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Der vorliegende Beitrag fokussiert sich auf die Widerspiegelung der Konzeptualisierung der Emotion "Ärger" in bildlichen Ausdrücken (Metaphern und Metonymien) des Deutschen. Nach einer Einführung in das Forschungsthema "Sprache und Emotionen" aus linguistischer sowie emotionspsychologischer Perspektive und der Klärung des dem Beitrag zugrundeliegenden Metaphernverständnisses wird auf die Frage eingegangen, wie ausgewählte Aspekte der Emotion "Ärger" im Deutschen versprachlicht werden, welche Rolle dabei Metaphern bzw. Metonymien spielen und um welche konkreten Metaphern und Metonymien es sich bei den einzelnen Aspekten handelt.
The contribution deals with a selected lexical field related to the emotion 'anger'. It is treated from a German-Czech perspective and with respect to its underlying psychological aspects. It begins by investigating the nature of lexical fields, and explains the framework of the chosen field in terms of its content and form. On this basis the author tries to find an answer to the question whether this particular field can in fact be considered to be a lexical field. In conclusion the paper discusses the question of whether psychological findings on emotions generally, and on the emotion of 'anger' in particular, can be of help in establishing both an outer delimitation and an internal structuring of the field.
Angst in der Jugendliteratur : eine Fallstudie am Beispiel des Romans "Rotkäppchen muss weinen"
(2011)
Using the example of Beate Teresa Hanika's debut novel 'Rotkäppchen muss weinen', the author demonstrates how the basic emotion of fear is manifested in literature for young people. The article presents both the ways in which this emotion is depicted explicitly and the ways in which it is implicitly thematized on several levels of language. In conclusion, drawing also on a previous study of the manifestation of fear in children’s literature, the author addresses the question of whether there are differences in the expression of fear depending on the age of the producers and/or receivers.
Příspěvek se zabývá emocemi smutku a zlosti v liturgickém textu na příkladu přeloženého liturgického textu (Svatá liturgie Jana Zlatoústého, překlad A. Malceva) z církevní slovanštiny do mčiny. Teoretickým východiskem jsou práce domácích i zahraničních lingvistů.
This paper focuses on the emotion fear in film reviews of horrors and thrillers. The author analyzes the texts of three German and Czech reviews of the films 'The Ghost Writer' (Roman Polanski) and 'The White Ribbon' (Michael Haneke) to determine which linguistic means are used by the reviewers in their description and interpretation of the films in order to describe and evoke an atmosphere of fear.
This paper addresses the means of expressing emotions in internet discussion forums focusing on issues of death and dying; these issues are to a large extent considered taboo in society. The death of a loved one is a highly intense emotional experience. The analysis takes into account the verbal and non-verbal means of expressing grief, various levels of emotionality, and also the cognitive concepts forming the basis of metaphorical expressions that are closely connected with death and dying.
The article deals with the analysis of linguistic structures which are used in the language of contemporary drama to intensify the expression of emotion. A corpus of four postmodern dramas was compiled for this purpose: 'Tätowierung' by Dea Loher (1992), 'Herr Kolpert' by David Gieselmann (2000), 'Schwimmen wie Hunde' by Reto Finger (2004), and 'Ein Teil der Gans' by Martin Heckmanns (2007). The article is based on the hypothesis that the emotional level of a text can be expressed via linguistic means displaying strong intensity. A theoretical justification of this hypothesis is followed by the analysis of the corpus texts.
The article deals with emotionality in marginal (disjunct or adjunct) syntactic structures. This issue is explored in the text of the first German translation of Karel Čapek's novel 'Hordubal', in which it is a characteristic feature. The analysis shows that those parts of the text expressing emotionality feature particularly right dislocation (with structures known in German as Nachtrag, Rechtsversetzung and Ausklammerung); the emotional content of these syntactic structures is frequently intensified by their expressive lexical form.