https://periodicals.karazin.ua/cognitiondiscourse/issue/feed Cognition, Communication, Discourse 2020-03-02T17:22:42+02:00 Шевченко Ірина Семенівна, д.ф.н. iryna.shevchenko@karazin.ua Open Journal Systems <p>International On-line Journal</p> <p>The articles of this international on-line journal address relevant issues of linguistics in the media space: semantics, pragmatics, cognitive science based on the materials of Slavic, Germanic and Romance languages.</p> <p>For linguists, educators, graduate and postgraduate students.</p> <p>Published since 2010.</p> <p>ISSN 2218-2926</p> https://periodicals.karazin.ua/cognitiondiscourse/article/view/15060 Foreword 2019-12-27T13:15:32+02:00 Francisco Domínguez Matito fd.matito@unirioja.es <p>Foreword</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15061 Enactive meaning-making in the discourse of theatre and film 2019-12-27T13:16:55+02:00 Iryna Shevchenko iryna.shevchenko@karazin.ua <p>Introduction</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15062 The textual issues of meaning-making in theatre and film: a semiotic introduction 2020-03-02T17:22:42+02:00 Peeter Torop peeter.torop@ut.ee <p>The textual issues of meaning-making in theatre and film: a semiotic introduction</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15064 Mise en scène in the original and adaptation: narrative organisation of the event in its internal symbolism 2019-12-27T13:18:27+02:00 Zoia Ihina ihina.zoia@gmail.com <p>This article explores narrative organisation of the event in the literary story <em>Nunc dimittis</em> by T. Lee and the screen version of the same name. The event in its entirety of concrete episodes is a change of states with <em>the known</em> and <em>the unknown</em> confronting each other throughout the whole narrative. The character of the known side is a young criminal, while a female vampire and her servant stand for the unknown. The literary story and its screen version (the filmic narrative) are brought to comparison in terms of <em>the</em><em> authentic retranslation</em> that reproduces the original event in another (cinematic) medium in detail, but with minor fluctuations seen in each episode separately. In the article, the mode of retranslation is shown according to the pattern <em>the original – a transponent</em>, where the original is the initial, primary work, and transponents are the products of intermedial, or extracompositional reinterpretation (in this article the only existing screen version is at issue). All adaptations, notwithstanding their number, make up the matrix of a certain narrative together with the original. The literary as well as the filmic episodes of <em>Nunc dimittis </em>resolve into three types of <em>mise en scène</em> where the latter term is defined as the elements that make up the event. The types suggested include the enclosed mise en scène keeping all the participants inside up to its end; the pass-through mise en scène that adheres to one of the characters who is in and out; the open mise en scène where the characters take turns in coming and going. Minor differences between the original and its transponent concern the symbolic load on the names of characters and their actions, which do not change, but rather amplify the original message of the story.</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15065 Constructing negative emotions in cinematic discourse: a cognitive-pragmatic perspective 2019-12-27T13:19:14+02:00 Tetiana Krysanova tetianakrysanova@gmail.com <p>This article reveals cognitive-pragmatic properties of constructing negative emotions in English feature cinematic discourse. This research is underpinned by semiotic theories, linguistic theory of emotions, discourse studies, cognitive linguistics, the theories of conceptual integration and joint attention, which stipulate an integrative approach to the multisemiosis of negative emotive meanings by verbal, non-verbal, and cinematographic semiotic resources. This research stressess the polycoded and multimodal nature of cinematic discourse, where a combination of visual and acoustic modes changes dynamically in the film time and space. Adopting an interactional-dynamic perspective on emotive meaning making in film, I claim that negative emotions in cinematic discourse are emergent multimodal dynamic constructs resulting from the online interaction of verbal, non-verbal, and cinematic resources, which takes place at primary and secondary stages of film making. The primary semiosis of negative emotive meaning occurs in the screenplay, which is an integral part of cinematic discourse and presents a film cognitive model. The secondary semiosis takes place in the film diegesis through a combination of verbal, non-verbal and cinematographic means specific for a particular negative emotion. In feature cinematic discourse, I distinguish eight combination patterns of multimodal semiotic resources depending on a set of criteria: quantitative <em>vs</em> qualitative or synchronous <em>vs</em> sequential configuration patters. The collective author’s intention and film genres influence the choice of cinematic techniques and their configuration patterns.</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15067 Intersemiotic translation: meaning-making in film and musical art 2019-12-27T13:19:59+02:00 Tetiana Lukianova luktah@gmail.com Alona Ilchenko alenlich07@gmail.com <p>Our research is based on two blocks of material (film adaptation and film-related soundtrack). It aims to analyse intersemiotic translation of a literary work into a film which involves procedures of intralingual translation; look into the semiotic resources of cinematic discourse – visual, sound and light effects, non-verbal means of communication in cinema, symbolism in films, color, etc.; compare written descriptions of associations, emotions and sensations provided by amateur Ukrainian and professional music and film review English subjects to reveal the mechanisms of interpreting the multimodal texts. We assume that the use of transformations in the process of adaptation brings about changes in the verbal component, compresses the text, adds or omits information, etc.; the audiovisual component, however, compensates the reduction of information that was presented verbally in the literary work (Besedin, 2017). Semiotic units contribute to reconstruction of meaning (Krysanova, 2017, p. 25; Peirce, 2000). We also experimentally approach the intersemiotic translation of the film into the medium of a piece of music. Our hypothesis is that such an intersemiotic translation (Jacobson, 1959, p. 233) of a film into a soundtrack will evoke similar associations in amateur and expert recipients despite their different professional and cultural backgrounds. Ingarden’s idea (1937/1973) of a work of art as an intersubjectively accessible object and Hardy’s theory (1998) that views meaning-making as intersubjective spontaneous nonlinear dynamic proving that affect, intuition and sensations are more powerful than linear rational reasoning are in the core of the research.</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15068 Libertinism in English Restoration drama: a cognitive-pragmatic perspective 2019-12-27T13:22:31+02:00 Olena Volodymyrivna Marina marinaolenav@gmail.com <p>This paper aims to explore LIBERTINISM as a discourse-generative concept of the English Restoration and its manifestations in the 17<sup>th</sup> century drama. In the focus of attention are: the dramatic discourse of the seventeenth century and social and historical conditions that predetermined the origin and development of libertinism in the Restoration drama. In this article, I argue that during the Restoration LIBERTINISM thrived along with such concepts as EMPIRE, HONOUR, LOVE, MODE, SCIENCE, TRADE, and WIT. It is stated that after years of bans and prohibitions libertinism began to develop as a reaction against an overly religious dominant worldview that was imposed on the English people during the Interregnum. It is confirmed that libertinism was widely disseminated in the play-houses which were reopened by Charles II after almost a twenty-year break. In this article, I argue that libertinism takes its ideas from the teachings of René Descartes and Thomas Hobbes; it viewed as extreme hedonism and rejection of all moral and religious dogmas. Charles II himself set an example which was emulated by his courtiers and therefore libertine modes of behaviour were demonstrated to the general public as role models by the aristocracy which regained power with the Restoration. I also claim that as during the English Restoration many play wrights either were libertines or wrote about libertine behaviour and adventures in their plays, the dramatic discourse of the seventeenth century gave rise to a new type of English identity–the English Restoration libertine-aristocrat. Accordingly, the dramatic discourse and dramatic performances of the seventeenth century were the means of establishment, reiteration, and dissemination of the libertine ethos.</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15070 Theme of madness in a short story “The System of Doctor Tarr and Professor Fether” by Edgar Allan Poe and in a similarly-named film by Claude Chabrol 2019-12-27T13:23:22+02:00 Anna Stepanova stepanova@duan.edu.ua <p>The article considers the theme of madness as a cultural phenomenon in its romantic (Edgar Poe) and postmodern (Claude Chabrol) film interpretation. The study is based on the cultural and philosophical concept of madness grounded by Michel Foucault. The historical existence of madness phenomenon has two types of its perception distinguished, ‘cosmic’, which is the tragic madness of the world, and ‘critical’, which is peculiar to human consciousness and behavior, generating the ironic understanding. According to the philosopher, the cosmic and critical cultural experience of madness is embodied in visually plastic (pictorial) and verbal (literary) forms respectively. The verbal and literary specifics of creating an aesthetic image of madness within the romantic canon in Edgar Allan Poe’s story is compared with the peculiarities of the visual-sound plastic form of the images in Claude Chabrol’s film, created in the style of surrealism. In Poe’s story madness appears as a local phenomenon, a state of human consciousness determining the way of thinking and the specifics of behavior. The main way how the writer creates the characters includes their behavioral characteristics and speech. In Chabrol’s film interpretation the theme of madness unfolds gradually, being embodied in visual images, the pace of the film, the changing intraframe composition, the specific movement in the frame, the speed and rhythm of cutting, the color and sound of the film. Within the postmodernism aesthetics the director, inserting surrealistic Buñuel’s intertext, using the techniques of playing with the audience and varying interpretations of the end, focuses on the cosmic experience of madness, transforming Poe’s romantic-ironic interpretation into a understanding the “tragic madness of the world”.</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15071 Perianova, Irina (2019). A mashup world: hybrids, cross-overs and post-reality 2019-12-27T13:25:01+02:00 Svitlana Zhabotynska saz9@ukr.net <p>Book review</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement## https://periodicals.karazin.ua/cognitiondiscourse/article/view/15072 Professor Maureen Minielli and communication studies in Ukraine 2019-12-27T13:25:42+02:00 Iryna Shevchenko iryna.shevchenko@karazin.ua <p>Obituary</p> 2019-12-27T00:00:00+02:00 ##submission.copyrightStatement##