Institut für Deutsche Sprache (IDS) Mannheim
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Old masters and new frameworks : a pilot analysis of selected semantic changes in the field economy
(2003)
Judging by appearances : a study of human-oriented metonymic developments in the domain of dress
(2008)
For reasons of space, we only discussed one text in which the metaphors used seem to take their root in the context in which it has been written. One text is definitely not enough to make any definite claims on how widespread this phenomenon is. Given what we know about the two domains - Food and taste - one has reasons to believe that when speakers/conceptualisers (e.g. journalists) describe something which stands in some relation to both, they may intuitively be reaching for taste metaphors of the kind described above on the premise that this kind of ‘ornamentation’ will add some spice to what the addressee might otherwise consider a trivial (and boring) topic. At the same time, taste is only one among many properties a particular item of food or a substance (e.g. sugar) has. In consequence, one may well imagine contexts in which it is not its taste, but other properties (e.g. what Harbottle [1997:183] refers to as its 'pure white and deadly’ image) that will make the conceptualiser reach for a particular linguistic or conceptual metaphor.
Metaphorical awareness of the native speakers of English in the conceptualisation of happiness
(2000)
Metaphorization and selected translation techniques : the case study of "National Geographic"
(2008)
Translation is a very broad, complex and multi-faceted phenomenon, encompassing much more factors than it seems at first glance. It is not just copying the words from the original work while changing the language, but it consists of a careful selection of appropriate phrases and expressions, combining them together in a skillful way while taking into consideration numerous aspects, one of them being the text type. The purpose of this article is, therefore, to present various text typologies and text types, specify their implications for translators and determine the role of the correct recognition of text type in producing a successful translation. This will be done on the assumption that a text type is one of the basic factors that allow the translator to recognise the function and purpose of the text as well as the author's intention. Thus, depending on the nature of these, the translator will inevitably resort to different techniques and strategies in order to successfully render the source text. Therefore, identifying the text type also helps the translator to select the appropriate translation strategy.
In the sections that follow we shall be concerned with analyzing the semantic evolution of the noun cheek in the history of English. The semantics of the lexical item under scrutiny will be examined with reference to its two aspects, that is (1) the semantic potential of the analysed lexical unit in its primary, etymological sense (sense A) and its secondary senses (senses B > E), (2) as well as the secondary senses emerging from various phraseological units which echo the nominal sense B (henceforth B-related senses). The analysis proposed here continues the area of research initiated in Wieclawska (2009a, 2009b), Wieclawska 2010, Kleparski and Wieclawska (2010) and Wieclawska (2011), the target of which are semantic changes and phraseological productivity of lexical items variously related to the conceptual macrocategory BODY PARTS. The methodological apparatus employed here is the one that follows the theoretical frames developed by, among others, Kleparski (1996, 1997, 2002), Kieltyka (2008, 2010) that may be referred to as representing much cognitivistic spirit of semantic analysis.
Several phenomena associated with the differences in the performance of novice interpreters and semi-professionals have been discussed in the paper. Particular emphasis was placed on the occurrence of imported cognitive load which strongly influenced the performance of the subjects also in places where no intrinsic difficulty had been detected. Nevertheless, too little evidence was provided to establish a more detailed pattern of imported cognitive load, which was due to the limited number of participants in the study. It would be possible to obtain more detailed data and comments from the participants by means of interviews conducted individually with the participants. It would allow asking detailed questions to the participants, which might be a more reliable method than the immediate retrospective accounts. Moreover, in the present study such variables as gender differences, age differences and the possible influence of other foreign languages were not taken into account. Perhaps these variables might shed some light on the issue of the management of cognitive resources. Also, the corpus gathered for the present study may be used for the investigation of other aspects of the SI performance.
In this paper I tried to demonstrate that the British films depicting football hooliganism could be viewed as glorifying violence. A considerably great number of scenes and a great amount of time devoted to the presentation of violence, together with the unpunished, painless and heroic aspects of such presentations are just one side of the glorifying coin. The other side is occupied with the deeper meaning of particular scenes or the general overtones of the films which seem to develop a tendency to present a hooligan firm as a family-like community that offers happiness and produces a strong feeling of belonging and solidarity that adds spice to the boring working or middle class life. Violent confrontations are depicted as a source of pleasurable emotional arousal that surpass other forms of enjoyment. Moreover, confronting other hooligans helps hooligans to construct hard masculine identity based on physical prowess. Finally, being a good fighter is a fast track to earning a reputation that provides hooligans with a sense of power and importance. Real hooligans starring in the films, thus potentially encouraging viewers to become “wannabe warriors”, is also of great importance. However, the way the audiences react to the on-screen presentation of violence with all its aspects is a topic for much broader research.