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Irina Kolegaeva and Lesia Strochenko

.М. Вопросы литературы и эстетики . Москва: Художественная литература. Bakhtin, M.M. (1979). Aesthetics of verbal creativity. Moscow: Iskusstvo. / Bakhtin M.M. Estetika slovesnogo tvorchestva . Moskva: Iskusstvo. / Бахтин M.М. Эстетика словесного творчества . Москва: Искусство. Barthes, R. (1989). Selected works: Semiotics: Poetics. Moscow: Progress. / Bart R. Izbrannyye raboty: Semiotika: Poetika. Moskva: Progress. / Барт Р. Избранные работы: Семиотика: Поэтика. Москва: Прогресс. Berdayes, V. (2018). Communication theory after the administered

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Dorota Kuncewicz, Ewa Sokołowska and Jolanta Sobkowicz

York: Oxford University Press. Narrative Inquiry (2006). Special Issue: Narrative - State of the Art’ (Ed.) Michael Bamberg, 16 (1). Norrick, N. R. (2008). Discourse and Semantics. In: D. Schiffrin, D. Tannen & H. E. Hamiton (Eds.). The Handbook of Discourse Analysis. London: Blackwell, 76-99. Okopień-Sławińska, A. (1987). Relacje osobowe w literackiej komunikacji [Personal relationships in literary communication.]. In: H. Markiewicz (Ed.). Problemy teorii literatury. Seria 2. Prace z lat 1965-1974 [The

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Yakiv Bystrov and Diana Sabadash

References Bara, B. G., Tirassa, M., 2000. Neuropragmatics: brain and communication. Brain and Language , vol. 71, no. 1, pp. 10-14. Bara, B. G., 2010. Cognitive pragmatics: The mental processes of communication (translated by John Douthwaite). Cambridge: A Bradford Book. Bortolussi, M., Dixon, P., 1996. Literary communication: Effects of reader-narrator cooperation. Poetics , vol. 23, pp. 405-430. Bystrov, Y., 2014. Fractal metaphor LIFE IS A STORY in biographical narrative. Topics in Linguistics , vol. 14, no. 1, pp. 1

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Linguaculture

The Journal of Linguaculture Centre for (Inter)cultural and (Inter)lingual Research, Alexandru Ioan Cuza University of Iasi

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Oana Babîi

Works Cited Abrams, M.H. A Glossary of Literary Terms . Boston: Thomson Wadsworth, 2005. Print. Anolli, Luigi, Rita Ciceri and Maria Giaele Infantino. “Irony as a Game of Implicitness: Acoustic Profiles. of Ironic Communication.” Journal of Psycholinguistic Research . 29. 32000: 277-279. Print. Barbe, Katharina. Irony in Context. Amsterdam/Philadelphia: John Benjamins, 1995. Print. Booth, Wayne C. A Rhetoric of Irony. Chicago: The University of Chicago Press, 1974. Print. Chomsky, Noam. Syntactic Structures . Berlin, NW

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Andrea Pinotti and Massimo Salgaro

theoretical look at the identification of audiences with media characters. Mass Communication and Society, 4 (3), 245–264. Coplan, A. (2004). Empathic engagement with narrative fictions. The Journal of Aesthetics and Art Criticism, 62 , 141–152. Coplan, A. (2011a). Understanding empathy. Its features and effects. In Amy Coplan & Peter Goldie (Eds.), Empathy: Philosophical and psychological perspectives (pp. 3–18). Oxford: Oxford University Press. Coplan, A. (2011b). Will the real empathy please stand up? A case for a narrow conceptualization. The

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Carol Thompson and Michael Kleine

). Perceptions of communication behavior associated with relationship terms. Communication Monographs, 47, 262-278. Knapp, M., & Vangelisti, A. (1992). Interpersonal communication and human relationships. (2nd ed.). Boston: Allyn & Bacon. Kertész, I. (2004). Fatelessness (Tim Wilkinson, Trans.). New York, NY: Random House. Lewis, C. S. (2015). The New York C.S. Lewis Society. Retrieved from http://www. nycslsociety.com/books.html. Pearce, W. B., & Cronen, V. (1980). Communication, action and meaning: The creation

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Magdalena Popiel

Summary

This article is concerned with the role of the literary and the photographic portrait in the cultural history of literature. It argues that a new appraisal of the history of literature should take into account the prominent role of pictorial representation in contemporary culture. In practice, getting to grips with the multimediality of literary history means not only taking note of the interaction of various modes of communication but also adopting a nonlinear perspective, liberated from the ordering hegemony of language and narration, and based on the rhythm of Warburg’s formulas of pathos. The new approach should draw freely on inspirations from the history of art and anchor its discourse in the conceptual frameworks of anthropological aesthetics, Visual Culture Studies and case studies. One can expect that it would show its exceptional worth when applied to the study of multimedia artists like Stanisław Witkiewicz and Stanisław Ignacy Witkiewicz.