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The aim of the article is a linguo-cultural analysis of the concept of “freedom” in the language of H. Skovoroda’s works, which verbalizes the code of the national con sciousness of Ukrainians and the linguistic consciousness of the writer-philosopher. Within this goal, the following tasks have been solved: the semiotic content of the concept of “freedom” in the cognitive-semantic fi eld of life and work of H. Skovoroda and in the context of Ukrainian culture was clarifi ed; its connotations were revealed. The concept of “freedom” is one of the determinants of the linguistic consciousness of the Ukrainian pe ople and an individual speaker, the evidence of which is the verbal oral folk and professional creativity of Ukrainians and a number of connotations to it. The language of H. Skovoroda’s works is a syncretic example of Old Slavonic, as the oldest literary language of the Slavs, and colloquial Ukrainian of the time of the writer-philosopher, as well as modern Ukrainian literary language. The word-deno tation “freedom” and connotations to it (“equal inequality”, “happiness”, “related work”, “freedom”, “Bogdan the Hero”, “cheerful spirit”, “deep heart”, “the world tried to catch me but failed” and others) have a mental and ideological specifi cs, as they conceptualize the teachings of H. Skovoroda about man and the meaning of life. The writer-philosopher mostly uses in his speech a lexical way of expressing the con notative meaning of the concept of “freedom” through such tropes as comparisons, epithets, phraseologisms and other means of poetic speech, sometimes authorial in novations that give dynamism to this lexical-semantic fi eld allegory as the dominant features of his style.Prospects for further research are related to the linguistic and cultural substan tiation of the concept of “freedom” in the language of the works of Lesya Ukrainka, who, like H. Skovoroda, represents the Ukrainian philosophical and literary tradition of existential orientation.

In the article the paradigm notion as a model of scientifi c problem formulating and solving is investigated. Polysemantic of this notion in modern sc ience motivates its active usage in the metalanguage of different natural and humane disciplines as well as in linguistics. In modern linguistics round the paradigm notion a terminological fi eld has been formed, i.e. paradigmatical relation, paradigmatical distribution, paradigmatical word, paradigm of lexeme. For our investigation methodologically important are notions of lexical and semantic paradigm and stylistic paradigm. Ability of word shaving common meaning to vary by stylistic traces is a base of stylistic paradigms modelling. The stylistic paradigm notion ponderability has motivated the hypothesis about the stylistic resources of language paradigmatic organization forming. One of stylistic paradigm manifestation is an imaginative paradigm. The structure and content of such paradigms studying is connected with observation of dynamics of poetic images able to create a system. The paradigmatic rows of images – parts of the human body notions studying is determined by the interest of modern linguistics in the importance of human factor in the lingual system. Such lexisis qualifi ed as somatic and the thematic group of nouns having the ‘body’ archisemeis determined with the somatisms term. Somatisms are the vast segment of modern Ukrainian language dictionary and artistic style. Correlation of their observation makes possible to state the specifi cs and tendencies of poetic language development in their projection on the literary language system. The analyses of lexical and stylistic sub-groups of usual somatisms absent in the poetic vocabulary has shown the division on the sub-groups of colloquial and occasional wordsand expressions. The segment of somatisms’ poetic vocabulary unlike from another one which is present in the literary language dictionary is pointedly represented by units from the Old Slavonic language and slangisms. Incommensur ability of the lexicographical and text poetic set of somatisms is pointedly illustrated by the individual-authors’ neologisms

The Paschal Mystery is the central reality of the Christianity. This is a series of historical events, presented in the canonical Gospels, in which Jesus from Nazaret was submit to the suffering, death, but was revived and bas ascend 10 the glory. These events was full of meanings and significations. This significations of paschal event has been meditated and analyzed in the Christian text, - in Gospels, in Paul’s Letters, but in the sermon of Fathers of the Church. Meliton of Sardes, Orygenes, Pseudo-Hypolite, and others are known as the interpreters of paschal events. The liturgical texts - Exultet and Victimae Paschali explain the profound sense of the Death and the resurrection of Christ All these works inspired the iconography. This presentation has to review the some works of art in Central Europeand interpretations their theological sense. The gestures will be the key to discovery of meaning.

Word sense disambiguation (WSD) finds the actual meaning of a word according to its context. This paper presents a novel WSD method to find the correct sense of a word present in a sentence. The proposed method uses both the WordNet lexical dictionary and the Wikipedia corpus. Initially, we find all the probable senses of the target word using WordNet. For each of the words present in a sense, we calculate the collocation extraction score with the other words in the sentence. The collocation extraction score finds the probability of the occurrence of two words together in the Wikipedia corpus. The maximum collocation extraction score assigns the proper sense for that context of the sentence. Our method is not limited to the bi-grams that are made up of only two consecutive words. Our method can find the probability of having two words together in a sentence when other words separate these two words. To compare our WSD method with current knowledge-based unsupervised and supervised systems, we use different Senseval and SemEval datasets for doing WSD on English words. Finally, the experimental analysis illustrates the significance of the proposed approach over many baseline and current systems.

Without wishing to commit the etymological fallacy in the understanding of a word's meaning, I would like first to comment on the traditions of usage of the term ideoloqv, a theme elegantly announced in Woolard's introductory discussion of "issues and approaches." As is well known, it was Antoine Louis Claude Comte Destutt de Tiacy (1754-1836) who invented the term, in that naturalizing move of the French Enlightenment rendition of l,ocke (or, to be sure, Condillocke) that sought to understand human "nature." Ideology was proposed as that special branch of zoology that recognizes the condition of humans, we animals who have ideas as the content of what we should call our minds. Central here is the fact that any ideas more developed than physiological sensations are dependent on such ideas'being clothed in signs, the organization of which by some systematic grammar allows the discursive xpression of a logical faculty of mind. Hence, for Destutt de Tiacy, there is the general scientific field of ideology proper, the science of ideas, of which the subfield of grammar studies the signiffing externalizations, as it were, in structured systems of articulated signs, and the subfield of logic the modes of rationality oriented to truth and certitude of inferential states of mind (i.e., formation and combinatorics of ideas). Such a science would, for its propounder, also allow us to diagnose and understand "the causes of incertitude and flogical] error," thus presumably leading to an amelioration of the human condition vis-d-vis its natural mental faculties. It is particularly interesting, therefore, to see the fate of this term, proposed as a formation parallel to any of the other "-ologies" of a systematic scientific outlook. It has obviously become a word that now denotes a part or aspect of Destutt de Tiacy's very object of investigation, and in many appearances has the specifically "pejorative" use to pick up on Jane Hill's invocation of Raymond Geuss (1981: 12-22) that presupposes we know certain ideas to be dubious, in error, and

The paper is a relevance-theoretic account of the meaning of the Serbian particle baš, once a content word, now a pragmatic particle restricted to informal discourse. It is argued that the emphatic and specificatory senses of baš can be subsumed under a single description of the particle as a marker of non-loose use. The argumentation is based on the relevance-theoretic distinction between description and interpretation in language use and on the notion of loose talk. The main issue of how the particle contributes to the relevance of its host-utterance is anchored in a tripartite distinction: Conceptual/procedural, truth-functional/non-truth-functional, explicature/implicature. It is claimed that the particle baš is a procedural, non-truth-functional linguistic item that contributes to relevance by constraining the explicit content of the host-utterance.

In order to construct an ethical artificial intelligence (AI) two complex problems must be overcome. Firstly, humans do not consistently agree on what is or is not ethical. Second, contemporary AI and machine learning methods tend to be blunt instruments which either search for solutions within the bounds of predefined rules, or mimic behaviour. An ethical AI must be capable of inferring unspoken rules, interpreting nuance and context, possess and be able to infer intent, and explain not just its actions but its intent. Using enactivism, semiotics, perceptual symbol systems and symbol emergence, we specify an agent that learns not just arbitrary relations between signs but their meaning in terms of the perceptual states of its sensorimotor system. Subsequently it can learn what is meant by a sentence and infer the intent of others in terms of its own experiences. It has malleable intent because the meaning of symbols changes as it learns, and its intent is represented symbolically as a goal. As such it may learn a concept of what is most likely to be considered ethical by the majority within a population of humans, which may then be used as a goal. The meaning of abstract symbols is expressed using perceptual symbols of raw sensorimotor stimuli as the weakest (consistent with Ockham's Razor) necessary and sufficient concept, an intensional definition learned from an ostensive definition, from which the extensional definition or category of all ethical decisions may be obtained. Because these abstract symbols are the same for both situation and response, the same symbol is used when either performing or observing an action. This is akin to mirror neurons in the human brain. Mirror symbols may allow the agent to empathise, because its own experiences are associated with the symbol, which is also associated with the observation of another agent experiencing something that symbol represents., To appear in IEEE Transactions in Cognitive and Developmental Systems

Dr. Max Poser was a researcher, scientist, and lecturer in the fields of ophthalmology and physiological optics at the New York based optics company, Bausch & Lomb. This thesis examines a group of his silver gelatin photographs located at George Eastman House and compares this series of 1930s photomicrographs to other images by Dr. Poser at the Bausch & Lomb archive. This thesis contextualizes the photographs within the history of photomicrography, the biography of Dr. Poser, and his work at Bausch & Lomb to understand why these photographs were made. Several of these photomicrographs were exhibited and published before arriving at the museum, and these frameworks show how the usage of a photograph can change how it is understood. Finally, the thesis examines the physical locations where each of the objects is kept and how those locations generate different connotations that reflect the mission of each institution.

Contains fulltext : 237071.pdf (Publisher’s version ) (Open Access) Idiom processing studies have paid considerable attention to the relationship between idiomatic expressions as a whole and their constituent words. Although most research focused on the semantic properties of the constituent words, their orthographic form could also play a role in processing. To test this, we assessed both form and meaning activation of individual words during the processing of opaque idioms. In two primed word naming experiments, Dutch native speakers silently read sentences word by word and then named the last word of the sentence. This target word was embedded in either an idiomatic or a literal context, and was either expected/correct in this context (COR), or semantically related (REL) or unrelated (UNREL) to the expected word. The correct target word in the idiomatic context was always part of an opaque idiom. Faster naming latencies for the idiom-final noun than for the unrelated target in the idiomatic context indicated that the idiom was activated as a whole during processing. In addition, semantic facilitation was observed in the literal context (COR

Meaning Representation (AMR) is a sentence-level meaning representation based on predicate argument structure. One of the challenges we find in AMR parsing is to capture the structure of complex sentences which expresses the relation between predicates. Knowing the core part of the sentence structure in advance may be beneficial in such a task. In this paper, we present a list of dependency patterns for English complex sentence constructions designed for AMR parsing. With a dedicated pattern matcher, all occurrences of complex sentence constructions are retrieved from an input sentence. While some of the subordinators have semantic ambiguities, we deal with this problem through training classification models on data derived from AMR and Wikipedia corpus, establishing a new baseline for future works. The developed complex sentence patterns and the corresponding AMR descriptions will be made public.

The article is devoted to the study of the linguistic expression of the phenomenon of pain in the texts of F.M. Dostoevsky. The material of the analysis is the texts of works of fiction, journalism and letters of the Great Russian writer. The study of Dostoevskys texts is preceded by an analysis of entries in explanatory and specialized dictionaries and encyclopedias, including articles in the Dictionary of Dostoevskys Language. The relevance of the study is determined by the approaching bicentennial of F.M. Dostoevsky, in whose works the phenomenon of pain has become one of the important subjects of the image. The specificity of this work lies in the reliance on linguistic methods of studying the phenomenon of pain while maintaining the interdisciplinary focus of the research as a whole. Various associative connections of the word pain and its derivatives in the contexts of the writers works of different genres are being studied. At the initial stage, the selection of material is carried out by the method of continuous sampling using the DiaWin software system of the Department of Experimental Lexicography of the V.V. Vinogradov Russian Language Institute of the Russian Academy of Sciences. The material thus obtained, is subjected to a multilevel analysis, in course of which the specificity of the conceptualization of pain in language and culture is revealed and the features of the depiction and interpretation of the phenomenon of pain in the discourse of Dostoevsky and his characters are revealed. Conclusions are formulated about the stable associative connections of the lexeme pain, the specificity of the linguistic depiction of various states of pain in the writers texts is revealed, the original interpretations of the concept of pain in the discourses of heroes-ideologists are analyzed. As a result, the analyzed phenomenon appears in multidimensional illumination. The general structure of the frame is established. The relationship between external symptoms and internal sensations of physical and mental pain is revealed. It is postulated that the explication of the concept of pain by a native speaker is fraught with significant difficulties, since pain is introspective and subjectively experienced. This special state is experienced and lived on. The contextual combinations of meanings of the word pain in Dostoevskys texts are highlighted. The specificity of the figurative representation of pain situations in the writers works is revealed. The increments of meaning characteristic of Dostoevskys contexts are analyzed. As a result, pain is interpreted as a complex phenomenon of language and culture and an important concept in the discourse of F.M. Dostoevsky.

In relevance theory, it has been claimed that the sentence uttered underdetermines the proposition explicitly communicated by the speaker. In this paper, I present another case in which what is explicitly communicated is distinct from what is said. Sometimes an expression is used to evoke another expression which it resembles in form. For example, in Korean, aphmyen ‘front side’ may be used to evoke anmyen ‘face’ in anmyen molswu ‘pretending not to recognize somebody.’ I analyze this phenomenon as involving the use of one expression to loosely metarepresent another which it resembles in form. Assuming that the speaker may be unable or unwilling to convey her meaning more directly, the addressee recognizes the resemblance and infers the intended meaning from the expression used, together with contextual assumptions. The extra effort required will be compensated by extra cognitive effects. I argue that the loosely metarepresented expression contributes to the explicature of the utterance, and that the expression used in the utterance may contribute to (the derivation of) an implicature. This is another interesting case in which the explicature of the utterance is distinct from what is said, and where linguistic communication can be achieved by exploiting resemblance in form.

The aim of this research is to analyse a semantic analysis of phrasal verbs produced by Hillary Clinton in her commencement speech. The writer focused on the implied meanings and the phrasal verbs used by Hillary Clinton during her speech at Wellesley College in 2017. In this analysis, the writer used a qualitative descriptive method and a library research technique to collect the data. In analysing the implied meanings of phrasal verbs, the writer applied Geoffrey Leech’s theory. According to the result, the writer found that there were 10 or 25% phrasal verbs with conceptual meaning, 4 or 10% phrasal verbs with connotative meaning, 16 or 39% phrasal verbs with affective meaning, 7 or 17% phrasal verbs with social meaning, and 3 or 9% with thematic meaning. Therefore, the most dominant meaning in phrasal verbs produced by Hillary Clinton was affective meaning. Meanwhile, in analysing the phrasal verbs, the writer used the theory from Larsen-Freeman and Celce-Murcia. There were three types of phrasal verbs categorized into literal phrasal verbs, aspectual phrasal verbs, and idiomatic phrasal verbs. It can be concluded that there were 17 or 42% literal phrasal verbs, 10 or 25% aspectual phrasal verbs, and 13 or 33% idiomatic phrasal verbs. Thus, the most frequent type of phrasal verbs used during the speech were literal phrasal verbs.

Toshihiko Izutsu is a japanese non-Muslim Islamic thinker. He translated the Qur'an into Japanese in a distinctive and striking style compared to any other Japanese translator ever. The study took one example of a letter in the Qur'an, Alaq (96:1-19), and compared Izutsu's Japanese translation with a translation by the Japan Muslim Association (JMA) and Makoto Mizutani. It can be said that the Izutsu version attempts to convey not only the complex layered meaning of each chapter and each section of the Quran, but also the atmosphere of the Quran and the Arabian Peninsula at that time to Japanese readers at the same time. On the other hand, the other two Japanese translations seem to be attempting verbatim translations that are more faithful to the Arabic original. However, it might be able to be said that the JMA version emphasizes providing an accurate meaning based on the Sunnah classics annotation by putting a detailed note even at the expense of readability while the Mizutani version is same level with JMA but the Arabic text is not attached and it’s the easiest to read among three version.Keyword: Semantics, Toshihiko Izutsu, Qur’an

O presente artigo tem como objetivo, sob a ótica da semântica do acontecimento, analisar o processo de reescrituração da palavra muro , em outras palavras, o modo como a referida palavra ao se repetir produz um novo significado. Para isso, a analise constituirá de quatro textos jornalísticos da revista Veja publicados nos anos 2014, 2015 e 2017, que tematizam sobre a palavra muro na relação com outros sentidos que rememoram um passado enunciativo, no presente do acontecimento. A base teórica e metodológica está fundamentada em conceitos da teoria da semântica do acontecimento, conforme proposta por Guimarães (2002, 2004 e 2005). Assim, analisaremos o modo como o processo de reescrituração se constitui em textos jornalísticos que tematizam o “muro” enquanto acontecimento enunciativo, de modo que o locutor-jornalista, ao enunciar, é afetado por seu lugar social no acontecimento enunciativo. Tudo isso nos fez observar o processo de significação de outro(s) sentido(s) da palavra muro pelo efeito da repetição nos textos jornalísticos.

This paper investigates the structure of phonological word and grammatical word in Brokpa, a Tibeto-Burman (Trans-Himalayan) language of Bhutan. Defining features of a phonological word include stress, tone, and segmental properties. A grammatical word is defined based on conventionalized coherence and meaning, fixed order of morphemes, and its behaviour in relation to derivational and inflectional marking. Grammatical and phonological words in Brokpa coincide in most instances. Typical mismatches include words involving non-cohering compounds and non-cohering reduplication. A formal distinction between phonological and grammatical word is the key to our understanding of the interactions between different parts of grammar in Brokpa, and help resolve potential ambiguities of the term “word” in this language.

In general, people interpret a rope as a tool for binding. In the extensive Indonesian dictionary, rope means goods with long threads, made of various materials (coconut fiber, palm fiber, plastic, etc.) used for binding, pulling. Whereas in Arabic and the Quran, rope mean hablun, and it does not always mean rope. In the interpretation of hablun it is known as al-jama'ah, agreement, the Quran, Islam, necklaces of commands and prohibitions, neck veins. Whereas the word rope is only a tool for binding, pulling, pulling, tightening, etc. The theory used in this research is semantics. Semantics is a science that is used to explore or study a meaning in words. The semantics used is the encyclopedic model introduced by Dadang Darmawan and Irma Riyani in their journal article, which refutes the Izutsu semantic model with several shortcomings. The word hablun has a primary meaning in the form of a long tool used to bind. In contrast, in relational meaning, it means abstract in jahiliyah poetry and mass media, while in interpretation, it means concrete in Makkiyah letters and abstract meaning in madaniyah surahs. The concept of the word hablun is fundamental to learn because it is a rope and has important lessons for the safety of the world and the hereafter. Among them is that the concept of hablun commands to hold on to the Prophet Muhammad's two inheritances, avoid division, and understand and practice the concept of Islamic sociology.

The article is devoted to the study of the Russian linguistic term “udareniye” (“stress” / “accent”) from the historicolinguistic, etymological and lexicographic viewpoints. Currently, there are hardly any studies analyzing the term’s semantic development or attempts to present its semantic structure in a dictionary, based on textual and lexicographic sources ranging from the end of the 16th to the end of the 19th century, that would make it possible that would make it possible to trace the semantic changes of the term in the course of time. The existing studies mainly address the the issues of terminology developed in individual authors’ grammars, or describe the terminology of grammars related to a certain period of time or a specific epoch. The purpose of this article is to systematize etymological information about the term “udareniye”, to conduct an historico-linguistic analysis of its semantics, starting with the first Russian grammars and lexicons. The research uses comparative, definitional, etymological, semantic and lexicographic methods. The semantic structure of the term “udareniye”, when taking into account its two main meanings (emphasizing of some syllable in the word with voice and reflection of such an emphasis in writing by graphical means, e.g. diacritics), begins to take shape from its first written fixation in 1591 in Adelphotes and ends by 1830, when grammarians finally stopped associating the Russian accent, uniform by nature, with the sound length and modulations of the tone, and focused their attention on the study of intensity (pronouncing power), which can be regarded as the main acoustic feature of the stressed syllable in languages with dynamic stress. By this time, the type of the Russian stress stops being identified with the Greek and Church Slavonic patterns and the attempts to uncritically borrow the corresponding terminological nominations with their forms and meanings from Greek into Russian come to an end. The term “udareniye” got probably for the first time its lexicographic entry at the beginning of the 18th century due to Polikarpov-Orlov who described its meaning 1 in his dictionary. In its meaning 2 – based on the Greek-Church Slavonic tradition, – the term is found in almost all the text sources examined by the author, starting from Adelphotes, that is from the end of the 16th century. As for its first lexicographic fixation, it took place in 1763 in Poletika’s dictionary.

The article aims to reveal N. A. Nekrasov’s linguopoetic innovations which underpinned the evolution of the subsequent Russian poetry. Various lexical layers of Nekrasov’s lyrical poetry and their formation against a background of the literary Russian language dynamics in the 1850–70s are analysed. The research outlines the major poetic themes of Nekrasov’s poetry, its linguistic content, and compositional development. The paper also devotes attention to the poet’s metrics and versification (in accordance with M. L. Gasparov’s theory concerning the relationship between metre and meaning). Additionally, specific syntactic features of Nekrasov’s poems, their emotional content, and pathos are revealed. N. A. Nekrasov’s thematic, linguistic, and compositional discoveries are compared with various poetic movements in the Russian poetry at the end of the XIXth and in XXth centuries. Besides the observation of the text, lexical semantic and stylistic analysis, the research also exploits the statistical and linguochronological potential of the Russian National Corpus.

The foreword to the very first Ukrainian translation of H. P. Grice’s article “Meaning” deals with the personality of the famous British-American philosopher, a representative of analytical philosophy, and the importance of his work in the field of semantics and ordinary language philosophy. Translators of this article focus on the features and subtleties of translation into Ukrainian. They drive attention to some concepts, for instance “belief”, “intention”, that cannot be unambiguously translated into Ukrainian, therefore a contextual translation of such concepts is methodologically justified.

The Yogācāra School presents the seventh consciousness as the internal mental faculty of the sixth consciousness. According to the Hīnayāna tradition, the internal faculty is called manas, so the complete compound word referring to the seventh consciousness is manovijnāna. Thus, in the Yogācāra system the seventh and sixth consciousnesses are both named manovijnāna. In order to resolve the confusion of the homonyms, one of them must be adjusted. Based on the Tibetan term, nyon yid rnam par shes pa, some scholars recently claimed that the seventh consciousness could be called kliṣṭamanas. However, in the Cheng Weishi Lun, Xuanzang proposed that the seventh consciousness is also reasonably named akliṣṭamanas when referring to the pure Buddha, and therefore it is better to simply term the seventh consciousness “manas”. On the other hand, some Indian ancient Yogācāra theorists suggested that the word manovijnāna should be used to name the seventh consciousness, while the sixth consciousness would in that case be called dharmavijnāna. However, that solution was rejected by Cheng Weishi Lun. Through contextual analysis, utilizing the method of the Indian Śāstra of Vaiyākaraṇa, this article puts forward an innovative way to solve the difficult problem of homonymity: denoting the seventh consciousness as pradhānamanovijnāna (最勝末那識) based on the unique meaning of manas advocated by Yogācāra School itself.

With the analysis of a textbook case, the inflectional category of dual in contemporary French, this article presents the hypothesis of a rise in morphology among the founding disciplines of grammar in written languages. Through a study of morphographies, this trend is considered here as a result of the emergence and development of so-called electronic dictionaries, with their lexicographical words as entries to access form / meaning associations. We know that these dictionaries, piloted by mixed teams of computer scientists and linguists, impose themselves step by step as major classificatory tools for the most general treatments, in theoretical and applied linguistics, now related in our modernity to the exploitation of large corpora that have become digitised.

In the present study we explored the postlearning changes in a novel word's definition using a cue-induced memory reactivation. Native speakers of Spanish (N = 373) learned low-frequency words with their corresponding definitions. The following day, reactivated groups were exposed to a reminder and provided a subjective assessment of reactivation for each word, while control groups did not receive a reactivation. Study A demonstrated that memory reactivation enhances both explicit recall and semantic integration of new meanings. Study B investigated the effect of memory reactivation in the modification of the new meanings, through three different experiments. Results show an improvement of the updated definitions according to each word's reactivation strength. In addition, congruence with previous knowledge was suggested to be a boundary condition, while consolidation time had a positive modulatory effect. Our findings call attention to reactivation as a factor allowing for malleability as well as persistence of long-term memories for words.

Tekst dotyczy grafiki na okładkach nut w XIX i pierwszej połowie XX wieku związanej z instrumentami muzycznymi. Jednym z najczęściej pojawiających się instrumentów na okładkach nut jest antyczna lira, najważniejszy instrument starożytnej Grecji. Mimo że nie jest używana w praktyce muzycznej Zachodu od setek lat, wciąż utrzymuje się jej znaczenie jako symbolu muzyki, zwłaszcza wokalno-instrumentalnej. Na okładkach nut występuje w różnych funkcjach, od (często mało zauważalnych) znaków graficznych (sygnetów) wydawnictw muzycznych, przez małe elementy zdobnicze po ilustracje całej okładki. Zgodnie z konwencją lira jest przedstawiana samodzielnie lub w rękach muz, niekiedy wizualnie uwspółcześnionych, a nawet symbolizujących sztukę ludową. Choć najbardziej popularnym instrumentem w praktyce muzycznej XIX i XX wieku był fortepian, nierzadko obecny w ilustracjach nut, w plastyce nie osiągnął znaczenia podobnego do liry. Tymczasem antyczna lira wciąż jest uniwersalnym symbolem sztuk muzycznych. Wydaje się, że współcześnie zanika rozpoznawalność zarówno instrumentu, jak i treści symbolicznych oraz odniesień mitologicznych i religijnych, które niesie.

KIMIKO DOES CANCER is a graphic memoir written by Kimiko Tobimatsu and illustrated by Keet Geniza. The book tells the story of Kimiko’s experience with breast cancer as a young, queer, mixed-race woman. Set in Toronto, Canada, Kimiko Does Cancer seeks to upend the traditional cancer narrative, confronting issues such as dating while in induced menopause, navigating work and treatment, and talking to well- meaning friends, health care professionals, and other cancer survivors. In the interview below, Lisa Folkmarson Käll talks with Kimiko and Keet about their three-year long collaboration on the project, their hopes for it, the importance of representation and the difficulties of dealing with vulnerability. Page references in the text are to Kimiko Tobimatsu and Keet Geniza’s Kimiko Does Cancer: A Graphic Memoir (Vancouver: Arsenal Pulp Press, 2020).

This article aims to find out the meaning of the term moderate Islam as a terminology. The problem is focused on reviewing the language and its history, as well as from the context of the political interests that lie behind it. In order to approach the problem, this article uses a reference to the theory of terminology. The data were collected through a literature review of various similar studies that have been conducted. Furthermore, the data obtained were analyzed qualitatively. This study concludes that there is a bias in understanding the terminology of moderate Islam which lies in equating the word "Islam" with the word "ummah", so that the term "ummatan wasatan" is then equated with "moderate Islam". This interpretation bias is strongly influenced by the global political context related to the emergence of the term terrorism and the concept of the global war on terrorism (GWOT) which was coined by the United States during the George W. Bush Junior administration.

Many researchers have reported that bridging analogies can productively support students’ scientific meaning-making. How this can be understood semiotically is, however, not well understood. This research followed an ethnographic case study approach to investigate Year 11 students meaning-making through a process of transduction (Kress, 2000; Volkwyn, 2020) across the submicroscopic and symbolic domains of Johnstone’s (1991) chemistry triangle. A “cross-and-portion” (CPO) model was devised as a bridging representation for learning the molar concentration and dilution concepts, informed by Peirce’s triadic model (1931) which relates the meaning of a concept to its representation in a sign, and its referent. The study drew on video capture of the classroom and small group activity, and interviews. The research findings indicated that the CPO model acted as a visualisation tool that facilitated students to link from the submicroscopic to symbolic domains of Johnstone’s triangle. A recursive model of meaning-making was formulated to describe how bridging representations are re-purposed to occupy shifting positions in Peirce’s triad to enable meaning through the system of interpretance. Students constructed, critiqued and transducted across multiple, multimodal representations to achieve discursive fluency across the dimensions of Johnstone’s triangle. The recursive model provides a fresh perspective on how students coordinate multimodal representations to learn science/chemistry.

The origin of the term and notion of “coenaesthesis” of German-speaking medical school was analyzed. Whereas in Germany the term “Coenaesthesis” was presumably fi rst used by J. Reil’s pupil Ch.F. Huebner (1794) in his written in Latin dissertation and the concept that considered the changes in “general feeling” as a ground for some psychiatric disorders was elaborated by J. Reil (1799, 1805), in Russia the similar ideas were expressed by A.F. Solnzev (1825) in his also written in Latin dissertation as D.D. Fedotov and V.G. Ostroglazov indicate. It may be assumed that the Scotch doctor A. Crichton (Alexander Kreiton in Russian transcription) contributed to the propagation of the concept of “Coenaesthesis” from Germany to Russia, due to his account of German concept of “General feeling” in his “Inquiry into the nature and origin of mental derangement” (1798) and succeeding fi fteen years work in Russia. In German-speaking psychiatry the Reil’s concept of “Coenaesthesis” was farther developed by Austrian doctor and psychiatrist E. von Feuchtersleben (1845), who underlined its meaning not only in hypochondrial but also in hysterical disorders and actively used the term “Coenaesthesis” along with the German term “general feeling”; the concept of general feeling is also refl ected in the famous W. Griesinger’s “Pathology and therapy of mental diseases”. In connection with the following separation from general feeling the muscular, temperature and pressure feelings its notion got narrowed as also the circle of mental disorders that was considered as determined by the different changes in general feeling. That is noticeable in German-speaking psychiatry in the concepts of R. von Kraft-Ebing and E. Kraepelin; while H. Schuele did not use the notion of general feeling at all. In Russia A.F. Solnzev’s concept of Coenaesthesis was for a long time forgotten, but in France in the second half of the XIXth century psychologist and philosopher Th. Ribot opened “cenesthesie” anew. In anglo-saxon psychiatry the disorders of general feeling were never considered as a special psychopathological syndrome (with the exception of its presentation by A. Crichton).

Systemic Functional Language Description: Making Meaning Matter, edited by J. R. Martin, Y. J. Doran and Giacomo Figueredo, is a methodological and typological addition to the literature on Systemi...

This article discusses the difference between term and word: the problem of translator and interpreter and the role of teaching terminology. Human Language is a complex physiological activity influencing and influenced by a vast range of systems. Therefore, fixing a word for a specific meaning and attaching a cultural meaning to words becomes challenging. Here a translator and interpreter mentally get confused.

The theme of war and peace is one of humankind’s eternal problems and one of the most relevant topics in art at all times. On the 75th anniversary of the Victory in the Great Patriotic War (1941—1945), the author’s research interest is focused on one of the rare works in terms of its power of influence, which tears the mask off the apologetics of war, uncompromisingly and honestly telling about the human price for the military madness. That is B. Britten’s “War Requiem”.The presented experience of art historical analysis is intended to explicate the intertextual connections of the work with a number of texts (verbal and mainly musical) inscribed in a wide socio-historical and artistic context of both the past and contemporary works of the English musician. This way of reading the opus allows to trace the role of dialogue with the European and national tradition in the birth of B. Britten’s text, which is original, innovative in style, highly outstanding in its artistic and civil-ethical merits. With the identification of intertextual inclusions — literary, ideological-shaped, story, genre, musical-lexical, intonational, and those at the level of musical thematism (from the works of Mozart, Berlioz, Tchaikovsky, Shostakovich) — a number of new opportunities appear: to strengthen the emotional experiences of the recipient; to deepen the understanding of the meaning of both individual sections of the requiem and its general concept; to expand the content field of interpretations of the musical score; to ensure that cultural traditions are inexhaustible for relevant art creativity; and finally, to specify our ideas about Britten’s expressed humanist and anti-militarian aspirations, which were dictated not so much by the external reasons (the relevance of the topic during the Cold War, the Requiem’s being ordered for the opening of the cathedral in Coventry), but by his deep sufferings for the fate of the world and humanity. In general, according to the author, the analysis practically confirms the idea that semiosis — the process of interpreting signs and generating meanings in art (including music) — is unlimited, and can cease only with the termination of the existence of the culture itself.

This study investigates how speakers of English and Korean, two typologically distinct languages, derive information from a verb and a construction to achieve sentence comprehension. In a sentence-sorting task, we manipulated verb semantics (real versus nonce) in each language. The results showed that participants from both languages were less inclined to sort sentences by a verb cue when the lexical-semantic information about a verb was obscured (i.e., nonce verb). In addition, the Korean-speaking participants were less likely affected by the verb semantics conditions than the English-speaking participants. These findings suggest the role of an argument structure construction in sentence comprehension as a co-contributor of sentence meaning, supporting the constructionist approach. The findings also imply language-specific mechanisms of sentence comprehension, contingent upon the varied impact of a verb on sentence meaning in English and Korean.

Figurative language is one part of semantic study which is usually used in poems and song to enrich the meaning of that literary works. This research aimed to find out the kinds of figurative language, the most popular kinds of figurative language, and the meaning lies behind Speechless song lyrics by Naomi Scott. The method of this study used descriptive qualitative design. The source of the data in this research was the lyrics of Speechless song. However, the researchers collected the data by reading the lyrics. The results showed there were three kinds of figurative language used in that song such as: metaphor, hyperbole and personification. Metaphor was the most repeatedly utilized in the song with 53% use, hyperbole was 30% and personification 15%. The meaning lies behind this song tells about feminism or women empowerment. Therefore, all figurative languages used were aimed to convey the personal emotional power of the singer toward her oppressor. It was vividly expressed by Naomi Scott by using those figurative languages in her song lyrics.

The term "avant-garde" (from French meaning "pioneer") is traditionally used to describe any artist, group, or style considered to be significantly ahead of the majority in their technique, subject, or practice. This is a very vague definition because there is no clear consensus as to whether an artist is ahead of his time or what is meant by being advanced. In other words, being avant-garde involves exploring new artistic methods or trying new techniques to produce good art. The idea of the avant-garde traditionally depends on two interpretations. On the one hand, it is seen as inextricably linked with a radical social or political program so that extreme art becomes the vehicle of extreme social and political activity. On the other hand, avant-garde art has been a pure stylistic field of experience, free from any social concerns. This article analyzes how the avant-garde has been theorized in the last years of the twentieth century. First of all, it is to question how the theorizing of the avant-garde both affects our understanding of certain works of art, and how it affects aesthetics in a broader sense, and to explain the theory of the avantgarde according to Peter Burger's thoughts.

The purpose of this article is to characterize the basic ideas of the conception of significs, the original science of sign and meaning that emerged at the turn of the 19th-20th centuries in the works of Victoria Lady Welby (1837-1912). The article explains the features of significs, which considers the meaning of verbal and non-verbal signs as a complex hierarchical structure, the levels of which are sense, meaning, and significance. Significance includes the preceding levels and takes into account their relations with axiological characteristics. The author points out that the content of the structure of sense-meaning-significance can be represented in different ways, depending on metaphorical, terminological, social and communicative factors. The conception of significs thus becomes universal and fundamental. The article emphasizes that significs highlights the dynamic nature of meaning, considering changes, that take place on each of its levels. The author sees in this fact the connection of significs with the evolutionary ideas contained in linguistics and natural science, and traces the process of formation of significs, arguing that its foundations lie in the description of various examples of the use of language, undertaken by V. Welby at the early stages of her research. The article is based on the study and comparative analysis of both the works of V. Welby herself and the commentary literature. In conclusion the author specifizes the value of the conception of significs as an integral dynamic theory of sign, meaning, and significance, which incorporates the various aspects of sign issues - from the logical and linguistic to the axiological and pragmatic ones, and indicates the ways of explication the impact of significs on the subsequent development of semiotic, philosophical, and linguistic researches.

In Anyue dialect, the meaning of the word “che” is very rich. It can be used as a verb to express the meaning of “argument,” “discussion,” “tearing,” “receiving,” “cutting,” “picking,” “opening,” “buying,” and “pulling.” It can also be used as an adjective to express the meaning of “immoral,” “unreliable,” and “naughty.” This article describes the semantics and usage of “che” in Anyue dialect as well as the usage of special phrases with “che” in other areas of southwest Mandarin. Finally, this article analyzes the semantic evolution of “che” and constructs a semantic evolution diagram.

A new and brilliant diplomatic edition of »Kortt wendingh« appeared in 2013, following MS AM 808, 4°. The editor was †Leif Stedstrup. The edition contains a so-called »school comedy« written by Hans Christensen Sthen in c. 1570. Sthen was born in 1544 and grew up in Roskilde. His hymns, some of which are still sung, are well known, but his language is not particularly well researched. I have tried to extract all of the interesting pronunciations and a few of the grammatical features that occur in »Kortt wendingh«. It has not proven to be an easy task because Danish orthography in the sixteenth century was somewhat complex and can be difficult for us to evaluate today. But as all alphabetical writing encapsulates the pronunciation of its time, I think that such a linguistic investigation can be undertaken and provide information about late sixteenth-century Danish pronunciation on Sjælland. (Incidentally, »Kortt wendingh« is both the name of the main character (cf. the English name Curt) and a phrase in Danish meaning a ‘sharp vicissitude’ (concerning one’s fate), which is, indeed, the topic of the play).

The aim of this study is to outline the psychoanalytic method of interpretation in its application to a philosophical text. The nature of philosophical creativity is illustrated by comparison with the laws of dream activity and the concept of primary process thinking. The concept of a "pride system" (Karen Horney) is used to interpret the specifically philosophical diction. The study shows the possibility of reading a philosophical text as a kind of declaration confirming the importance of its author, fulfilling their unconscious desire to prove the impossibility of "falling out of this world" (Sigmund Freud). The concept of the three archetypal ontological primordial images, inspired by Erikson's reflections and elaborated in other texts of the present author, is reformulated as a distinction of three philosophical styles: disciplined and paternalistic, focused on strict rule and order; sympathetic and maternalistic, focused on acceptance, equality and positive home atmosphere; and "nonsubstantially" (Egon Bondy) open, guided by the image of the "preparental center" (Erik Erikson) and primarily focusing on the value of freedom.

Latar Belakang: Karena karakteristik waktu terus bergerak maju atau tidak dapat diulang, kita tidak pernah tahu bahwa perubahan bahasa sama dengan mekanisme waktu. Perdebatan yang mempertanyakan perspektif berbeda tentang konstruksi makna Assassin tidak memiliki solusi. Assassin yang dikenal banyak orang saat ini berada di luar ekspektasi konteks bahasa biasa, di mana mereka hanya sebatas memetik kata tanpa mengetahui keakuratannya. Tujuan: Untuk memperjelas polemik yang terus terjadi dari waktu ke waktu karena memberikan pemahaman bahasa yang lebih baik sangat penting Metode: Menggunakan metode analisis deskriptif kualitatif pada leksikon kata Assassin. Hasil: Bahwa tradisi yang dipertahankan oleh masyarakat saat ini buta terhadap konteks leksikon bahasa Assassin yang terkadang melenceng. Selanjutnya, beberapa konteks penggunaan kata Assasin leksikon harus diperhatikan dengan seksama karena kata Assasin merupakan kata khusus yang telah mengalami banyak sejarah. Kesimpulan: Hal ini mengakibatkan pemahaman bahasa tidak sesederhana tangan kosong, apalagi kata Assassin memang mencerminkan multitafsir sesuai dengan blue print atau rekam jejak aspek sejarah dan memang benar adanya, selain itu, Kata Assassin memiliki penggunaan khusus yang erat kaitannya dengan kontekstualitas khusus dan tidak lazim sebagai konsumsi percakapan sehari-hari.

Determining the main categories of the literary text is a matter of debate among researchers today. According to the author of this paper, the most significant categories are the following: fiction (virtual information content), egocentricity (image of the author), aesthetics, linguocentricity, and interpretability. The article focuses on the category of interpretability, which is associated with the ability to perceive a text from different perspectives and at different depth levels. Interpretability is the ability of a text to generate ambiguous information that can be read and formulated in different ways and be either perceived or not perceived by the addressee. Description of the interpretability category is exemplified by Bunin’s short stories “The Book” and “The Chapel”. “The Book” allows the reader to perceive several semantic layers, gradually complicating the content of the text and its understanding. This story clearly demonstrates that interpretability of a literary text can reach absolute ambivalence of the perception of this text: life is more important than fictional books, but life itself, probably, exists for the art in order to be embodied in a word. The thesis about multidimensionality and interpretability of the literary text is confirmed when we turn to another short story, “The Chapel”. The analysis of the texts performed demonstrates that a work of art can be perceived ambiguously, its content is interpreted on the basis of acquired additional meanings of its lexical units, various shades of meaning of its syntactic constructions and the possibility to perceive sequential fragments of the text differently, as well as depending on the personality of the addressee. A conclusion is made that the category of interpretability is, indeed, characteristic of the literary text, fully in line with the genre’s specifics, i.e. the aesthetic transformation of meanings in order to create virtual reality with the help of language. For citation: Sergeeva E.V. The Category of Interpretability of the Literary Text and the Problem of Multi-Layered Interpretation of Prose (Based on Ivan Bunin’s Short Stories “The Book” and “The Chapel”). Vestnik Severnogo (Arkticheskogo) federal’nogo universiteta. Ser.: Gumanitarnye i sotsial’nye nauki, 2021, vol. 21, no. 4, pp. 63–71. DOI: 10.37482/2687-1505-V117

This article concerns the English translations of a popular eighteenth-century work on national pride. Originally entitled Von dem Nationalstolze [On National Pride], it was first published in 1758 and then twice revised by the author, Johann Georg Zimmermann (1728-1795). A physician by profession, the Swiss-born Zimmermann treated patriotism as a collective sentiment and soon attracted interest across Europe. Accordingly, the second revised edition Vom Nationalstolze (1768) also appeared in a number of translations, including in English as An Essay on National Pride for the first time in 1771. Since an English retranslation by Samuel Hull Wilcocke was published in 1797 and yet another anonymous retranslation in 1805, the article examines these as attempts to correct the first English translation and to demonstrate the perceived relevance of the source text in the context of the French Revolutionary Wars. Starting from the premise that Zimmermann himself wrote about national pride in order to correct the false preconceptions of his readers, I argue that each translation also participated in the negotiation of a “healthy” form of patriotism. In so doing, the retranslation by Wilcocke in particular took considerable liberties in relation to the source text, while the second retranslator appears to have aspired to produce the most precise and transparent rendition of Zimmermann’s original words. However, as revealed by an examination of the linguistic transformations which the work underwent in Britain, all of the English translations adjusted its political meaning in ways that were significant to contemporary readers., Cet article porte sur les traductions anglaises d’un ouvrage populaire du XVIIIe siècle sur la fierté nationale. Initialement intitulé Von dem Nationalstolze [De l’orgueil national], il a été publié pour la première fois en 1758, puis révisé deux fois par l’auteur, Johann Georg Zimmermann (1728-1795). Médecin de profession, Zimmermann, d’origine suisse, a traité le patriotisme comme un sentiment collectif et a rapidement suscité l’intérêt dans toute l’Europe. En conséquence, la deuxième édition révisée de l’original, Vom Nationalstolze (1768), a été traduite en plusieurs langues, y compris en anglais sous le titre An Essay on National Pride pour la première fois en 1771. Étant donné qu’une retraduction anglaise par Samuel Hull Wilcocke a été publiée en 1797 et qu’une autre retraduction, anonyme, a été publiée en 1805, cet article les examine comme des tentatives de corriger la première traduction anglaise et de démontrer la pertinence du texte source dans le contexte des guerres révolutionnaires françaises. Partant du principe que Zimmermann lui-même a écrit sur la fierté nationale afin de corriger les fausses idées préconçues de ses lecteurs, je soutiens que chaque traduction a également participé à la négociation d’une forme « saine » de patriotisme. Ce faisant, la retraduction de Wilcocke en particulier a pris des libertés considérables par rapport au texte source, tandis que le second retraducteur semble avoir aspiré à produire l’interprétation la plus précise et la plus transparente des mots originaux de Zimmermann. Cependant, comme l’ont révélé les transformations que le langage politique de l’oeuvre source a subies en Grande-Bretagne, toutes les traductions anglaises ont adapté sa signification politique en fonction des attentes de leurs lecteurs.

This article argues that Aelius Aristides adapts the word atopos (‘strange’, ‘out of place’) as figured speech in his Embassy Speech to Achilles, meaning something that is either illogical according to rhetorical topoi or inconsistent with the text of Homer's Iliad. By doing so, he not only expands the semantic range of atopos but also comments on the rhetorical, intertextual, and pedagogical relationship between oratory and the Homeric tradition.

L’actualité des publications en sociologie vient mettre en question sa capacité à expliquer ce qu’elle prend pour objet sans véritablement définir ce que signifie ce mot, expliquer. Le présent article cherche à répondre aux questions suivantes : qu’est-ce donc qu’expliquer ? Que signifie exactement ce terme associé à la science ? En quoi et pourquoi la visée que sous-tend le mot trouve-t-elle difficilement son droit, ou sa pertinence, en sociologie ? Comment se conçoit l’explication en termes opératoires ? Les réponses avancées ici s’appuient d’abord sur les nuances apportées par l’épistémologie contemporaine à la caractérisation de la science associée aux trois maîtres mots que sont décrire, comprendre et expliquer. L’analyse d’une entrevue qualitative vient ensuite illustrer les opérations en vertu desquelles expliquer devient possible dans cette discipline, dès lors susceptible d’être considérée comme une science, elle-même conçue comme une connaissance par objet, par concept et par méthode.

The purpose of this research is to study an analysis of figurative language in poetry. People are interested in reading literary books because reading literary books makes them to understand about life, human and nature. Reading literary books can get pleasure. The language used in poetry make more complex. Figurative language can make create interesting poetry. It is important to know the meaning of poems. Sometimes people read poetry without understanding the meaning conveyed. Poetry is a collection of words that express emotions or ideas into a literary text. In poetry there are many elements of language. English poetry can help students to improve their vocabulary skills. Poetry improves skills in listening word for word conveyed from the reader of the poem. Poetry analysis examines the elements of language to understand literary works as a whole. Analyzing a poem line by line allows you to learn about its structure, form, language, metric patterns, and themes. Hopefully this research can be widely accepted so that readers will be interested in knowing more about poetry and it is nuances

How can a poem be true? This autoethnographic study uses poetic inquiry to explore the boundaries between fiction and reality within poetic experience. A series of poems composed during, and about, the current COVID-19 pandemic, provides a means of understanding the experience of having one’s everyday reality overturned by crisis. A central theme of the author’s poems and accompanying reflections is how art can be used to explore psychological experiences, such as melancholia and depression, and, in turn how the experience of suffering can be used to facilitate artistic expression. Using poetic inquiry, the author examines the complex interplay between speaker and authorial intention, fiction and truth, text and the performance of writing, reading, and poetic interpretation.

Many studies have shown the double processing of negation, suggesting that negation integration into sentence meaning is delayed. This contrasts with some researches that have found that such integration is rather immediate. The present study contributes to this debate. Affirmative and negative compound sentences (e.g., “because he was not hungry, he did not order a salad”) were presented orally in a visual world paradigm while four printed words were on the screen: salad, no salad, soup, and no soup. The eye-tracking data showed two different fixation patterns for negative causal assertions, which are linked to differences in the representation and inferential demands. One indicates that negation is integrated immediately, as people look at the explicit negation (e.g., no salad) very early. The other, in which people look at the alternate (e.g., soup) much later, indicates that what is delayed in time is the representation of the alternate. These results support theories that combine iconic and symbolic representations, such as the model theory.

Objectives This article presents the findings of a pilot study situated in a tertiary care cancer centre and examines the impact of an art therapy group on the experiences of women living through breast cancer. Study design The study design used in this study is a qualitative cross-case comparative case. Methods Ten women were interviewed about their experiences making art, many for the first time. Interviews were transcribed and analysed, along with the participants’ artist statements. Results Categories include the following: the significant benefits of art therapy on their sense of self-efficacy; the emotionally enhancing nature of making art for the first time; the power of their artwork to trigger insights about themselves (including subcategories of self-actualization, existential growth, and post-traumatic growth) or in communicating their experiences to loved ones; and how making art changed their worldview and life philosophies, creating doorways of possibilities. Conclusion This study suggests that art therapy provides a safe context to reflect on profound personal changes and to re-story losses following adversity through creative practices as a dimension of care.

Compound word is defined as combination two or more words and it will produce a new meaning. Generally, compound word is existed in many languages such as English, Mandarin, Arabic and others. Although, there are discussion of existing methods to detect compound word yet some limitations on detecting Malay compound word. Thus, this study is done to improve accuracy towards adjective compound words. Training data is used in this study was Malay story books. Digitization data of Malay story book is used in this study. Then, the pre-processing method involved tokenization, stemming, bi-gram and part-of-speech (POS) tagging has been applied to produce the candidate compound word. Applying the enhanced syntactic rules shown the precision result is 70.3% through this study. Thus, this study will contribute to the academic research in improvise the issues on searching and document summarization application.

English handbooks used in High schools fill with literary works. It is either in poem, prose, or drama. These literary works are human’s creatures both in spoken and written language which fills with implicit meaning beneath the stylistic language used in that literary works. Besides, semantics is a branch of linguistics that studies meaning. This study aimed to find out problems faced by students in the analysis of the semantics meaning of literary works found in English handbooks. This study applied the qualitative descriptive method. The result showed that the problems faced by students lied beneath the determination of semantics meanings and their types found in words, phrases, clauses, and sentences in literary works.

No presente trabalho discuto o conto-depoimento “ancinho” e a imagem que corresponde a um suplemento, ambos integrando a obra Catálogo de perdas (2017), de João Anzanello Carrascoza e Juliana Monteiro Carrascoza, a partir de alguns operadores dos estudos de intermidialidade (HUTCHEON, 2013; GUADREAULT; MARION, 2012; RAJEWSKY, 2012). Apresento uma descrição sumária da composição da imagem, a partir de alguns conceitos da fotografia (ERHLICH, 1986; SANTAELLA; NÖTH, 2001; BERGER, 2017), bem como dos elementos narratológicos do conto (Genette, 2017; Franco Junior, 2009), a fim de evidenciar aspectos da transposição criativa e interpretativa. Considerando um elemento paratextual/epitextual (GENETTE, 2009), presente ao final da obra, que opera como uma espécie de legenda (CARRASCOZA, 2017) é possível aventar a hipótese de que o material de expressão da adaptação – as diferentes mídias -, corresponda a uma ordem midiática de diferentes modos de engajamento – contar, mostrar e interagir (HUTCHEON, 2013) e seus efeitos de sentido, como a memória e os afetos.