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Analyzes the antihumanistic elements of Jacques Derrida's theory of deconstruction. Argues that the modern French intellectuals, including Foucault, Derrida, and Lacan, have had an antihumanistic effect on the American social sciences and humanities by rejecting the existence of truth, morality, and rationality. (FMW)

This research examines the use of the superlative form and antithesis in the poem (Mustafa) by Al-Bardouni, providing a clear representation of the aesthetic qualities and rhetorical significance of these two phenomena. The superlative and antithesis are distinctly manifest in the poem, reflecting their beauty and depth. The study of these elements unveils the poet's stylistic and literary characteristics, as well as the artistic and rhetorical qualities inherent in his work. Through an analysis of the poem, the research highlights Al-Bardouni's exceptional ability to convey his ideas and emotions, portray reality, and address various political and social issues. The research sheds light on the poet's use of the superlative and antithesis, emphasizing their stylistic, artistic, linguistic, semantic, and rhythmic features. These elements, combined with expressive imagery, endow the poem with profound meanings and stylistic elegance. The poem emerges vibrant with emotions and feelings, articulating thoughts and reflections with remarkable clarity and beauty. [ABSTRACT FROM AUTHOR]

The current research paper investigates love-hate relationship in regard to the concept of good and evil, i.e., the antithesis between love of good and hatred of evil in ancient Egypt. The objective is to uncover the rationale and functional relationship behind this antithetical relation. By examining the nuances, contextual variations, and semantic valences, the researcher investigates this antithesis relationship in textual sources. The convergence of loving good, symbolising acceptance, and hating evil, symbolising rejection, holds political necessity, imposes a social imperative, moral urgency, and religious significance [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Based on the material of a corpus of short-format statements, the semantics and axiology of passion, as well as the discursive properties of aphorism, are studied. It is established that an aphorism does not have a clear definition based on a single feature and we can only talk about “family resemblance” as the proximity of some small-format text in terms of a set of features to the ideal of an aphoristic statement. The corpus of aphorisms about passion is dominated by an axiological feature – every third statement about passion contains its assessment: most often passion is considered as a sin and vice, somewhat less often it receives a positive assessment – it is considered as spiritual wealth and a source of fruitful activity, even less often a compromise view of assessment is observed: passion is recognized beneficial, when its intensity does not go beyond the limits set by reason and will, and harmful – when it goes beyond the limits and takes possession of a person. The praxeology of passion in aphorism comes down to recommendations to subordinate passions to your will and learn to control them. Among the distinctive semantic features of passion in aphorism, one can note its omnipotence and insubordination to the will, as well as the innateness and ineradicability of passions. Among the actual distinctive features of aphorism in statements about passion, imagery clearly predominates – metaphor is present in almost every fourth aphorism, and the dominant type of metaphorical transfer here is pyro/thermometaphor: combustion and temperature fluctuations are reflected in every third metaphor of passion. Another distinctive feature of aphorism – antithesis is present in every sixth statement about passion, where passion is most often contrasted with reason. One more distinctive feature of aphorism is that paradox in statements about passion appears relatively rarely.

Examines the nature of mocking laughter in the oeuvre of Leonid Andreev, defines the specifics of ridicule situations, names the participants and the possible development and resolution of the storyline. The first part of the article defines a special type of laughter - ridicule, and also examines the antithesis proposed by L.V. Karasev, “laughter - shame”. Through which the object of ridicule is characterized. The subject of research in the second part of the article is the functioning of laughter in the novels of Leonid Andreev. Using the examples of the stories Buyanikha and Laughter , it is shown that the situation of ridicule can underlie the plot and determine its development. The fear of being ridiculed is one of the significant psychological motivations that determine the behavior of L. Andreev’s heroes. In addition, the heroes endow the unknown force that influences their lives with the ability to laugh. Marking Doom, as represented by the characters, makes it more understandable, visible, and therefore surmountable. Finally, the final part examines how the picture of the “anti-world” is created, the main feature of which is ridicule. Unlike V.Ya. Propp, who argued that the object of ridicule can be everything except the area of suffering, Leonid Andreev constructs a model of the anti-world, where it is the area of suffering that is ridiculed. The ironic state of the world in relation to the hero ( Suitcases ) is perceived as unstable, and therefore unsafe. The idea of variability, the deceptiveness of the world is reflected in the depiction of necrospace in the story Peace . At the end, a conclusion is made about the connection between the themes of death and laughter in the artistic world of L. Andreev, as a distinctive feature of the writer’s work.

This article attempts to introduce the literary heritage of A. E. Konkevich, who is known mostly as a naval officer and public figure, into scientific circulation. However, the author’s artistic marine painting is of interest both from a historical point of view and from a literary one. Naval officer Konkevich, who dreamed of the ideal structure of the Russian Navy, not only sets out his fantasies about the composition and localization of the fleet but also puts them into artistic form. The article examines Konkevich’ s novels “Cruiser ʽRussian Hope’,” “Fatal War 18?? Year,” “Black Sea Fleet in ???? Year,” representing a trilogy about naval wars. In these works, Konkevich reveals the discussions relevant to the second half of the 19th century about the organization of the Russian Navy. The writer in a fantastic form sets out the ways of development of the Russian navy and ways of reforming it, and reviving the strength of the Russian navy and army. The author creates expressive pictures of the battle and hyperbolically contrasts the moral strength and courage of Russian sailors with the technical capabilities of the enemy and the helplessness of his crew.

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Copyright of Revista Española de Filosofía Medieval is the property of Sociedad Espanola de Filosofia Medieval and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines David Hume's mitigated skepticism as enacted through an ethos that refashions moral philosophy's public identity by appealing to the virtues of England's transforming scientific community in the eighteenth century. More specifically, this article shows how Hume's Enquiry, amid competing efforts to escape rationalistic dogmatism and an emerging bourgeois readership, refashions moral philosophy through an antithetical scheme that subverted the Enlightenment's obsession with certitude. In doing so, Hume invites readers to understand the purpose of moral philosophy as the pursuit of doubt over truth, an idea designed to humble the scientific profession at the peak of the epistemological revolution. Moreover, I propose two conceptual takeaways that extend beyond my close reading of Hume's work. First, I explain how Hume's philosophical persona draws upon his interpretation of Renaissance humanism, an orientation that focalizes rhetorical ethos by contrasting Aristotelian argumentation with Ciceronian eloquence. Second, I provide historical commentary on Pyrrhonism's decline during the Enlightenment and the broader political implications of arousing suspicion toward knowledge. [ABSTRACT FROM AUTHOR]

The priests and scribes were familiar with the process of applying a manuscript or prophecy to a current context to produce relevant material for the era. It is most probable that the scribes and/or priests during the post-exilic Persian period reinterpreted the prophecies of Isaiah and Amos against the moral and social decay of the women of the Hebrew nation during the 8th century BCE to create an antithesis of that situation in the form of the virtuous woman of Proverbs 31:10–31. The similarity of words in the poem and the writings of Ezra could suggest that Ezra might have had a hand in the writing or editing of the poem in Proverbs 31:10–31. Intradisciplinary and/or interdisciplinary implications: The study brings Old Testament and Ancient Near Eastern studies together, with both elucidating each other.

The present article attempts to analyze the rhythmic and syntactic structure of the original fragments involved in creating the image of the pension in V. Nabokov’s novel «Машенька» and its English version «Mary». The relevance of the research stems from the fact that despite the abundance of works devoted to the study of artistic image and individual writers’ style, they do not cover all possible aspects of analysis. In particular, there exist practically no contrastive studies revealing specific means to create material world image on the rhythmic and syntactic level based on the works written by bilingual authors. In addition, Russian and foreign philology lack studies devoted to considering the peculiarities of rhythmic and syntactic analysis of V. Nabokov’s literary works. The aim of the present article is to analyze the rhythmic as well as syntactic structure of the original fragments, creating the image of the pension as part of the material world in V. Nabokov’s novel «Машенька» and its English version «Mary». The objectives of the study include identifying the characteristics of the rhythmic as well as syntactic structure of the fragments in question to define the extent to which the translator manages to convey the features of the original structure. The following research methods are used: the method of slicing and splicing, structural-functional method, descriptive method and comparative method. In conclusion it should be emphasized that rhythmic and syntactic structure of the analyzed fragments is characterized by both extended and non-extended sentences, compound sentences with conjunctive, subordinate and non-conjunctive links, parenthetical insertions, homogeneous sentence members and adverbial participial phrases. The rhythm of the fragments in question varies from monotonous to gradual and alternating. To conclude, the results suggest that rhythmic and syntactic features of the original are not always taken into account by the translator, which is explained by the differences in the syntactic structure of the Russian and English languages.

В работе описываются особенности англоязычной сверхмалой прозы – миниатюрных рассказов, получивших название microfiction. Текстовое пространство таких текстов чрезвычайно ограничено (не более трехсот слов), однако обладает сложной внутренней структурой, характеризуется безусловной цельностью содержания и наличием законченного идейного и эстетического смысла. В результате анализа эмперического материала было установлено, что к особенностям организации текста microfiction относятся: ограниченное количество персонажей и одно ключевое событие, вокруг которого строится сюжет. Сюжет произведения образуется из комбинации мотивов, связность текста определяется кольцевой композицией и обилием дистантных повторов. Повествование передается в форме несобственно-прямой речи, художественная выразительность реализуется в ритмическом рисунке структурных элементов текста.

In this review essay, I discuss how Lambert Zuidervaart relates to the philosophy of Herman Dooyeweerd in two of his books. He himself calls his work in this regard a critical retrieval. To answer the question as to how far this characterization is justified, we will look at Zuidervaart's discussion of the religious antithesis and the transcendental critique, his idea of macrostructures and societal evil, and his view of truth and knowledge. [ABSTRACT FROM AUTHOR]

Copyright of Correspondencias & Analisis is the property of Universidad de San Martin de Porres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article describes the linguistic and stylistic means used to create verbal images of saints in church hymnography. Original canons and akathists written by English native speakers are used for the research. These texts are chosen because they are considered to be a specific medium where elements of the scope of religious (Orthodox) concepts are represented. Hymnographic texts are written according to specific genre modals which imply the usage of a significant number of linguistic and stylistic means. Not only do these means determine the outer form of such texts, but they also relate to the transferred message. The meanings conveyed in hymnographic texts are closely connected with religious experience. The cognitive approach to linguistic and stylistic means of church text makes it possible to describe the metaphorical patterns of the mental processing of religious experience. It is concluded in the article that the most frequent linguistic and stylistic means in the researched hymnography are metaphors based on epithets and antitheses. The results of the analysis demonstrate that the following source domains are used to create conceptual metaphors: water and water current, nature phenomena, light phenomena, warfare, construction (as a particular type of building). The images of saints are also represented with the help of image schema “container” which is connected with how the outcome of pious lifestyle is mentally represented. The antithesis underlines contrast between religious and lay lifestyles. The contextual antonyms, as elements of the antithesis, function as meaning points of the situations described in hymnographic texts and thus they also transfer some information about religious experience.

This study seeks to reveal the hypothesis (absence/presence) of a fictional discourse An Arab with an ideological characteristic, in which the characteristic of responding in writing to the the tide of the colonist and it is evident to The colonialist, and the study sets its determinants, which are based on an interrogation of a group of bloggers The Arab novelist who dealt with her subjection to the domination of the other with mechanisms and techniques inspired by it. The other (colonial) is the same, as is the case in (sarcasm and ridicule, and the use of historical storytelling and the bilateral relationship between text and margin and others. [ABSTRACT FROM AUTHOR]

Political speeches play a vital role in the communication strategies of political leaders, enabling them to express their ideas, mobilize support, and persuade the public. Within this context, the effective use of rhetorical devices assumes paramount importance in conveying messages. This paper aimed to investigate the role of antithesis as a potent linguistic tool of persuasion in political speeches, specifically within the context of Kosovo. The paper sought to examine the prevalence and patterns of antithesis in political speeches delivered by Kosovo politicians, analyze its rhetorical effectiveness in shaping public opinion and influencing political discourse, explore sociopolitical and cultural factors that influence its usage, and assess its impact on audience perception and receptiveness to political messages. The paper employed methodologies such as corpus analysis, rhetorical analysis, and sociopolitical analysis, to achieve its objectives. The expected contributions of this paper lie in advancing our understanding of political rhetoric in Kosovo, highlighting the significance of antithesis as a persuasive linguistic tool, and enriching the knowledge base in the field of political communication. [ABSTRACT FROM AUTHOR]

This article examines the philosophical and theological nuances in the works of Étienne Pascal and Étienne Noël, focusing on their interpretations of Saint Augustine and Jean Duvergier de Hauranne. It explores the concept of antithesis (άντίθεσις) in both rhetorical and philosophical contexts, drawing upon Platonic and Aristotelian texts. The article highlights the use of antithesis in Augustine's explanation of evil and its integration into the universal order, connecting this to 17th-century French thought, especially in relation to Blaise Pascal's ideas on rhetoric. A critical analysis of Étienne Pascal's letter to Father Noël is presented, emphasizing his understanding of rhetorical figures, notably metaphor and antithesis, and their theological implications. The discussion extends to Saint-Cyran's interpretation of Augustine, particularly concerning ecclesiastical guidance and priesthood preparation. The article concludes by underscoring the complex interplay between language, thought, and faith in these historical contexts. [ABSTRACT FROM AUTHOR]

The leading role in anthropocentric studies belongs to linguopragmatics, since it is a manifestation of the human factor at all levels of language. The synthesis of views expressed in Dontsov’s works is usually based on antitheses having a specific communicative task: to compare positive and negative aspects, or otherwise contrast Dontsov`s position with a different position. The article is aimed at examining the pragmatic aspect of Dontsov`s texts using the example of antithesis. Achieving this aim involves solving the following tasks: 1) characterize the ways Dmytro Dontsov`s pragmatic intentions are implemented; 2) identify Dontsov`s strategy and show the methods of its argumentation in a journalistic text; 3) analyze the text synergetics as the main means of expressing the author’s communicative and pragmatic potential. The study uses the method of argument, subjectivity, intent analysis, and the method of content analysis. It also applies linguistic observation and descriptive methods as additional methods. Research results. Dontsov`s texts were used as a basis to characterize the ways of implementing pragmatic intentions aimed at forming national principles. The study focuses on identifying the subjective factor in his works and showing the nature of the pragmatization of statements reproducing antitheses. The relevance of the study is determined by the pragmatic features of Dmytro Dontsov`s works and his active approach to selecting lexical and semantic constructions to achieve the communicative goal. The thinker successfully uses the antithesis in his works, as the information reaches the addressee through the display of positive and negative plates and results in the formation of ideas of aggressiveness, and certainty as opposed to passivity and tearfulness. It is important that Dontsov`s works have a hidden meaning because each historical period gives a different understanding of the social and political situation. The basic strategy used by Dontsov to express the communicative potential is the antithesis analyzed on the basis of the semantic component of “sovereign Ukraine”. Based on the antithesis, the argumentative field of the author`s influence on the reader can be conveniently classified into levels (semantic, lexical, stylistic, and syntactic) creating a synergy of the text. The argumentative material influencing the reader at the semantic level is emotionally expressive vocabulary (figurative, colloquial words, etc.), so this is an emotional level. The lexical level is a reproduction of the author`s position, his ability to create new meanings, use scientific lexis, and argue with specific proper names (this is an intellectual and historical level). The pragmatic intention of the author is achieved at the stylistic level through stylistic devices, such as comparisons, individual-author metaphors, and epithets (this is an aesthetic level). The syntactic level replicates Dontsov`s thoughts full of dependent clauses, amplifications, rhetorical questions, and citations. In Dmytro Dontsov`s texts we distinguish: 1) thesis argumentation, where each statement is sufficient to confirm opinion); 2) chain (sequential) argumentation, congesting a sequence of arguments; 3) extensive argumentation, where the author substantiates several opinions at the same time; 4) multi-vector argumentation, when different types of argumentation are combined. All these argumentative elements form a complex cognitive structure, which we define as convergent (linear) thinking and divergent thinking with branched and multiple arguments. It is proved that on the syntax level the most used is divergent type of argumentation. We consider this level to be a direction of his political actions. Particularly coherent and convincing is a synergistic (existential) level that reproduces the author`s views and his ability to work with words. However, such a division into levels is conditional, since the main features of these levels are always supplemented by additional ones, for example, the lexical level or the syntactic level are also filled with emotional lexemes. The pragmatic factor of Dmytro Dontsov`s worldview becomes clear after reading his works, which become guidelines for changing public consciousness and forming the line of the struggle for a Ukrainian independent state. Thus, antitheses used by the journalist affirm (according to the terminology of pragmatics, a change strategy) the reader’s opinions (or mental activity).

The Dutch neo-Calvinist mission (Zending) on Sumba in Indonesia, an area known for its Marapu ancestor religion, started in 1902. The independent Sumbanese church (Gereja Kristen Sumba , GKS) was established at the 1947 Synod. One century later, by 2002, two out of three inhabitants were Christian. The research question is whether the rise of a vital GKS was facilitated by education and 'antithetical' notions of freedom offered by neo-Calvinist Zending. The answer is that the Zending empowered Sumbanese Christians to decide for themselves whether to preserve traditional customs (adat), so they could build the GKS from the bottom up. This answer is based on archival material – including the unexplored archive of Rev. P.J. Lambooij – and on a dozen semi-structured interviews with Sumbanese spokespersons in 2006, 2016 and 2019. Macro-level explanations – capitalism, modernity, or colonialism – hardly appear to account for the transformation to Sumbanese Christianity. [ABSTRACT FROM AUTHOR]

An important role in the expression of Sydor Vorobkevich’s poetic language is played by syntactic means. Goal. To investigate the functioning of poetic syntax in the poetic works of Sydor Vorobkevich of the third period of creativity (1876-1903). Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and the method of slow reading (the method of receptive poetics) were practiced, aimed to reveal S. Vorobkevych artistic means, interpret his works. Formal method based on the use of statistics, quantitative processing of the material, aimed to analyze the aspects of versification, has been applied. Particular attention should be paid to the,, frequency coefficient» principle (FC), which is the ratio of the poetic element to the number of lines and was practiced in the works of V. Pivtorak, O. Romanytsya and R. Pazyuk. This approach made it possible to obtain objective conclusions regarding the various components of poetry of the writer. Scientifi c novelty. For the first time in Ukrainian literary studies, a comprehensive study of the poetics of S. Vorobkevych’s poetic works was carried out; they are analyzed in terms of poetic syntax. Conclusions. Syntactic means play an important role in understanding of the poetic language of the artist. Repetitions, among which the anaphores dominate are the ingredients of poetic syntax. Mostly, its use falls on the third period of creativity of the poet (FC – 0,04). Since this period is the most rich in creativity achievements, we will show the dynamics of several more figures: the refrain (I period – 0.002, ІІ – 0.001, ІІІ – 0.002), the take-up (І period – 0.002, ІІ – 0.008, ІІІ – 0.008), condilk (І period – 0,005, ІІ – 0,005, ІІІ – 0,01). The selection of stylistic figures in S. Vorobkevyh works is quite rich. In rhymed poetry, Rhetorical questions, inversion, antithesis, enzhambeman, ellipsis, figurative parallelism, anadiplosis, asiadeton, polysindecton, pleonamism, anastrophe, likasaprene, polyptot, imprecation, climax, symposium etc. were practiced by Bykovynian poet [ABSTRACT FROM AUTHOR]

The Issa Valley, a novel by the renowned Polish émigré poet and writer Czesław Miłosz, is a partly autobiographical rendition of Miłosz’s early years spent on his family estate at Szetejnie in Lithuania. The omniscient narrator presents the early years and adolescence of a Polish gentry boy, Thomas Dilbin; the second, equally important protagonist of the novel is the eponymous Issa Valley. The book is an homage paid to the beauty of Lithuanian nature and to the world of childhood memories; as such, it invites an attempt at an ecostylistic interpretation, which is the main aim of this study. The methodology applied to analyze its English translation partly follows Geoffrey Leech and Mick Short’s taxonomy of linguistic aspects relevant when studying fiction, such as context, lexicon, syntax, and figuration. Furthermore, this ecostylistic analysis focuses on figuration and its imagistic potential in picturing the Issa landscape. Master tropes (simile, metaphor, synecdoche, irony, and antithesis) work at three textual levels: micro-, macro-, and megatropical. This scrutiny proves that the novel is an instance of what I call existential ecology, with antithesis as a dominant textual backbone; it also demonstrates that figuration reflects an intensely corporeal experience of nature by the young Thomas. The main contribution of this article to Miłosz’s scholarship is that it offers an ecostylistic reading of The Issa Valley, which has not been applied to the novel so far, specifically from lexical, grammatical, and tropological perspectives.

The article tackles the peculiarities of specialized language, particularly the diplomatic language in the domains of interest such as particular knowledge and terminology. Various approaches, definitions, classifications regarding metalogisms are revealed, which have an indisputable importance in validation of the diplomatic language. The study approach reflects the complexity and diversity of metalogisms, as well as the notorious names in the field of linguistics and semantics. Moreover, the analysis of metalogisms brings us closer to the idea that, despite the terminology and technical aspects, the specialized languages denote an indisputable aesthetic value.

This study seeks to analyse the occurrence of contrastive relational markers in a corpus of recipes called Corpus of Women's Instructive Texts in English, the 19th century sub-corpus (COWITE19). Opposition relations, also referred to as adversative or contrastive, are usually identified with markers such as "but", "although", and "however". From a semantic point of view, a classification of these relations can be established as contrast, concession, and corrective, based on their linguistic evidence, lexical differences and syntactic behaviour (Izutsu, 2008). A further rhetorical function is antithesis, presented as a consistent device possessed of a verbal, analytical and persuasive nature (Fahnestock, 1999). The analysis of these markers is made following a computerised corpus analysis methodology and aims to discern which contrastive markers are mostly employed for the instructions conveyed by females. It also shows which opposition relation is predominant, whether contrastive, concessive, or corrective. Finally, it detects antithesis as an additional opposing meaning. In all cases, the possible argumentative role of these markers is highlighted as another step in the characterisation of women's scientific writing. [ABSTRACT FROM AUTHOR]

This article summarizes studies identifying linguistic means of implementing manipulative influence in English fiction. The article discusses various scientific views on the essence and main characteristics of manipulation, the levels of analysis of linguistic means of manipulation, the methods of speech influence that are used in linguistic manipulation, and the types of manipulation. The authors consider linguostylistic means of manipulative influence. The article presents the results of an empirical study of linguistic means of manipulative influence at the lexical and syntactical levels as exemplified by the classic plays by B. Shaw. It is concluded that the above-mentioned verbal means are pragmatically conditioned and have a high manipulative potential. Having emotive and associative semantics, they attract the attention of the addressee, create positive imagery, and stimulate emotional-associative reactions. [ABSTRACT FROM AUTHOR]

The research deals with the study of antagonism in poetry by studying its images in the collections of Hamid al-Rawi (Water Minaret - Small Sky - Kohl Margins - Archive of Seductions). By observing the phenomenon and analyzing it through the most prominent opposite dualities, understanding it and revealing its secrets that go beyond the usual from the surface structure to the deep structure. [ABSTRACT FROM AUTHOR]

The article is devoted to the description of the composition of the means of expression, traditionally considered purely verbal, but used in social advertising in visual and verbal-visual form. The aim of the work is to establish the degree of prevalence of verbal and visual forms of traditional types of figures in modern social advertising and to describe their role in the implementation of the author’s idea. The relevance of the research is due to the increased interest in the study of polycode texts and the formation of the visual stylistics of the text. The material was 4000 posters of environmental topics collected from various media banks on the Internet by a continuous sampling method. The authors conclude that contamination and gradation are used only in visual form in environmental advertising. Contamination consists in combining parts of different images into a single image, which, however, does not receive a common name. Gradation is based on contrarian relations, with its help the transformation of some objects or states into others is shown in dynamics. Verbal-visual techniques include antithesis, parallelism, amphibolism. Antitheses are often based on contextual antonyms, concretized by the presence of an image, and in some cases such antitheses are qualified as quasi-logical. Parallelism can be represented by both verbal and purely visual forms in the form of placing two pictures similar in content on one poster. With the help of amphiboly, a paradoxical meaning is given to the slogan, since the visual and verbal series come into conflict. Finally, only in verbal form are ellipsis and anaphora used. The ellipsis makes the poster text as concise, energetic and convenient as possible for quick reading. Anaphora allows you to emphasize the element of the slogan that carries the main semantic load. The other types of stylistic figures (inversion, frame, chiasmus, etc.) are quite rare in environmental social advertising and generally do not affect the nature of its image system.

This study seeks to analyse the occurrence of contrastive relational markers in a corpus of recipes called Corpus of Women’s Instructive Texts in English, the 19th century sub-corpus (COWITE19). Opposition relations, also referred to as adversative or contrastive, are usually identified with markers such as “but”, “although”, and “however”. From a semantic point of view, a classification of these relations can be established into contrast, concession, and corrective, based on their linguistic evidence, lexical differences and syntactic behaviour (Izutsu, 2008). A further rhetorical function is antithesis, presented as a consistent device possessed of a verbal, analytical and persuasive nature (Fahnestock, 1999). The analysis of these markers is made following a computerised corpus analysis methodology and tries to discern which contrastive markers are mostly employed for the instructions conveyed by females. It also shows which opposition relation is predominant, whether contrastive, concessive, or corrective and, finally, it detects antithesis as an additional opposing meaning. In all cases, the possible argumentative role of these markers is highlighted as another step in the characterisation of women’s scientific writing.

In this essay we outline five constellations of poetic and visual practices, starting with the dictatorship in Chile (1973-1990), but connecting them with works from previous decades. Without wanting to be exhaustive, our intention is to show how poetry and related practices have shaped a creative response of counterattack and antithesis, as well as resistant ways of life through art at different times and areas of Chile. [ABSTRACT FROM AUTHOR]

This paper presents a study of use of the rhetorical figure of antithesis and other contrastive relations in several modern-day environmental science policy journal articles on issues of food security, climate change, and water resource management. The articles present the conflicting perspectives of environmentalists and engineers, i.e., the view that nature should be preserved and protected versus the view that it should be engineered to solve human problems. The main contribution of this paper is a taxonomy characterizing argumentative uses of contrastive relations in these articles based on our semantic/pragmatic interpretation of text including, in some cases, discourse coherence relations. The number of examples and the breadth of the taxonomy is indicative of the key role of contrastive relations in argumentation in this genre. This investigation is a necessary step towards comprehensive computational approaches to detecting antithesis and other contrastive relations and to identifying their argumentative roles. [ABSTRACT FROM AUTHOR]

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The article deals with the structure and semantics of color elements in the poetic texts by David Samoylov. Colorism manifests itself in three ways: as a color image recreated from the context, as substituted metonymy, and as words denoting color semantics. In this paper, using a continuous sample, the mechanism of manifestations of the basic monochromes "black - white" and the contaminated metatricolor "blue - green - red" is investigated on the basis of a complete collection of Samoylov's poems. As a result of the article, a frequency dictionary of color elements was created, a semantic and structural analysis of five color images was carried out, and an ideological and thematic complex of the poet's poetry was determined. [ABSTRACT FROM AUTHOR]

The main aim of the article is to present a critical edition of the allegorical text Dyalogus Cristi et Anticristi, which is found on folios 87r–89v in a manuscript from 1417, now preserved under the shelf mark Cod. Guelf. Helmst. 669 in the Herzog August Bibliothek in Wolfenbüttel. Dyalogus has not yet been edited and published. Although in 1881 Otto von Heinemann included it in the catalogue of the Wolfenbüttel Library (Die Handschriften der Herzoglichen Bibliothek zu Wolfenbüttel) under a modified title, its contents have not yet been researched, and the Dyalogus has not been studied in comparison with another version of the same text, which is considered to be a possible draft of the Tabule veteris et novi coloris seu Cortina de Anticristo written by Nicholas of Dresden in 1412. This other version of the text is preserved on folios 93v–97r in the manuscript with the shelfmark Herrnhut, Unitätsarchiv AB.II.R.1.16.a and the present edition compares the Wolfenbüttel version with its wording. [ABSTRACT FROM AUTHOR]

The divine signs are among the prose books that were characterized by their poetry, rhythm and music because they were written in a highly artistic and relative language. Those rhythm of the singular, the rhythm of the composition, repetition, parallelism, tandem, contrast, rhyme, contrast and conformation. [ABSTRACT FROM AUTHOR]