The precedent phenomenon is estimated as a productive source for creating the language game in the headlines of political media discourse. Headlines based on a language game draw the attention of the reader more quickly. There are often used precedent phenomena, understood as culturally loaded signs, known to a major part of the representatives of the same national community. That is a precedent phenomenon that may serve multiple purposes. We have focused on its effect applied in the headings. The coincidence of the background knowledge of the author and the reader contributes to the hidden influence on the images of politicians formed in the mind of the reader.
The aim of this paper is to overview the presence of catastrophes in game worlds and, in particular, to investigate what they can tell us about real catastrophes. To this end, we present a semiotic typol-ogy of catastrophes, confronting them with epistrophes and apostrophes and further articulating them relative and absolute cessation events. Then we highlight the long-standing relationship between playfulness and disasters in literature, cinema and video games underlining how the suppos-edly opposite characteristics of the two are, in fact, a very productive cultural trope. To conclude, we look into some examples of catastrophes in game worlds, both relative (such as the “corrupted blood incident” in World of Warcraft) and absolute (the end of the worlds in StarWars Galaxies and Matrix Online).
The article examines the individual and social, practical, and theoretical presumptions (“idols” and “beliefs”) that constitute the conscious and unconscious re-construction of the social reality and reality of different conventional sign systems that represent and are represented by society. It is shown that in everyday life and in theoretical studies, we quite often analyze sign systems as if they were autonomous and empirically “given” realities. The work explains how this “natural belief” originated and developed. It is argued that conventional sign systems cannot be reduced to the reality of material “sign vehicles” because in society, sign systems are both subjective and objective, internal and external, and process and object.
The Hittite grammar is characterized by a morphosyntactic split that affects the behaviour of the inflectional classes of Noun phrases (DPs). While a singular neuter transitive subject is marked by /-anza/suffix, commons DPs end with an /-š/mark. In addition, intransitive neuter subjects and neuter objects pattern in the same way, marked by /-ø/, while in commons the object role is marked by an /-n/ ending, which distinguishes it from the subjects. The aim of this paper is to investigate over a possible definition of split ergativity in the Hittite grammar.
A description of living systems is still a topic of discussion among a number of disciplines. By an evaluation of the approaches, we get to an axis differentiating those that are indisputable in sense of dealing with verifiable and measurable phenomena. We thus also get to approaches that integrate particular extensions when dealing with the possibilities to describe living systems and processes. It is a task for biosemiotics to find connections of these approaches and thus ways to enrich each other or simply describe phenomena to the widest extent possible. One of the authors whose work is permeated by this idea is Howard Pattee. Inspired by his work, we discuss the options of description when talking about living systems and semiotic apparatuses. We do so by a formulation of two viewpoints that differ in questions of contextual dependency, interpretation and necessity of the existence of an autonomous agent as indispensable elements for the description of life phenomena.
In order to demonstrate an aspect in which the novel is relatable to the canon of absurdism and enrich the view of dimensions in which it functions, the purpose of the following article is a reading of Flann O’Brien’s The Third Policeman in relation to the Absurd as an ontological category of existentialism and absurdism. Firstly, some assumptions already made on account of the novel are introduced. Secondly, the relevant and chosen characteristics of the Absurd are summarized in relation to Kierkegaard’s and Camus’s conceptions of the Absurd. Then, the novel is interpreted in relation to the insufficiency of human knowledge and rational thought in terms of achieving comprehension transcending existence. Lastly, the novel is interpreted in relation to the narrator’s fear of death, with death as an element transcending existence and adding to its irrationality. Overall, the way in which the novel depicts a specific contraction resulting in the Absurd is illustrated.
This paper deals with a psychoanalytic interpretation of the titular story. It is part of the first volume in the Hungarian anthology series entitled Night Zoo – An Anthology of Women’s Sexuality (‘Éjszakai Állatkert – Antológia a női szexualitásról’). The analysis focuses on the story Night Zoo (‘Éjszakai Állatkert’) written by Zsófia Bán according to Freud’s personality theory. The theory regards our psyche as divided into three parts. The id is the instinctual part of our mind that represents our sexual and hidden desires, the superego contains the moral conscience and the norms, and the ego mediates between the wishes of the id and the rules of the superego. The chosen short story seems to revolve around unfulfilled love between two people. But after critical reading, it is obvious that this is not a love story of two people, but the relationship lies between the narrator and her unfulfilled desires. There is an immense conflict between instincts and social expectations. The narrator’s id has a desire; she just wants to be happy and have harmony in her life. But the superego does not allow her to fulfill the desire. The ego is therefore instrumental in deciding what the correct decision is.
This research study focuses on a social semiotic approach to Ismail Kadare’s novel The Palace of Dreams. The novel was chosen for study and analysis because it is considered to be one of the Kadare’s most important works. The Palace of Dreams reflects many aspects of Albanian society including governmental abuse of power during the period of the communist regime. The analysis of literary space in this novel focuses on locating the literary discourse in the text and the spaces of the text that produce discourse with their shape, presence and extension. The purpose of this research study is to see how and in what way meaning is conveyed through spaces, and also how and in what shape it serves the comprehensive ideas of the novel. Our purpose is not only to highlight the values of this novel, but rather enable to understand the great importance that space plays in people’s work environments and in their private lives (the characters), and how crucial the space is for their lives and destinies.
The present study focuses on the tales of Hungarian-Roma writer Magda Szécsi, which were studied using the content analysis method. This study constitutes part of a larger research project that aims to provide methodological guidance for the integration of Roma pupils in schools that use Hungarian as the language of instruction. The types of function of primary socialization and the types of intra- and extra-familial interaction are illustrated via examples in the study. The motifs of happiness, anxiety, anger and misery in the tales of Magda Szécsi’s two books, Madarak aranyhegedűn (Birds on the Golden Violin ) and Az aranyhalas lószem tükre (Mirror of the Horse Eye with the Gold Fish ), are analysed in light of the aforementioned aspects. I applied the research method of qualitative content analysis and explained the forms of happiness and unhappiness in the books. There are many examples in the tales under discussion of the conditions of happiness and the reasons for misery in Roma culture. The three components determining the characters’ happiness or unhappiness are faith in God, idolatry and Gypsy law.
As a metaphysical poet, Richard Crashaw (1613-1649) is recognized for his stylistic experimentation and deep religious faith. In the course of his short life, he became a fellow at Cambridge, was later introduced to Queen Henrietta Marie, Charles I’s wife, in France after his exile during the Interregnum, converted to Catholicism from Anglicanism and was highly influenced by Baroque poetry and the martyrdom of St. Teresa of Avila in his style and themes. He is a poet with a “most holy, humble and genuine soul” and in the last six years of his life, which coincided with a period of great crisis in both personal and professional spheres, he worked intensively on the religious phase of his literary career (Shepherd 1914, p. 1). He reflected his devotion to St. Teresa and to God in his religious poems. Within this context, this study analyses Crashaw’s two Teresian poems, “A Hymn to the Name and Honour of the Admirable Saint Teresa” and “The Flaming Heart” featuring the themes of the quest for divine love and unification with the divine along with Crashaw’s divergence from other metaphysical poets, his affection for the European style(s), and his religious views concerning both his country and other countries in Europe.