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The problematic field of the article focuses on aspects of genre and style transformation of well-known musical content that is recognizable and stylistically significant. In contemporary non-academic art, the established semantics of the original source is subject to change under the influence of a new creative rethinking, the possibilities of which are only increasing in the context of the technologies of the twenty-first century. These possibilities are embodied in various visual formats: from direct citation to borrowing or processing with its variations. The relevance of this topic lies in the need to study the phenomenon of citation as such, as well as to research and systematize other means of genre and style transformation of musical material. The direct object of the study is mostly music of the so-called “light” genres, music of mass culture, due to more mobile, transparent and visual observation opportunities. The author offers a self-made classification of possible methods of borrowing someone else’s text as a means of compositional technique, as well as of individual genres: cover, remake, borrowing, allusion, sampling. In the context of the study of the phenomenon of “musical text”, the peculiarities of realization and perception of the artistic and integral result are traced. As a result, several types of citation that have become widespread in contemporary music are distinguished.

The problematic field of the article focuses on aspects of genre and style transformation of well-known musical content that is recognizable and stylistically significant. In contemporary non-academic art, the established semantics of the original source is subject to change under the influence of a new creative rethinking, the possibilities of which are only increasing in the context of the technologies of the twenty-first century. These possibilities are embodied in various visual formats: from direct citation to borrowing or processing with its variations. The relevance of this topic lies in the need to study the phenomenon of citation as such, as well as to research and systematize other means of genre and style transformation of musical material. The direct object of the study is mostly music of the so-called “light” genres, music of mass culture, due to more mobile, transparent and visual observation opportunities. The author offers a self-made classification of possible methods of borrowing someone else’s text as a means of compositional technique, as well as of individual genres: cover, remake, borrowing, allusion, sampling. In the context of the study of the phenomenon of “musical text”, the peculiarities of realization and perception of the artistic and integral result are traced. As a result, several types of citation that have become widespread in contemporary music are distinguished. [ABSTRACT FROM AUTHOR]

Concepts of experimentation and measurement are explored using statistics educational fun items and illustrated by sharing our process in conducting an experiment on cartoon captions. [ABSTRACT FROM AUTHOR]

In this paper, we analyze the role that trades and quotes play in price discovery. Based on tick‐level data for CSI 300 stock index futures, we find that the contribution of quotes to price discovery does not differ from trades at low resolutions, but dominates at high resolutions. This difference is influenced by spreads and volume. Further analysis reveals that the intraday price contribution of quotes and trades is trending downward, up to 31% in the first half‐hour. The adverse selection and liquidity supply cost components of spreads significantly contribute to and dampen the difference in intraday contribution, respectively. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ruch Prawniczy, Ekonomiczny i Socjologiczny (0035-9629) is the property of Adam Mickiewicz University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is devoted to the problem of intertextuality in native commercial advertising as one of the most modern technologies for promoting goods and services on the market. The types of intertextual inclusions in the international glossy magazine Tatler” is systematized in the paper and their functional potential is described. The choice of the research source is due to the significant influence of transnational media on the process of homogenization of cultural pictures of the world of different ethnic groups and the prototypical nature of the journal as an encyclopedia of the lifestyle of a successful person. It is proved that the native advertising discourse of “Tatler” magazine is characterized by the presence of a complex system of verifiable intertextual units, including quotes from fashion designers, models, actors, etc., transformed and non-transformed text applications from different source areas, precedent names, hashtags with an allusive function. It is noted that the analyzed units are multifunctional and perform informative, attractive, expressive, suggestive, compositional-playing and other functions. The author comes to the conclusion that the whole system of intertextual inclusions of “Tatler” native advertising is aimed at creating and maintaining a myth about the existence of a special “Tatler man” in the visually aesthetic world of luxury, whose image becomes a tool for forming the social status identity of the addressee of the advertising message.

Intertextual inclusions (quotations, reminiscences, allusions) functioning in Russian spiritual epistolary communication are considered. Their types are presented: biblical (Old Testament and New Testament), patristic, prayer, hymnographic (from psalms and akathists), hagiographic. Their main functions are indicated: meaning-forming, argumentative, prescriptive, evaluative, syndicative, aesthetic. Based on the material of the letters of Russian church writers of the 20th century, the features of the use of intertextual inclusions from Christian texts that have become part of the spiritual heritage are shown in the church-religious style. The following features were revealed: (1) formation of meanings with the help of quotations, reminiscences and allusions, connected with the spiritual education of the addressee, his moral perfection, the creation of an inner man in himself, strengthening in faith, the study of the foundations of Christianity, the knowledge of church Orthodox life; (2) focus on Christian values: the gospel commandments, the doctrine of salvation, Christian virtues, and others; (3) prescribing perfection in acquiring mercy, humility, patience, obedience, sobriety, non-possession, repentance and other virtues, fighting sins, reading the Gospel and the writings of the holy fathers; an expression of evaluation of sweat in relation to sins and virtues, issues related to spiritual education and development, the fulfillment of church rules and Christian commandments, the achievement of soul salvation, following the instructions of confessors; (4) creation and strengthening of a common spiritual and religious space through the implementation of the iconic function of intertextual inclusions.

Copyright is still on its way to legalizing a lot of homework to be done. One of these jobs is to protect the economic rights of cited sources for commercial use. So far, the copyright law has not specifically regulated this matter. The law does not even protect the economic rights of citation sources quoted for commercial purposes. This study formulates the problem (1) how is the current legal protection regarding copyright for written works? and (2) how the legal protection should be regarding copyrights for excerpts of written works. The aims of this research are (1) to find out the current legal protection regarding copyright for citations of written works; and (2) formulating the legal protection that should be on copyright for excerpts of written works. The method used in this research is using normative juridical research. The conclusion in this study is to answer the formulation of the problem.

The article examines the linguopragmatic capability of quotes and sayings from the bard songs, which have become one of the sources to replenish the intertextual database of Russian culture. The analysis of intertextual units (logoepisthemes, precedent phenomena, etc.) and their functional features is one of the topical issue for the modern communicative-pragmatic approach to language. The material for the research was socio-political newspaper and magazine articles with fragments from Yuri Kukin's song Za tumanom. The inclusion of these fragments in the intertextual database is evidenced by the absence of references to the author and quotation marks. The article gives the socio-cultural and linguistic characteristics of quotations, examines their semantic, stylistic and structural transformations in media texts. The popularity of the phrases is due to the historical and cultural signifi cance of the song and timeless life philosophy presented in the songs lyrics. It provides the representative scope of quotes and catchphrases that are used by journalists as illustrations of culturally signifi cant phenomena and help to draw analogies that determine the interpretation of newspaper material. It has been established that the lyric and poetic nature of the refrain, the colloquial coloration of the beginning, as well as the self-irony of the lyrics allow journalists to use quotes from the song in a wide range of contexts that diff er from thematic and stylistic points of view. Quotes from the song are used in newspaper and magazine publications to create diametrically opposed stylistic connotations from sublime to rude swearing. It was revealed that the linguopragmatic capabilities of quotations are enhanced by their semantic and structural transformations. The refrain of the song is most transformed songs part in the media texts. The following types of its semantic transformation were identifi ed: semantic simplifi cation, universalization and literalization. Among the structural transformations are lexical and grammatical transformations, the contamination of quotations and the isolation of the key component. The research allows to clarify the lexicographic data and enhance the understanding of the bard song as a source of logoepisthems and precedent phenomena in modern language practice.

A study is presented on the use of content curation in the publications made by the scientific Ibero-American journals of Communication in their social networks. The reason for the research is to help better understand the characteristics and forms that content curation can take on by a scientific journal on its social networks. It is a descriptive investigation, which is based on the research techniques of the content analysis of the selected products, combining a quantitative approach of the presence of the items, and a qualitative approach in terms of its analysis and the extraction of data examples of good practice. The results show the degree of presence of Ibero-American Communication journals in social networks, the level of implementation of curation in their publications, their main themes and techniques and a series of examples of good practices that can serve as references for other journals. Among the conclusions are the low presence in social networks of the journals studied, the high presence of curation in their publications about the contents of the last issue published as well as various advertisements as major themes, and the prominence of Commenting and Summarizing as techniques of curation. [ABSTRACT FROM AUTHOR]

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La cita y el nombre propio son elementos autotélicos de la escritura que señalarían la inexistencia de un afuera del texto y resultan dominantes en las estéticas de dos autores separados por la bisagra del siglo xx y las vanguardias: Lucio V. Mansilla y Ricardo Piglia. Como no puede obviarse que parte de la crítica actual del primero ha tendido a emparentarlo con los problemas literarios de nuestro tiempo, aprovechando la realidad del ejercicio de la interpretación actualizante, planteo la hipótesis de la continuidad entre los principios textuales de ambas obras. The quote and the proper name are autotelic elements of writing that point out the inexistence of something “outside of the text”. These are dominant components in the aesthetics of two authors separated by the twentieth century and avant-garde’s hinge: Lucio V. Mansilla and Ricardo Piglia. Considering that it is not possible to omit that a portion of the current critique of the first one has tended to link him with the literary issues of our time, taking advantage of the reality of updating interpretation practice, I consider the possibility of a continuity between these two writers’ textual principles.

The article is dedicated to the study of the intertextual relationship between the texts of the Gospel (as a source text) and hymnography (as a recipient text) using the example of the singing cycle of one of the most important feasts of the annual liturgical circle of the Orthodox Church — the Transfiguration. The work presents in detail the ways of translating gospel quotes, as well as their singing interpretation.

The paper examines the history of the phrase “in memory of Herzen”, which became the title of a number of journalistic and poetic works. The origin of this formula and the reasons for its transfer from the days of memory (anniversaries of death) to the birthdays of A.I. Herzen are found out. The study of this story allows determining the historical significance of the article by the founder of this tradition, A.G. Gornfeld, whose legacy has not yet received an adequate assessment in the literary history. In the course of the study, the author clarifies and refines the literary biographies of other authors who also used this formula: the practically unknown “populist” poet S. Ivanov-Raikov and the “social democratic” publicist N.N. Kuzmin. The reconstruction allows seeing the real role of the article “In Memory of Herzen” by V.I. Ulyanov-Lenin, the value of which in the 1940 –1970s was unlawfully exaggerated, as a result of which the historical perspective in the study of many literary phenomena and, first of all, the assessment of A.I. Herzen’s activities were distorted. All this leads to an adequate interpretation of N. Korzhavin's poem dedicated to the topic, which for many generations has been the ideological key to describing the place of A.I. Herzen in the social and literary movement of the 19th century. At the end of the paper, it is concluded that the historical, cultural and literary heritage acquires significance only in the context of modernity, but politics and journalism seek to unfold the legacy of the past in their specific pragmatic interests, and even history seeks to see a lesson in the past, although addressing it not to a particular group of people, but to the modernity as a whole. Literature does not have such pragmatic interests, but it attracts modern human with the charm of the personality of past centuries, and that’s what makes its irreplaceable significance.

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The paper examines various aspects of the perception of I.S. Turgenev’s personality and works by Mark Aldanov. The reception of Turgenev in Aldanov's work has been studied diachronically: from mentioning the characters of the novel “Rudin” in the journalistic book “Armageddon” to reviews of the émigré editions of Turgenev's works and criticism in the philosophical dialogues “Ulm Night”. The reasons for Aldanov’s irony towards some of Turgenev's works, called by him the “chocolate factory”, are investigated. Aldanov's position is largely due to the principles of the cultural-historical method. Aldanov explains Turgenev's artistic failures by mistakes in a constant search for an adequate form for expressing rich content. Aldanov tries to be an objective, well-reasoned critic, but he correlates the shortcomings of Turgenev's style with the advantages of L.N. Tolstoy’s style. At the same time, Aldanov is concerned of Turgenev’s “failures”, praising him as one of the five best authors of the “golden” age of Russian literature and an original European intellectual. Aldanov mentions Turgenev in his journalism, criticism, correspondence, uses Turgenev's motives and quotes in his own fiction. The paper describes the novels “The Story of Death”, “Delirium”, “Suicide”, in which Turgenev's biography, images of Turgenev's works are embedded in the life of Aldanov's fictional characters. The kindness and morality of Turgenev's characters, the delicacy of the writer’s discourse enter the moral world of Aldanov's characters. For almost 40 years Aldanov quoted Turgenev's works and letters and used the images of his novels and stories to express his own aesthetic assessment. A sense of his own place in literature gave Aldanov the right to express his opinion not only about the merits of Turgenev's work, but also about the shortcomings of his technique.

This article is devoted to Perestroika poets referring to the Pushkin text as a ‘tuning fork’ in reconfiguring poetics. The study aims to show that, in this case, intertextual connection create a special text-within-a-text. The corpus, intertextual, and compositional methods are used to analyse Pushkin-invoking texts by Yuri Arabov, Vladimir Druk, Timur Kibirov, and other poets. It is concluded that these authors perceive Pushkin’s poetry as a lexicon whose units can be used for building countless cycles of poetic reflections on the world as well as on poetry and the role of the poet. The donor text is an interlinear gloss for the recipient text. The implicit ‘alien’ and the explicit ‘own’ words merge into a single text. Perestroika poets inherit from Pushkin polystylism, a propensity to parody when analysing cultural codes and prece­dent texts, and fundamental dialogicity. Particular attention is paid to variations on the theme of Pushkin's ‘Monument’ as well as the symbolism of his name, which turned into somewhat of a common noun used to refer to any poet. The predominance of allusions to quotes in references to Pushkin points to the desire of perestroika poets engage in an equal dialogue with the national genius. At the same time, the Pushkin text becomes for them the point at which the semantic perspective of both a concrete poetic utterance and poetry as a whole is refracted.

The article is devoted to some questions of functioning of quotation units from I.A. Krylov’s fables (actually quotations, literary images, winged expressions and phraseological units created on their basis). The author's word is considered from the standpoint of intertext dynamics, taking into account the complex problems of intertext derivation associated with variation, normative mobility, frequency, segmentation, associative activity, polydiscursivity, diversity and inconsistency of illustrative contexts, types of intertextile contaminations on the background of the phraseological contamination. Intertexual energy of the fable, within the terms of the Russian verbal culture, directed from the source of morality as the foundation works to engage in explicit or implicit citation of the fragments, correlated with the narrative escorts, consequential historical events and the development of a variety of structuralsemantic paradigms and based on a specific organization of the units used. Description of intertext units can be focused on two ways of accounting and processing of material. First, it is an appeal to the “nuclear” part of the circle of verbal culture. The number of works of an author is usually relatively small, but a large number of authors themselves. In the dictionaries of the winged expressions as a whole is represented by about 50-60 dictionary entries of Krylov. Secondly, there may be publications on the intertext potential of one author, when taken into account almost all or almost everything that goes beyond the source text, the number of dictionary entries increases significantly, which allows to determine the status of the author’s idioms in the intertext picture of the world. In this case, it becomes possible to understand the citation in the broadest sense as the use of the author’s word outside the author’s text. The revised citation heterogeneous unity: idioms, actual quotes, often playing off of segments of these unities, literary images. Intertext dynamics is a functional condition for the life of this material. It is primarily numerous changes frazeological modeling, segmentation, dispersion, associative movement. It is significant that the past two centuries have shown consistent continuity and significant typological similarity in a series of endless uses of the fabled word Krylov.

When the structure“V +Yi(一) Ge(个)”expresses imperative mood, it can be divided into two categories: declara⁃ tive imperative sentences and quoted imperative sentences, which are recorded as S1 and S2 respectively. S1 does not require a trigger, but can state directly; S2 needs a trigger to expand the quotation response. S1 and S2 belong to the structure“V+Yi(一) Ge(个)”imperative sentence, and there must be many similarities, but there will also be many differences. The writer of this ar⁃ ticle first analyzes the commonalities of S1 and S2 and their respective personalities from the perspectives of syntax, semantics and pragmatics to find the evolution process between the two, and finally analyzes the reason why Ge(个)”in“V +Yi(一) Ge (个)” has the nature of a verbal quantifier. The writer comes to the conclusion that“Yi(一) Ge(个)”has a non-referential us⁃ age, which causes it to be transformed from a substance quantifier into a verbal quantifier in“V Yi(一) Ge(个)”. [ABSTRACT FROM AUTHOR]

Jokes, cartoons, songs, videos, and quotes can be useful ways to engage students in discussion and learning key concepts about polling. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Islamic Research / İslâmi Araştırmalar Dergisi is the property of Turkey Economical & Cultural Solidarity (TEK-DAV) Foundation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Prace Jezykoznawcze is the property of University of Warmia & Mazury in Olsztyn and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In a successful college can not be forgotten the existence of this one factor is the lecturer. Lecturers are the key to success in universities to educate students and students to be useful for the nation and the nation in the future. Some of the lecturers' duties include teaching, research and community service often mentioned by Tri Darma Perguruaan Tinggi. Of the three obligations of a lecturer is asked to have the ability to write skills such as Reports, Theses, Theses, Dissertations, Books, Articles and others. However, to be able to write well it is necessary to practice continuously and know the tools to write one is the tool for the citation and bibliography. Therefore required tools / applications that can help lecturers to write citations and bibliography. Mendeley is an application that can be used to write citations and bibliography but not all lecturers can use this application. Methods in an effort to improve the ability to write lecturers do with several stages of lecture training materials / workshops about the contents of the introduction of Mendeley applications and videos about the ease of using this application, Practice using Mendeley application, Provide an opportunity for participants to ask questions or discussions about the material submitted, Conducting a survey to evaluate is done by spreading Pretest & Posttest quizoner with success indicator of success level understanding of participants in this program is 80%. The result of this activity proves that the lecturer can improve his writing ability is very positive for the development of lecturers expertise in making scientific research work.

The literature of the postmodern era is characterized by a violation of traditional norms of writing. In particular, attention is focused not on the inner and outer worlds of a character, but on the very structure of the work, in the writting process of which the author uses various literary techniques that the reader relies on during the interpretation. Examples of such techniques are metafiction, intertextuality and pluralism. The most common is intertextuality, which means the reference of the author of the novel to literary works written by him or other writers. Thus, the referenced work ceases to belong to the pen of only one author. The novel "The Red-Haired Woman", based on the Greek myth called "King Oedipus" and the Iranian myth "Rustem and Sohrab", is an example. There are many works that examine the intertextual relationships that function in the novel "The Red-Haired Woman", but no clear classification has been given yet. The purpose of this article is to systematize the already acquired knowledge and classify the intertextual relations of the novel to provide a better understanding of the structure of the text by the reader. Prospects for further research lie in the analysis of intertextual connections in other novels by Orhan Pamuk or other authors of the postmodern era. [ABSTRACT FROM AUTHOR]

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Qualitative studies are often found to be accompanied by quotations from interviews or similar data sources. As with any methodological tradition, it is essential to critically explore the general principle of including quotations in scientific papers: what is the purpose and justification for including quotations? Are there standards and, in that case, what are they and what are their scientific positioning? This paper presents an overview of the somewhat diverse guidance found in the literature in reference to the representation of quotations. Yet, both students and scholars use a variety of approaches to quote from their data, ranging from presenting numerous, extensive, and/or comprehensive quotations throughout the results section to the reporting of a few particular quotations to illustrate certain aspects of the findings only. While their function may be described, scientific reasoning for using quotations is scarce. Along with an overview of the scientific background and options for including quotations in qualitative studies, we discuss the consequences of the different epistemological and methodological aspects found in the literature. In conclusion, we argue that there are incentives for promoting a more deliberate employment of references from data; deriving from the human sciences tradition, a corresponding epistemological stance would suggest that quotations preferably apply for illustrating the analysis process and/or findings, while the idea that quotations can be employed to validate findings has limited support. Further critical examination of the application of and justification for including quotations in the reporting of qualitative studies is needed among researchers, journal editors and reviewers. [ABSTRACT FROM AUTHOR]

In diesem Aufsatz diskutiere ich die Frage, ob es moralisch zulässig ist, bei der Verteilung von Positionen in der akademischen Philosophie in Deutschland partiell vom Prinzip der Bestenauswahl abzuweichen, um Frauen bevorzugt anzustellen. Für Anhänger*innen der traditionellen Sichtweise, der zufolge diejenige Bewerber*in eine akademische Position bekommen sollte, die über das meiste Potential für diese Position verfügt, wäre dies eine ungerechtfertigte Form der Diskriminierung. Ich argumentiere, dass dieser Vorwurf nicht zutrifft, jedenfalls nicht, wenn wir davon ausgehen, dass die gegenwärtige Vergabepraxis von akademischen Positionen von Phänomenen wie implicit biases und stereotype threat verzerrt wird. Um diese These einzuholen, analysiere ich das meiner Ansicht nach beste Argument, das Anhänger*innen der traditionellen Sichtweise zur Verfügung steht, und zeige, dass dieses abgeschwächt werden muss. In seiner abgeschwächten Form ist dieses Argument aber nicht nur mit der bevorzugten Anstellung von Frauen vereinbar, diese setzt sogar die Ziele, die hinter der traditionellen Sichtweise stehen, besser um als die traditionelle Sichtweise selbst.

The features of intertextemes of biblical origin functioning in the church-religious discourse on the material of O. L. Rozhneva’s stories-parables are considered. The relevance of the study is determined by the importance of studying the church-religious style, biblical themes, genre features of a story-parable. Through the use of a combination of literary and linguistic-cultural methods, the phenomenon of O. L. Rozhneva’s creativity and its place in modern Orthodox literature is revealed. The novelty of the study is seen in the author’s appeal to the previously unexplored texts of Orthodox fiction. Classification of types of intertextemes of biblical origin is proposed: intertextuality as co-presence in the same text of two or more texts (quotation, allusion, plagiarism, etc.), paratextuality as the relation of text to its title, afterword, epigraph, architextuality understood as a genre link of texts. The following functions of intertextemes of biblical origin in O. L. Rozhneva’s prose are distinguished: text formation and didactic / educational / moral; which, in turn, is divided into the comforting, claiming in faith and anagogical (that raises man above the world of mortal reality). With the help of illustrative material identification as a type of O. L. Rozhneva’s relation to the biblical text is characterized. It is proved that for this purpose the modern writer uses archetypal plots (repentant sinner, miracle of healing, prayerful help, among “own” - “alien” worlds, righteous persons, fruit of belief, a way to God, kind pastor, roads of life, etc.).

This article aims to analyze Viktor Pelevin’s collection of short stories Pineapple water for the Fair lady in the frame of intertextual theory. The analytical method used in this article is based on a typology developed by Gerard Genette. Using this typology, an analysis of transtextual connections present in the text was conducted. The analysis of paratextual connections in the texts made it possible to make an assumption that all the novels are connected by a specular structure. A closer inspection of the intertextual connection and references presented in the text established a connection with certain works of Nabokov. These references to various works of Nabokov allow to view Pelevin’s collection of short stories not as thematically disconnected narratives but as one cohesive entity.

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Our study deals with relatively short statements embedded in semiotically complex digital messages, both pictorial and verbal, which are created and exchanged by Internet users thanks to on-line generators. These messages are called internet memes (IM). We treat them as a new kind of on-line speech (determined by the so-called participatory web 2.0 digital medium), semiotically heterogeneous (both graphic and verbal in nature), putting into circulation comments on events and especially on the political word (slogans, catchphrases, slip of the tongue). These IM are subject to various verbo-graphic mutations. IM are thus endowed with a content that takes the form of a micro-political commentary, lapidary, playful and carnivalesque (Bakhtine 1970), characterised by a form of argumentation that can be said peripheral, because it refers more to the political person than to the political issues themselves (Gauthier 1992 et 1995, Amossy 1999, Perelman and Olbrecht-Tyteca 1970). IM are peripheral microargumentation acts of descriptive character, the impact of which is cumulative. In our study, we show that the funny side of the memes is a complex verbo-pictorial strategy centred on big political actors and based on the ad hominem arguments. [ABSTRACT FROM AUTHOR]

In the article on a material of modern French language the main sources of origin of phraseology-quotes are considered. The authors propose to understand by the term «idiom-quote» such idioms, derivation base of which is a verbatim excerpt from some text (poetry, prose, song, or creolized texts, in particular, advertising texts, comics, etc.), as well as utterances of characters of art and animation films, the sayings of prominent representatives of the various spheres of human activity. Idiom-quote to a certain extent can be associated with the source of language native origin, provided it is wide distributed and widely employed. Idiom-quote occupies an intermediate position in a row: catchphrase> idiom-quote> phraseological unit. Those idioms, quotations, which after a special etymological analysis and consolidation of different phrasebook refer to some sources quoted gradually make the transition into the category of phraseology, thereby ceasing to be exclusively a fact of culture and becoming a fact of language.

Studdy of ba'ooza's expository hadis in Qomi's interpretation and Pathology of it. In time lapse, some hadises effected by many damages like: paraphrasing without mentioning its qualifications, sophistication and inaccurate adjustment to the verses of Quran. these damages are prohibiting the true intellection and cause without enquire acceptance of some hadises. Therefore it is required to acceptance or rejection of the credit of it or if a hadis accepted, to get logical understanding, must research about it source and credit of it. among the hadises that some interpreters claimed that they're fake, is the hadis of ba'ooza in qomi's interpretation that say the purpose of ba'ooza in verse(Bagharah/26) is Imam Ali. another hadis which is said in Imam Askari's interpretation, some people define it as the sign of ba'ooza's fiction. in opposition, some people has been efforted to discover a relationship between these two hadises. In this article we seek for taking reasons or possibility of these hadises preferences with logical and practical documentary and the text of ba'ooza with its technical research among that creation of hadises group and textual analysis of related hadises and it is clarified that ba'ooza's hadis has been harmed from paraphrasing without mentioning its qualifications, and it caused false understanding from explanation of verse. in addition, destroying sophistication in text and dissemble in ba'ooza hadis's document are traceable and it is agumented that "ba'ooza" word adjustment to Imam as the heart of 26th verse of bagharah is incorrect and true hadis is accessible.