Kanapé-Fontaine (for the book Islands of Decolonial Love/Cartographie de l’amour décolonial) and with Édith Bélanger (for the book A Short History of the Blockade/Une brève histoire des barricades), the two works written in English by Leanne Betasamosake Simpson, a leading figure in Canada’s Aboriginal resurgence.

La investigació que es presenta es centra en l'anàlisi i en l'estudi dels indicadors melòdics de la ironia verbal en la oralitat prefabricada, i en el context, principalment. A partir d'aquí s'ha tractat d'aportar una explicació objectiva de la ironia en interacció, en base a una metodologia experimental adequada (model Análisis Melódico del Habla), a partir d'un treball empíric que s'ha suposat la recogida d'un corpus basat en sèrie. de televisió. Aquest mateix ha estat avaluat a través de proves de percepció discriminatòria i analitzada melòdicament amb el propòsit de definir objectivament la melodia de la ironia en la interacció. Los datos apuntan a un mayor número de ejemplos con énfasis de palabra en el cuerpo e inflexión final ascendente (Perfil I); moviments de foc ancho pronunciados e inflexión final circunfleja o de nucli elevat (Perfil II) y contornos planos (Perfil III), que serveixen als actors per exagerar els marcadors irònics i transmetre el missatge precís a l'audiència. Paraules clau: Ironia; Percepció; Melodia; Interacció; Oralitat prefabricada

This study dynamically modeled the nuclear contours of L2 Spanish sentences produced by 16 Mandarin-speaking learners and 9 Spanish natives, using a speech corpus obtained from a discourse completion task. The target sentences included statements (broad focus, categorical, and corrective focus) and yes/no questions (information-seeking, confirmation-seeking, and tag questions). Our results indicate that Chinese students (a) could not produce correct nuclear configurations to differentiate between the categorical statement and corrective focus; (b) produced significantly higher pitch for nuclear pitch accent and lower pitch for unstressed syllables compared to Spanish natives; and (c) may have produced incorrect boundary tones influenced by the lexical stress positions of the nuclear word. The current study contributes empirical evidence to the theory of L2 prosodic learning and highlights the importance of fine-grained phonetic details beyond phonological (dis)similarities between learners’ L1 and L2. Furthermore, given the L2 prosody difficulties observed even among experienced L2 learners, proper prosodic training paradigms are needed in teaching practice. Keywords: Prosody; L2 Spanish; L1 Chinese speakers; Nuclear configuration; Second language

En esta investigación sondeamos las creencias y actitudes lingüísticas hacia las cinco variedades cultas hispanoamericanas de una muestra representativa de sujetos sevillanos, sociolingüísticamente estratificados. Para ello se empleó la metodología del proyecto PRECAVES XXI. Algunos resultados destacados fueron: 1) la forma de hablar de estas áreas geolectales no se corresponde con el modelo idiomático de los encuestados; 2) las variedades más y menos reconocidas fueron la rioplatense y la chilena, respectivamente; 3) las valoraciones directas arrojaron cierta tendencia a mostrar mayor estima hacia los acentos menos conocidos; 4) las valoraciones indirectas pusieron de manifiesto, por lo general, puntuaciones bastante positivas, aunque se apreciaron algunas bajadas en rasgos relativos a la proyección socioeconómica de las personas y del país; y 5) las valoraciones de las mujeres fueron a menudo más amables que las de los hombres.

En este trabajo se estudia, desde una perspectiva macrosintáctica, un fenómeno denominado de distintas maneras a través de los años: relativo desplazado, relativa compleja, configuración relativa envolvente o extraposición del relacionante. Si bien la configuración ha sido estudiada desde la microsintaxis, se puede considerar que una perspectiva que entienda el fenómeno como estructuración vinculada con la macoestructura de determinadas secuencias textuales —específicamente, informativas y argumentativas— puede permitir una caracterización más acabada del fenómeno. Como se muestra en el análisis que toma en consideración los aportes de avances concretos de estudios de macrosintaxis en español, en muchos casos la introducción de las estructuras mencionadas y la consecuente presencia de verbos puente en determinados enunciados supone una toma de distancia respecto de lo referido o una falta de compromiso en relación con la verdad expuesta en la segunda proposición subordinada. En otro grupo de ejemplos, la toma de distancia actúa, además, como una puesta en duda —o negación— de lo mencionado, de manera tal que la configuración opera sobre el posible valor argumentativo de la información.

Dans cet article, nous centrerons notre réflexion sur le marqueur c’est vite dit en français contemporain et nous proposerons une étude contrastive avec la forme espagnole (que) se dice pronto. Au délà d’une certaine parenté formelle et autres points de convergence, il n’est pas moins vrai que leur degré de figement et la diversité des effets de sens qu’on rencontre en discours attirent notre attention sur les points de divergence. Notre intérêt est de montrer que c’est vite dit et(que) se dice pronto se prêtent à une analyse en tant que commentaires métalinguistiques participant au fait autonymique en discours. Or, leurs respectives stratégies discursives les éloignent dans la mesure où c’est vite dit marque l’anti-orientation argumentative, alors que (que) se dice pronto fait entrer en ligne le réajustement de la force argumentative. Afin de justifier nos hypothèses, nous proposerons une série de criteres, tant distributionnels que sémantico-pragmatiques, pour montrer les différentes stratégies discursives mises en place.

El interés por la segmentación del discurso escrito ha aumentado considerablemente en los últimos años, un hecho que puede asociarse a distintos factores que van desde la teorización (p.ej., la necesidad de categorizar y delimiat claramente las unidades que permiten segmentar lo escrito sin caer en la sintaxis tradicional, la falta de acuerdo acerca de cuáles son las propiedades de unidades tan esenciales como el párrafo, etc.) hasta la didáctica (p.ej., la dificultad, cada vez mayor, de redactar textos escritos formales observable en la inadecuada organización y distribución informativa textual, el mal uso de la puntuación o de los marcadores discursivos y conectores, etc.), pasando por la aparición de nuevos géneros híbridos en los que las unidades como enunciado o párrafo pueden no ajustarse del todo a la producción analizada (p. ej., textos escritos en redes sociales en los que no existe una correspondencia directa entre párrafo y unidad de sentido, o en los que incluso las posiciones clásical inicial, medial, o final pueden verse alteradas). Sin duda, en comparación con los modelos de segmentación de la oralidad, que desde 2010 han experimentado un impulso y desarrollo notables en el ámbito nacional e internacional (Pons, 2014), los modelos de lo escrito, a pesar de su solidez teórica, parecen quedar en un segundo plano, eclipsados por el interés en analizar géneros como la conversación coloquial o la entrevista. El presente monográfico, compuesto por cinco trabajos que partes de marcos teóricos distintos, busca arrojar luz sobre una cuestión esencial: organizar, caracterizar y delimitar todo aquello que se encuentra por encima del párrafo y por debajo del texto como unidad superior máxima, un espacio que supone un reto para el investigador.

El párrafo es una unidad esencial en el texto escrito. Con todo, quedan por explorar muchos aspectos de su contrucción discursiva. En este trabajo, nos preguntamos si existen marcadores del discurso introductores de párrafo. para ello nos centramos en un buen candidato, la forma del catalán dit això ("dicho esto/eso"), que, formalmente, es una cláusula absoluta de participio formada por el verbo decir y un demostrativo. Analizamos ejemplos procedentes del Corpues Textual Informatitzat de la Llengua Catalana del Institut d'Estudis Catalans. Después de delimitar la construcción respecto a usos no fijados o menos fijados (predicativos) de la secuencia, diferenciamos los casos en los que une párrafo de los casos en los que une oraciones. Una vez realizadas estas operaciones básicas, analizamos el funcionamiento del marcador. Establecemos sus funciones textuales (es decir, las relaciones de coherencia que manifiesta), algunos rasgos pragmáticos relevantes, como el género discursivo del texto en el que aparece, y sus características formales (posición y combinación). Ello permite relacionar dichos rasgos con la variable central de nuestro estudio (elementos unidos, es decir, párrafo u oración). El estudio muestra que dit això es una unidad en proceso de gramaticalización que funciona como estructurador de la información y se vincula a algunos géneros monologales (ensayo y periodismo) y a algunos géneros dialogales (sobre todo la narración). Del análisis cuantitativo podemos concluir que dit això se puede considerar un marcador de frontera discursiva, función que incluye el marcaje de párrafo, pero no se limita a dicha unidad, pues también da cuenta de casos de unión oracional (no marcada gráficamente como párrafo distinto) en los que hay un cambio enunciativo (paso de discurso citado a discurso citante). Dicha matización evita los problemas que comporta la arbitrariedad gráfica inherente al párrafo como unidad discursiva intermedia.

El objetivo de este artículo es el de analizar, en el marco de la macroestructura textual, las marcas discursivas que explicitan la transición entre párrafos en la escritura no experta del género reseña académica. En primer lugar, se presentan las características del párrafo en el marco de la escritura académica, así como los mecanismos de transición interparagráfica para, seguidamente, estudiar el empleo de estos en un corpues de 27 reseñas redactadas por estudiantes universitarios de primer curso. Aunque el trabajo se centra en el texto como resultado del proceso de escritura, se ofrece también la secuencia didáctica para guiar al estudiante en el manejo de las estrategias de cohesión y marcación discursiva entre párrafos. Metodológicamente, partimos del trabajo de Martínez Caro (2014) para detenernos en distintas marcas discursivas de carácter macroestructural: las que señalan la progresión temática, las expresiones tematizadoras, los marcadores del discurso y, por último, las marcas de modalización.

Los modelos de segmentación actuales tienen el párrafo como unidad de referencia: algunos delimitan y desgranan su constitución interna en relación con el conjunto del texto (Vera Luján, 2012; Garrido, 2014); otros lo conciben como unidad básica de sentido, especialmente en escritos con una elaboración estilística alta en los que la puntuación suele jugar un rol fundamental (Ferrari y Borreguero Zuloaga, 2015). Aunque la unidad párrafo es productiva, su aplicación sistemática puede presentar problemas en artículos o columnas de opinión, en discursos de planificación discursiva relativamente reducida, en textos de especialización temática baja y variación en el nivel del registro, o en discursos producidos por estudiantes en etapas de formación obligatoria, primeros años universitarios o, incluso, hablantes no nativos de español, cuyas destrezas de escritura todavía están en desarrollo. En estos casos, se da una distribución informativodiscursiva ad libitum con, habitualmente, un empleo de la puntuación impropio, lo que dificulta asumir el párrafo como unidad completa de sentido en procesos de segmentación precisos, replicables y sin residuos. En este trabajo, presentamos dos nuevas unidades de segmentación derivadas del modelo de unidades Val.Es.Co.: conjunto de actos y movimiento. Para ello, ofrecemos un primer análisis basado en un acuerdo entre anotadores tras la segmentación completa de 15 textos formales, escritos en español peninsular, y que presentan, en mayor o menor grado, algunos de los problemas mencionados. Los resultados del estudio arrojan un conjunto de rasgos formales, estructurales y léxicos, vinculados a cada unidad, con el fin de aplicarlas en futuros análisis y contrastarlas con otros modelos de segmentación de lo escrito.

Lexical Priming (LP, o imprimación léxica) es el nombre de la toería lingüística desarrollada por el lingüísta británico Michael Hoey (cf. Hoey 2005 y 2013), en la que ciertos conceptos de la lingüística de corpus como colocación y coligación se han puesto en relación hallazgos experimentales de la psicolingüística en los procesos de asociación de palabras. La teoría trata sobre la imprimación léxica, gramatical y textual y puede ser considerada como particularmente adecuada para la investigación de ciertos fenómenos de la organización textual como , por ejemplo, los límites de párrafo. Utilizando ideas básicas de LP y métodos de la lingüística de corpus, este estudio investiga los límites del párrafo y su relación con el concepto de género discursivo. El objetivo principal es descubrir patrones lingüísticos recurrentes en la posición inicial de párrafo en unos géneros discursivos seleccionados del español escrito y con la ayuda de la herramienta de procesamiento textual Sketch Engine. En esta contribución, se explora un conjunto de segmentos lingüísticos, colocaciones léxicas y coligaciones gramaticales, que aparecen de manera frecuente a principio de párrafo de los textos seleccionados, de carácter más general o específico, y se identifican algunos patrones de cohesión y demás tendencias en los géneros examinados. Las posiciones de principio de párrafo en textos son puntos especiales y sensibles en los que el escritor necesita considerar cuál es el elemento más adecuado dependiendo de una serie de factores, entre los que la elección del género es uno de los más importantes. Este artículo pretende contribuir demostrar que el género es un asunto central en los estudios del uso de la lengua basados en corpus y a descartar una visión de la descripción lingüística donde las lenguas son consideradas como un todo homogéneo (Berber Sardinha 2017: 224)

El propósito (des) cortés de los piropos suscita debate, ya que, a pesar de ser una valoración positiva de la persona destinataria, se entienden como un acto de habla arriesgado que puede poner en peligro la imagen tanto de la persona enunciadora como de la destinataria; además de ser considerados por muchas personas una práctica masculina abusiva hacia las mujeres que contribuye a la perpetuación de la desigualdad de género. Este estudio se acerca a la práctica discursiva de los piropos en gallego entre gente joven y analiza en qué contextos las/los hablantes consideran adecuado o no realizar el acto de piropear. Examina, asimismo, qué estrategias de cortesía (Brown y Levinson, 1987) eligen para enfrentar el acto de amenaza a la imagen que puede desencadenar la enunciación de un piropo, así como los factores que condicionan su elección. Los datos analizados proceden de un cuestionario tipo DCT (Discourse Completion Task), del que se analizaron las respuestas de 100 participantes. Este cuestionario está compuesto de 16 situaciones, en las que se controlan distintas variables que se prevé que pueden condicionar la actuación de las/los hablantes (distancia social, poder relativo, grado de imposición y grado de formalidad). Nuestro análisis indica que la práctica del piropo en la cultura de esta gente joven es percibida como potencialmente conflictiva y requiere de una cortesía mitigadora, que nos situaría ante una manifestación cultural de distanciamiento. Sin embargo, el grado de confianza entre las personas que participan en la interacción resulta determinante en la elección de sus estrategias, que muestran una fuerte polarización: mayoritariamente consideran que en contextos de poca confianza es un acto amenazante y prefieren evitar realizar el acto de habla; por el contrario, en contextos de confianza optan por una estrategia abierta y directa, pues lo interpretan como un acto que refuerza la cortesía y no lo perciben como peligroso.

La segmentación del discurso en unidades sintácticas, informativas o pragmáticas tiene su origen en el ámbito de los estudios sobre la oralidad espontánea. Sin embargo, los criterios que permiten dicha segmentación deberían poderse aplicar también al texto escrito. En este artículo se lleva a cabo una revisión crítica de los modelos de unidades discursivas que han tenido mayor difusión y se presenta una serie de directrices programáticas para una propuesta de un modelo de segmentación válido tanto para la lengua oral como la lengua escrita que trata de paliar, al menos en parte, algunos de los problemas observados en propuestas anteriores que han sido concebidas, por lo general, bien para el texto oral bien para el escrito.