Zeitschriftenartikel zum Thema „Czech language – style“

The paper deals with the language and style of major Czech and Czech-American periodicals published in the mid-19th century. Czech periodicals of the time are represented by the papers Pražský Posel and Národní Nowiny; the Czech-American ones include the weeklies Slowan Amerikánský and Národní Noviny. The language and style of both of these types of papers are analysed in order to identify the similarities and differences, with citations illustrating the phenomena explored. In this way, the research aims to show which aspects of the “stylistic norm” change first and most strikingly in a different language and national environment.

Abstract Using examples of studies published in three international journals in the field of linguistics, the study deals with the differences between domestic and Anglo-Saxon style of scientific writing. I examine studies of Slovak and Czech authors publishing in Slovak and/or Czech and in English and compare them with the English studies of international authors for whom English is also a non-native language. I consider English to be a lingua franca which is used by the members of international scientific communities as a primary means of communication. I focus on the selected aspects of the studies which include their compositional structure, introductions and conclusions, the authorial presence, author´s self-confidence and modesty and the title of the study. The results of my analysis of these aspects in the studies of Slovak and Czech authors point to their inclination to use domestic style of writing, while in the case of their writing in English there are noticeable tendencies to hybridize the procedures of the domestic and the Anglo-Saxon styles. On the other hand, studies by international authors bear features of the Anglo-Saxon style of scientific writing. I do not consider these styles to be qualitatively different but rather complementary, as their mastery and cultivation is justified by the need to pursue scientific knowledge and communicate its results at both national and international levels.

Usage of the literary style is an important part of teaching and learning Czech as a native or foreign language. The literary style, or more exactly, the style of literature, drama and poetry, is an important way of that representing the culture at the basis of the taught language. In this paper, we provide a short outline of the problem of authenticity in textbooks of Czech as a foreign language. The aim of this article is to present some of the aspects of using authentic literary texts in modern communicative textbooks. The study is based on analysis of the textual content of contemporary teaching materials.

<span style="font-family: 'Times New Roman','serif'; font-size: 10pt; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-GB">This article deals with the possibility of introduction of a new type of airspace in the Czech Republic – Traffic Information Zone. It states status quo of uncontrolled aerodromes in the Czech Republic, defines Traffic Information Zone and subsequently copes with the implementation suitability of this airspace in the Czech Republic from the point of view of suitable aerodromes, necessary legislative changes and also appropriate approaches.</span>

Abstract Many literary texts prove a tendency to simulate features of diverse communicative acts, styles and genres that are primarily applied in non-literary spheres of communication (for instance journalism, administration, science). The aim of this paper is to suggest a possible theoretical framework for this phenomenon and to describe some ways of simulating non-literary styles in literary texts. The aforementioned simulating can be seen as a form of interdiscursivity that introduces external elements into literary texts. The functioning of it is conditioned by a process of decontextualization and recontextualization that is signalled by various paratextual and textual cues. Taking three Czech prosaic works as examples, the concrete use of this form of interdiscursivity is illustrated in the last part of the paper.

The subject of research in this article is narrative texts in Russian and Czech, which are compared in order to determine the specifics of the aspectual models of narrative in each language and the regularities of integration of interpretive mechanisms in artistic discourse. The comparison is carried out with the help of the Czech-Russian parallel subcorpus of the Czech National Corpus. In both languages, the dominant forms here are the perfective past tense forms, but significant differences in the combination of aspect forms have also been identified. In Czech, more often than in Russian, one or more resultant actions included in the narrative are represented as an ongoing process by means of non-perfective verbs. Our study confirms the assumptions of cognitive linguistics about the dual role of grammatical categorization, simultaneously directed at the world around us and the world of language, and allows us to clarify the mechanism of alignment and interaction of these aspects of categorization. On the one hand, the categorical semantics of the verb aspect and perfective and non-perfective forms fixes the cultural-historical specificity of perceiving the denoted elements of the dynamic world by the speech community. On the other hand, the grammatical conceptualization is influenced by the intrasystemic relations between verb categories and forms. Besides, differences in national discourse traditions have been revealed between the compared languages, namely the influence of the style of old epic poems on the pragmatic potential of preterit forms in modern Russian.

The article analyses the style of two picture series dealing with Czech history. The analysis focuses primarily on the way of mediating historical knowledge as well as forming and establishing cultural memory in the two series which are compared. In connection with this, the use of language, the construction of meanings and the interplay between verbal and visual components are described. The picture series investigated represent opposing approaches to the issue of cultural (historical) memory. The objective of Obrázky z českých dějin a pověstí (Pictures from Czech History and Legends; 1980, revised edition 1996) is to depict a traditional version of Czech history and support its adoption by recipients (children being the main target group). Obrázky include various informal, derogatory and anachronistic elements, but these components are used purposefully to attract the interest of recipients in a didactic presentation of historical events. On the other hand, Opráski sčeskí historje (perhaps: Pictures from Czech History; 2014–2015) submit an alternative, subversive, comical and absurd version of Czech history. Their objective is to destruct the traditional view of such history. In order to achieve this effect, Opráskitake advantage of intentional orthographical mistakes (with great invention), play with the language, polysemy of words, anachronisms and intertextual relations to contemporary popular culture.

The article deals with linguistic aspects of a Czech Biblical text originating in the period of the beginning of the Czech National Revival which has until recently been entirely forgotten. The text is a Tetraevangelion written by a Catholic priest František Novotný from Luže (1768–1826), an almost forgotten contemporary and collaborator of the great representatives of the Czech National Revival Josef Dobrovský and Josef Jungmann. Novotný was an expert on Latin, Greek, Church Slavonic and old and new Czech (he was also the author of the early grammar of Czech that was published in Czech). His four Gospels in Czech, published in 1810–1811, belong to the “learning type” translations. It continues the Czech Biblical translation tradition (at the turn of the 19th century represented primarily by the translation of the New Testament and of the entire Bible by František Faustin Procházka, which followed mainly the baroque Catholic St Wenceslas Bible and the Kralice Bible of the Moravian brethren), but has many specific features. The article focuses on the phenomenon that manifested itself (during the author's research of Novotný's text lasting several years) as its main and most interesting trait, namely, a strong influence of the Church Slavonic Biblical text, which is an absolutely rare phenomenon at the beginning of the Czech National Revival. The author, confronting the previous Biblical translation tradition with Novotný’s, reveals a number of innovations that were materialised in Novotný's translation and whose origin in the Church Slavonic Bible is certain or at least very probable. The innovations concern various levels of linguistic description, mainly syntax and lexicon, but also word formation and morphology. The most interesting of Novotný’s novelties is his usage of the adjectival past participle ending with -(v)ší, since this category was introduced into literary Czech in the period of the Czech Revival. It is also important that Church Slavonic is, with high probability, the only source of the enrichment and “refreshment” of the Czech Biblical style that is written in another Slavonic language (Novotný seems not to use any living Slavonic languages).

The present paper examines the contexts and consequences of sentence splitting in English, Czech and French translated fiction. In the data extracted from a parallel (multilingual) corpus, we analyze first a language-specific context of sentence splitting (sententialization of non-finite verb forms in translations from English and French into Czech), and second, contexts of splitting occurring in all directions of translation. We conclude that sentence boundaries are usually introduced at the point of a sentence entailing the fewest modifications in the target sentence, especially between two coordinate clauses; and that a systematic sentence splitting, deeply modifying the style of the source text, involves the effect of simplification and normalization.

The current article is devoted to the analysis and description of the language of a modern diplomatic text, which represents a diplomatic substyle of a business style. In the Czech language, which possesses a wide stylistic differentiation, a diplomatic substyle remains insufficiently studied. A diplomatic substyle is an integral part of the language of diplomatic communication, in which the Heads of the State and the Government, the ministers of foreign affairs, and representative institutions are involved. This fact brings it closer to the language of political communication.For this reason, the author aims at characterizing the stylistic features of traditional text types in the diplomatic correspondence between the Czech Republic and the Russian Federation, and highlighting their similarities and differences in form as well as in content. By the example of original texts the structure of a diplomatic document is represented: a form of address, protocol forms of courtesy and compliments, its semantic core and the argumentation part as essential parts of a document.The fore cited analysis of the functional-communicative features of the diplomatic texts lexical composition shows the presence of professional names and terms, idioms and cliché, as well as new lexical units and terms that reflect socio-political changes in the Czech Republic and new geopolitical realities.

<span style="font-family: 'Times New Roman','serif'; font-size: 10pt; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-GB">This paper deals with the implementation of LPV approaches in the Czech Republic. The main aim of the research is to create a detailed analysis, specifying the appropriate parameters in line with the selected implementation options of the LPV approach, as component of IFR and with the possibility of using them as advisory system based on LPV approach for VFR segment of general aviation.</span>

The aim of this study is to analyse and compare the use of the sentences in the selected texts by Jakub Arbes, Alois Jirásek and Julius Zeyer. On the basis of a set of frequency analyses, the contribution summarizes selected individual aspects of the prose style used in the works of Jakub Arbes, Alois Jirásek, and Julius Zeyer. The paper deals with linear sentence length of simple sentences and commplex/compound sentences in texts of the selected authors. The focus is on characteristic features of the narrative style of these very much different 19th Century Czech Authors as well as on similarities relating their style.

Abstract This paper introduces keymorph analysis (KMA), a new extension of the discourse-probing technique of keyword analysis (KWA). While KWA focuses on lexicon and provides a key predominantly to textual topics and their semantic associations, KMA focuses on morphosyntactic features and captures more general characteristics of texts as wholes. Speeches by Czech(oslovak) presidents and corpus of contemporary written Czech SYN2015 are used to illustrate readers’ perception of situations and their participants in these texts. The paper also shows that different levels of morphosyntax facilitate interpretation of discourse: ideological differences can be observed with higher-level morphosyntactic features (parts of speech), while differences in speaker style are observable with lower-level morphosyntactic features (case, number, person, and their combinations).

<span style="font-family: 'Times New Roman','serif'; font-size: 10pt; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-GB">This article discusses new possibilities of assessing the impact of aviation on the atmosphere. The second part of this text describes a project realized at the Department of Air Transport at the Czech Technical University in Prague. The project is focused on investigating the effect of air transport on contrails.</span>

The present paper presents the results of a needs analysis conducted among Czech students involved in a Master’s degree programme English Language Teacher Education. The aim was to identify their academic writing needs on the basis of a needs analysis questionnaire and a linguistic analysis of their written discourse in order to find out whether there are divergences between their ‘wants’ and ‘lacks’ (Hutchinson & Waters 1987). The results indicate that the students’ previous tuition at Bachelor’s level focused primarily on lexico-grammatical features of academic style such as text organizing devices, academic vocabulary, grammatical structures and citation styles. However, other areas essential to writing a successful Master’s thesis, such as evaluation and interpretation of results, conveying personal viewpoints and communicating with the reader or acknowledging research limitations, were ascribed a somewhat lower importance by the students, suggesting the existence of a divergence between the students’ ‘wants’ and ‘lacks’. The findings concerning the students’ perception of the writing process also concur with the finding of the authors’ previous research (Dontcheva et al. 2020) into the Theme zone in Czech students’ Master’s theses, which has indicated that Czech Master’s students tend tooveruse textual Themes expressed by linkers and underuse interpersonal Themes realised by stance devices.

Abstract The author’s dissertation deals with the contemporary styles of Russian and Czech scientific prose in natural sciences. The aim of the research is to provide a detailed description of the language means of functional-semantic categories such as objectivity, abstractness and generality, logic and accuracy, and compression. The research material includes texts from the field of natural science, research articles, and monographs from geology and paleontology. The methods of investigation are a combination of descriptive and comparative methods, complemented by a statistical method. The conducted analysis shows that functional-semantic categories are extensively applied in texts in both languages. The more distinctive differences in quality and quantity are related to objectivity, impersonality, and syntactic compression.

<span style="font-family: 'Times New Roman','serif'; font-size: 10pt; mso-fareast-font-family: 'Times New Roman'; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">The purpose of this article is the evaluation of data from BDS registers of aircraft transponders with the focus to calculate wind speed and wind direction. First part of this article focusses on BDS registers and method of calculating wind values from data of secondary surveillance radars obtained from Air Navigation Services of the Czech Republic. Evaluation and comparison of the calculated data with the real values of the wind is stated in the second part of the article.</span>

The paper contributes to the research on academic attribution by exploring syntactic-semantic patterns of English reporting verbs used by three types of academic writers, namely L2 novice (with Czech as their L1), L1 novice and L1 expert academic writers. It investigates the impact which both the EFL and EAP challenge has on the use of these verbs by L2 novice academic writers. Our approach combines contrastive analysis and learner corpus research, focusing on academic writing in English in the discipline of economics. The results suggest that although similarities among the groups prevail, Czech novice academic writers tend to resort to patterns associated with informal, conversational rather than academic style. Pedagogical implications of the findings could include raising students’ awareness of the practice of appropriate academic reporting as one of the skills needed for them to accommodate themselves to the conventions of English as the academic lingua franca.

<span style="line-height: 115%; font-family: 'Times New Roman','serif'; font-size: 9pt; mso-fareast-font-family: Calibri; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-theme-font: minor-latin;" lang="EN-GB">The objective of this methodology is to determine the general procedure for the evaluation of safety indicators for operation at uncontrolled aerodromes. The basis of this assessment is to determine the processes that take place at the aerodrome and finding critical points in these processes. They are determined on the basis of observations at aerodromes and are based on current legislation. The result of applying this methodology to aerodrome operations is the identification of several indicators, which monitoring and the adoption of safety measures can enhance safety at these uncontrolled aerodromes in the Czech Republic.</span>

This is the sixth instalment in the discussion between Frederik Kortlandt and the author of this article on several problems of historical Slavic accentology. The paper discusses the reflection of pre- and posttonic length (in accentual paradigm a and c) in Western South Slavic and West Slavic, the reflection of the short neo-acute in Kajkavian and Czech, and the kȍkōt ‘rooster’ type lengthening in accentual paradigm c in Štokavian and Čakavian. A few other topics are also shortly discussed – such as the accent of the genitive plural, the *obőrna ‘defence’ type accent, and the Čakavian črnĩna ‘blackness’ and dvorĩšće ‘courtyard’ type accent. Additionally, the paper deals with some issues concerning Kortlandt’s rather problematic methodology, rhetorics, discussion and presentation style.

This study explores differences in the reporting of female and male sports journalists. Based on a brief review of the literature related to gender differences in sports journalism and the stereotypes associated with the work of female sports journalists, the paper identifies a purported ‘female writing style’ characterized by a focus on soft news, an emotional approach to reporting and reduced interest in statistical and analytical data. Using a quantitative content analysis, I reviewed 167 audio-visual and 50 written ice-hockey reports about Czech Extraliga produced by six sports journalists, who worked in leading Czech sports media departments. I observed the frequency with which the reporters presented statistical data, evaluated a performance, described emotions, recounted personal stories, and used original phrases. Comparing women’s and men’s output, it emerged that gender of the author did not have a dominant influence on the form of their reports and did not impact the use of specific language elements.

The article provides a complete stylistic analysis of the text of the novel by the Yakut classic writer Nikolai Mordinova - Amma Achchygyia "Springtime" ("Saasky kem") and the artistic and stylistic features of the work were revealed. The epic novel "Springtime" is called the encyclopedia of the Yakut pre-revolutionary life. In it, the author authentically reflected the way of life, customs and culture of his people, convincingly showed the awakening during the formation of Soviet power in remote Yakutia. The work went through about 10 editions in Yakut, Russian, and is translated into Ukrainian, Hungarian and Czech. It is known that in the history of Yakut literature there are two editions of the novel: the first edition, published in 1944 without amendment, and the second, corrected and supplemented, which received wide recognition from readers and declared itself as a classic canon of the epic novel of the Soviet period. The language and style of the novel "Springtime" has its own unique, artistic and aesthetic features. It is noticeable that in the second edition the author worked diligently on the text of the work: the reader admires the artistic depiction and the richness of his native language. Especially in the first and third parts of the novel, stylistic figures of speech (actualization, anaphora, anaepiphora, antipophora, antithesis, homeology, gradation, concatenation, epiphora, etc.) are often found, generating verbal harmony and a special style of the writer. The speech of the characters, monologues and dialogues. are also conveyed in the literary-processed colloquial language of that time. It must be admitted that the language and style of Nikolai Mordinov - Amma Achchygyia is the canon of the Yakut literary language and serves as a vivid example for many writers of modern literature.

This paper aims to explore the literary creations of the Czech poet Julius Zeyer (1841–1901) within the complexity of his poetic works, except dramas. The poet, prosaist, and dramatist Julius Zeyer ranks among the classic Czech authors active in the second half of the 19th century. Literary historians traditionally link him with the Lumír generation but he is often grouped also with the New Romantics contributing to periodicals Ruch, Lumír, and Květy, or, possibly, with the ‘sensitives’ of the 19th-century European culture.His works comprise texts of indisputable, time-honoured value, beside the texts on the verge of conventional fiction. Quantitatively, the literary production of Julius Zeyer comprises more than two thirds of epic works; almost two fifths are dramas; only a few of them are (purely) lyrical poems representing just a fraction of his comprehensive output. The proportions of the explored poetry and prose also feature two-third ratio in favour of prose against (in Zeyer, mostly epic) poetry.The starting point of our search for specific features of his authorial style was the accentuation of Zeyer’s “epicism” and “lyricism” in references, i.e. throughout the overall reception of the poet’s texts, regardless of literary genres, often coexisting in contradictory meanings. Specifically, this study aims at the identification and linguistic analysis of selected devices to convey epic and lyric aspects in Zeyer’s epic poetry and prose.Despite the dominant representation of epics and prose, Zeyer’s style shows distinctly lyrical features, even within the extent of his production as a whole. The lyrical nature of his epic works is enhanced by his exclusively visual imagery, purposely different from common speech, with stylistically marked bookish and archaic elements, bearing the marks of literary art nouveau.In the middle and final stages of the poet’s creative career, his lyricism is enhanced by the changing rhythm of his narrative accentuated by the receding textual dramatization; by a greater share of non-narrative segments in the story; and through the tension ensuing from the contrasts between subjectivity / objectivity; between personification / impersonality; or between outer / inner perspective of the narrative, based on the linguistic form of concrete fictional texts and on the concrete perspective in which the story is actually mediated. Displayed in all of his literary works, lyricism is a characteristic and permanent feature of Julius Zeyer’s authorial style.

The aim of this paper is to explore the use of the sentence and the compound sentence in the literary works of the Czech poet Julius Zeyer (1841–1901). Specifically, we intend to make a quantitative identification of congruencies and parallels, typical of the syntactic structure of Zeyer’s epic poetry and prose, as evidenced by a detailed analysis of particular stylistic devices used in the selected representative texts. The aim of this paper is to corroborate, or possibly to exclude, the impact of the selected narrative means of expression on the stylistic and compositional variances of the text, which is facilitated by paying full attention to one aspect of Zeyer’s authorial style, namely, the quantitative variation of sentences and compound sentences.

The article deals with the work of Panteleimon Kulish (1819–1897) as a literary critic. Here is analyzed his article about Hryhoriy Kvitka-Osnovianenko, which was published in 1858 in St. Petersburg in a separate brochure. It has been found out that consideration of the writer’s creativity in the historical and world context, conclusion of generalizations, clarification of the most characteristic aesthetic features of the analyzed works, view on creativity through the author’s biography, journalism, emotionality, argumentation are characteristic for style of Kulish as a literary critic. At the beginning of the article, Kulish talks about the place and role of literature in society. He draws attention to the development and level of literature in the context of the historical development of the state. He gives examples from different literatures and concludes that the development of culture does not always go hand in hand with the development of the state. The author says that the opposite is the case: the decline of a state or kingdom is observed, and at the same time, literature, culture is developing. P. Kulish gives examples from Czech, Polish literature. These facts are important to him because he sees the same in Ukrainian literature. Kulish speaks about literature as a national spirit living in the artistic word. He emphasizes that literature is the key to being a nation. Analyzing the work of H. Kvitka-Osnovyanenko, P. Kulish draws attention to the language of works as the main factor of the text, because of which language appears as a representation of the national spirit, as a guarantee of prosperity of the people. He emphasizes that through literature the people manifest their mission of philanthropy. The works of H. Kvitka-Osnovyanenko, writes P. Kulish, have appeared during difficult years, and show national spirit, they are organic with time requirements. The author briefly describes the biography of H. Kvitka-Osnovyanenko. The journalistic style is characteristic of him. P. Kulish explains where H. Kvitka got his knowledge of the Ukrainian language, why he was so respectful to religion, which later became one of the central themes in his work. In analyzing H. Kvitka-Osnovyanenko’s stories, P. Kulish emphasizes moral and ethical aspects. According to one article by Panteleimon Kulish, we see that he is an interesting critic. His text contains a lot of information, generalizations, reveals typical in the history of peoples and cultures.

The paper outlines the significance of the opposition I : : We within corporate discourse, the study of which claims to become one of the main areas of studying professional communication in the age of globalization. The relevance of the study is determined by the need to establish common and different forms of expressing personal and collective aspects in social communicative content in the genre of congratulatory speech. The research material is represented with the texts of congratulatory speeches in the German, Russian and Czech languages. The authors focus on the implementation of the current social and cultural status of a person in the texts, belonging to the genre of corporate discourse, which is defined in the paper as a type of institutional business communication, realized both in special, documentary texts of a given professional sphere, and in a complex of ritual, etiquette and ceremonial texts. In selected language versions, the authors reveal the common rigid structure of speech and the insignificant linguopragmatic and stylistic variability of language means caused by the general positive perlocutivity of this performative genre. The revealed features include, in particular, the self-orientation of congratulatory speeches in German as an explication of active self-presentation, that expresses rationality and individualism of the German collective style; reflection of the collective consciousness of the Russian society in the forms of deixis associated with the expression of intentions We : : I+everyone; as well as obligatory explication of close friendly relations of the sender and the recipient of congratulations in the Czech linguistic culture.The uniformity of linguistic means, noted in the acts of congratulatory speech, is explained as an intention to follow common discourse rules and universal commandments of global professional communication, shared by all discourse participants.

<span style="font-family: 'Times New Roman','serif'; font-size: 10pt; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-GB">This paper aims to provide brief overview of aviation safety development focusing on modern trends represented by implementation of Safety Key Performance Indicators. Even though aviation is perceived as safe means of transport, it is still struggling with its complexity given by long-term growth and robustness which it has reached today. Thus nowadays safety issues are much more complex and harder to handle than ever before. We are more and more concerned about organizational factors and control mechanisms which have potential to further increase level of aviation safety. Within this paper we will not only introduce the concept of Key Performance Indicators in area of aviation safety as an efficient control mechanism, but also analyse available legislation and documentation. Finally we will propose complex set of indicators which could be applied to Czech Air Navigation Service Provider.</span>

AbstractKarel Čapek’s The War with the Newts combines a wide assortment of textual forms and genres to portray the assumed history of the newts in close connection with that of the human race. Newspaper articles, scientific studies, notes of drunken sailors, and other inserts form a unique collage in style as well as in layout. In the various editions of the originally 1948 Hungarian translation of the novel, the textual arrangements of the most composite part of The War with the Newts – the second book – are significantly altered compared to the Czech edition. Moreover, the introductory sentences of the inserts, the typefaces, and the stylistic differences tend to suggest that there is a different notion of text and reading underlying the Hungarian versions. Other unifying tendencies traceable in the translation, e.g. standardized language use or concepts of character identity, can be correlated with these features. As the borders of various text-types within the Czech text are reorganized and re-established in the translation, a different position of the reader and a different idea of the literary text emerge. My aim is to demonstrate the translational differences and try to account for them with an underlying concept of text and translation embedded in the Hungarian variant.

Introduction. The aim of this research is to define what role continuous assessment plays in foreign language teaching. We analysed some of the most frequent communication and language mistakes by our research sample students in their written communications at the B2 level. We believe these correlations have yet to be closely studied in the context of the foreign language teaching process since there is a significant increase in the number of international students entering Slovak universities for programs implemented in the Slovak language. We also researched the current interest of our non-Slovak university students in verifying Slovak language competencies through ECL testing compared to the period before 2019 in correlation with their writing skills preparation. Materials and Methods. Our research sample included 200 randomly selected written communications by firstyear international students of our University in the period of 2019‒2022 in various fields of study at the age scale from 17 to 42. The students were from Russia, Serbia, Kazakhstan, Uzbekistan, Belarus, Ukraine, and the Czech Republic. We applied content analysis of the written communications concerning the most frequent mistakes from the morphological, syntactic and writing-accuracy points of view. We also used statistical methods to research the current interest in verifying foreign language competencies through ECL testing on the side of our international students. Results. The results delivered that the most frequent errors are typographical, mainly related to spelling, punctuation and paraphrasing; therefore, we can claim that in the Slovak language learning, it is significantly beneficial to focus on formal correctness, i.e. consistent acquisition of the Slovak language grammar system. We also identified the sociolinguistic adequacy of written communication problematic, i.e. style, clear statements formulations, and adherence to the text composition. The results also demonstrated the increase in our international university studentsʼ interest in verifying foreign language competencies through ECL testing compared to the period before 2019. Discussion and Conclusion. From the results it follows that teaching writing skills intensively with a focus on particularly identified problematic issues in written communications increases the learnersʼ language acquisition level. This study presents results that may be useful in the targeted language preparation of the international students recruited to Slovak universities as their home universities and their further preparation for undertaking Slovak language proficiency official verification. In addition, the results of our study may contribute to the further development of general professional education in foreign languages.

Abstract In the first part of the study, we proposed that logicians adopt from linguists their detailed distinction of conditions on a scale of varying degrees of satisfiability from factually true via potentially satisfiable to absolutely irreal. On this basis, we have proposed a suitable distinction for the logico-semantic investigation of conditionals of the following kinds: Factual, hypothetical (agnostic), counterfactual, and counterpossible. We consider the syntactic-semantic distinction between potentially and absolutely irreal conditions to be crucial. Therefore, we think that the conditional mode in the form of antepreterite is an appropriate syntactic signal for identifying the absolute irreality of the condition and, especially in scientific and artistic style, we consider it functional. On the other hand, the distinction between sufficient and necessary conditions could be inspiring for linguists. In classical logic, these are the basic kinds of conditions and are associated with the rules of deductive reasoning modus ponens and modus tollens, respectively. These rules are central to the application of logic. It turns out that these tools are not sufficiently established in Slovak linguistics, as there is no systematic distinction between sufficient and necessary conditions. The situation in czech dictionaries is similar. Finally, we have put forward a hypothesis why the conjunction unless is considered in Slovak linguistics as a double – in our opinion wrongly – of the conjunction only: There is a “forgotten” ellipsis behind it, which is not brought to the reader’s attention.

Abstract The phenomenon of the Nigerian Pentecostal/charismatic missionaries and communities led by them has been fairly well documented with respect to some Western European countries. However, much less attention has been given to the ministry of Nigerian-initiated Pentecostal/charismatic churches in Central Europe. The present paper seeks to fill this lacuna by exploring the ministry of three Nigerian-initiated churches in Prague, the Czech Republic, namely ‘The Mountain of Fire & Miracles Ministries’, ‘Covenant Parish Prague’ of ‘The Redeemed Christian Church of God’, and ‘The Holy Ghost End Time Ministries Intl.’ The present article analyzes different strategies these churches use to move beyond their ethnic origin. On these particular case studies, it tests a thesis, suggested by the research done by various scholars with respect to the Nigerian Pentecostal immigration in Europe and, especially, Great Britain, which claims that Nigerian-initiated Pentecostal/charismatic churches in Europe fail to appeal to the population of non-Nigerian and non-Pentecostal/charismatic backgrounds. This contribution suggests taking a more complex approach to the phenomenon by considering aspects such as contextual knowledge/experience of the pastor, language politics, worldview, worship style, and outreach policy. It will be proposed that sheer numbers are not to be perceived as the main indicator of whether or not a specific church represents an active missionary force, but rather a multiplicity of factors should be taken into consideration.

The Russian Formalists and Czech Structuralists argued that foregrounding devices such as deformation and deautomatization are central to literature. They saw that such devices build a pressure for novelty into literature. Literature must change constantly because readers gradually become used to and bored with initially novel and interesting deformations. Formalist and Structuralist theorists saw that literature should change but could not explain the direction in which it would change. They hypothesized that the direction of change is determined by extra-literary sociocultural forces. I argue that this hypothesis may be wrong. If we examine the way in which people think of novel word combinations in the first place, we can formulate a theory that explains the direction of literary change. Production of novelty often involves movement away from ordinary waking consciousness toward an altered state of consciousness. Within the confines of a given style, to produce something even more novel, poets must regress to an even more altered state of consciousness. The state of mind in which a poem is produced to some extent determines the words used in the poem. Given that the pressure for novelty is always present whereas other forces acting upon poets vary, we can predict the direction in which poetry tends to move from the alterations in consciousness required to produce ever more novel poetry. Statistical analyses of several poetic traditions show that this is, indeed, the main direction in which poetry evolves.

Among the earliest Western representations of the Muslim world were those written by Central European authors who had survived captivity in the Ottoman Empire; they form a largely unexplored genre of “Ottoman captivity narratives.” While strongly related in both theme and style to the better-known Barbary captivity genre, these memoirs offer a broader framework for captivity narratives that are beyond the customary focus on English-language or West European texts. This article examines Ottoman captivity narratives from Georgius of Hungary’s Tractatus (1481) and Bartolomej Georgijević’s De Turcarum moribus epitome (1553), both written in Latin, Václav Vratislav z Mitrovic’s Příhody (1599), published in 1777, and Štefan Pilárik’s Sors Pilarikiana (1666), written in Czech. There is also one Turkish perspective of Austrian captivity, by Osman Aga of Temesvar (1724), published in 1954. While these works reflect the cultural assumptions of their era, they also illustrate an underlying ambiguity toward the Turks, and sometimes a concealed admiration for Ottoman society; some offer the forthright condemnation expected of the era. Through the comparative approach of transnational history, the Ottoman captivity narrative can be seen as a genre that reflects common experiences of engagement with the Orient that are beyond the modern linguistic and politic divisions of the Central European region.

Abstract The article focuses on a relatively new genre of computer­mediated communication, online sports reporting (also known as live text commentary or minute- by-minute match report). This is a hybrid genre which combines a chronologically structured narrative (capturing the events of the sporting match minute­by­minute) and the commentator’s evaluative formulations (evaluations which are often expressive and subjective, funny and humorous statements) as well as his implicit contact with the audience (fictitious dialogue). It thus fulfills both the informative function (providing factual information) and the entertainment one (as typical infotainment). The introductory characterization of the genre is based on the work of J. Chovanec, but unlike in his work, it focuses on Czech live text commentary (mainly from soccer, hockey and tennis matches) and on the terms, non­standard professional vocabulary units and slang expressions in the commentators’ speech. Significant attention has been devoted to these levels of the lexicon in Czech and Slovak linguistics. However, the genre in question once again confirms how difficult it is to distinguish them. For example, the combination of individual expressions (or entire language levels) with standard, “colloquial” or non­standard Czech appears to be very problematic in this respect.

The article addresses matters related to the peculiarities of Hungarian-Ukrainian poetic translation. It was noted that the quality, complexity and overall mastery of literary translation largely depend on the translator’s artistic personality, i.e., their knowledge, skills, and creativity. In our opinion, Yurii Shkrobynets was the one to perform the highest quality poetry translations in the field of poetic Hungarian-Ukrainian translation. During half a century of translation experience, he performed translations from Old Ukrainian, Czech, Slovak, German, Hungarian, Ossetian and Komi languages into Ukrainian, as well as from Ukrainian into Hungarian. The most significant portion of his translation heritage consists of translations of belletristic from Hungarian into Ukrainian, particularly these are 24 separate editions of both prose and poetic texts, and numerous poems, printed in periodic magazines and collections. Ukrainian translations of poetry by Yurii Shkrobynets are distinguished by linguistic richness and stylistic mastery, which can be seen in the way how all the structural features of the original work were preserved. The article’s topicality is determined by the insufficient research of both the theoretical issues of Hungarian-Ukrainian poetic translation, which require more thorough coverage within the framework of the partial theories of translation (in particular, it is of high importance to identify and describe different types of equivalents at the lexical, grammatical, and stylistic levels), and the translation principles and the translation concept by Yurii Shkrobynets. This [research] will contribute to the development of knowledge, skills and abilities that are necessary for a today’s Hungarian-Ukrainian translator. The purpose of the article is to trace and analyze the theoretical and practical aspects of poetic Hungarian-Ukrainian translation based on the literary translations by Yurii Shkrobynets. In order to achieve this purpose, the following objectives were set: 1) to outline the principal cultural and worldview patterns of Yurii Shkrobynets’ artistic personality; 2) to trace the distinguishing linguistic and stylistic differences between the Hungarian and Ukrainian languages and the difficulties they cause in terms of literary translation; 3) to identify and analyze the translation principles of Yurii Shkrobynets in order to highlight his individual style of poetic translation; 4) to find and examine the lexical-grammatical transformations used by Yurii Shkrobynets within the literary translation framework, using Janos Arany’s poem Toldi″ in his translation as an example. In addition to general scientific methods of analysis, the following methods of analysis are used: synthesis and generalization of the material, the cultural-historical method, the method of comparative analysis of original and translated texts, and linguo-poetic analysis. It was proved that, despite the significant differences between the Hungarian and Ukrainian languages, it is possible to make such a professional literary translation can indeed reproduce the original work’s system of images and associations in full. Neither significant language differences nor national versification systems and related rhyming features become an obstacle, if the translator is well knowledgeable of them. The article investigates that the creative personality of Yurii Shkrobynets was formed under the influence of both Ukrainian and Hungarian cultures, the synthesis of which constitutes a part of the translator’s worldview. The profound understanding of cultural peculiarities and literary traditions that form both Ukrainian and Hungarian belletristic, as well as a perfect command of two languages contributed to the development and skills sharpening of Yurii’s talent for translation. It was proved that the translator had his own aesthetic preferences, and therefore, he introduced works into the Ukrainian cultural polysystem that primarily resonated with his own worldview and cultural values. The translation concept of Yurii Shkrobynets was formulated by himself in his article “My duelling with Toldi”, which became a resume of the following main ideas of his translation activity: 1) to translate exclusively from the original; 2) to keep faith in the original in such a way that the translated text affects a reader in the same way as the original; 3) as close as possible to deliver both content and formal components of the work in such a way that the adherence to the form does not cause damage to the contents; 4) to select the appropriate means of the Ukrainian language for the linguistic and stylistic features of the original text. A comparative analysis of the Hungarian poem “Toldi” by J. Aran and the translation performed by Yurii Shkrobynets, which is considered one of his best achievements, showed the translator’s strict adherence to his own translation concept. Despite the fact that the Hungarian language is not related to the Ukrainian language and there are significant lexical and grammatical differences, Yurii Shkrobynets managed to produce such professional translations of Hungarian poetry into Ukrainian that they were barely recognized as translations. The translator selects such kinds of expressions, phrases and lexicons which fully reflect and depict the cultural concepts of the Ukrainian language. However, it does not damage the original because the translator saves the key elements of the Hungarian linguistic culture. Yurii Shkrobynets, in his translation, uses a dialectal vocabulary of the Ukrainian language, tropes (namely, epithets, comparisons, metaphors), and phraseological units, which are primarily attributed to Ukrainian folklore. By means of lexical transformations, he transfers the meaning of the original text in such a way that the translation does not lose its essence, as far as the situation described by the original author and the translator is identical and is different only by means of its expression. We believe that the translation transformations applied by Yurii Shkrobynets, like full and partial replacement of word forms, complete reconstruction, rearrangement, omission, concretization, generalization, and transcoding of proper names and titles are well founded and caused primarily by the syntactic features of Hungarian and Ukrainian languages, as well as significant grammatical differences in general. Additionally, the translator could not manage to reproduce the poetic imagery of the original work and preserve its rhyming features without the usage of complex both lexical and grammatical transformations. Furthermore, the translator’s own poetic talent is worthy of being noted as it is expressed in neologisms and creative artistic translation of the individual original author’s features of the source text. Yurii Shkrobynets skillfully reproduces the features of the Hungarian versification and successfully matches with the equivalents to phraseological units and non-equivalent vocabulary. Altogether, these principles lead to the formation of a high-quality and adequate literary translation.

The article provides an innovative model of poetics (or isms, styles, etc.) in Czech prose in the latter half of the long 19th century. It gives an overview of seven individualized and mutually distinct poetics, including ideal, analytical, and psychological realisms, Parnassism, naturalism, impressionism, and decadence. The individual poetics do not represent periods, but exist in parallel, allowing confrontations and intersections either within the author's work or in a specific text, as in the model of Czech literature developed by Dalibor Tureček in the past decade. They are always set in the context of European literature and supported by many illustrative examples. The model is not only typological, but also assumes a diachronic perspective, which can be developed in future scholarly work on the history of Czech literature. The aim is to create a system that can potentially be applied not only to Czech fiction, but possibly also to poetry or drama, in other periods and literatures. Part One of the article concentrates on a general overview and on ideal and analytical realisms.

<em>Along with the progress and development of the business world in Indonesia, especially the city of Bandung, the more advanced the establishment of billboards both isidentil and permanent. The installation of billboards is currently increasing in number and piling up without paying attention to the predetermined procedures for organizing billboards. So it is necessary to carry out supervision or control, this regulation is an obligation of the Bandung City Civil Service Police Unit (Satpol PP) as stated in the Bandung City Regional Regulation Number 02 of 2017 in Article 19 paragraph (1) Challenge the implementation of the regulation of the implementation of advertising. However, in reality, in the implementation of billboards, there are still many people who do not follow the installation procedure and not all violations of billboard organizers can be put in order by satpol PP Bandung City. The purpose of this study is to determine the performance of Satpol PP Bandung City employees in the Regulation of Billboards 2020 and to find out the supporting and inhibiting factors in the control of violations of billboard organizers in Satpol PP Bandung City. The method used in this study is a descriptive method with a qualitative type of research. This is done in the context of collecting primary data by means of observation, interviews and documentation. In addition, data collection was carried out using several book references with research themes to support previous data. The results showed that the performance of Satpol PP Bandung City Employees in the Implementation of Billboard Control has not been optimal, this is evidenced by the many violations of billboard organizers in the city of Bandung. This is due to the lack of personnel and facilities and infrastructure. The way to overcome this is that there must be additional personnel or employees of billboard control and the provision of adequate equipment to support the implementation of advertising control in the field</em><textarea id="BFI_DATA" style="width: 1px; height: 1px; display: none;"></textarea><textarea id="BFI_DATA" style="width: 1px; height: 1px; display: none;"></textarea><div class="TnITTtw-fp-collapsed-button" style="display: block;"> </div><textarea id="BFI_DATA" style="width: 1px; height: 1px; display: none;"></textarea><div class="TnITTtw-fp-collapsed-button" style="display: block;"> </div><textarea id="BFI_DATA" style="width: 1px; height: 1px; display: none;"></textarea><div id="WidgetFloaterPanels" class="LTRStyle" style="display: none; text-align: left; direction: ltr; visibility: hidden;"><div id="WidgetFloater" style="display: none;" onmouseover="Microsoft.Translator.OnMouseOverFloater()" onmouseout="Microsoft.Translator.OnMouseOutFloater()"><div id="WidgetLogoPanel"><span 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Lifelong learning has become an essential part of each profession. For this reason, personalized and adaptive learning has been drawing attention of professionals in the field of formal as well as informal education in the last few years. The effort has been made to design adaptive study supports regarding students' requirements, abilities and current knowledge. In the Czech Republic, particularly at the University of Ostrava, a team of educators, didactics professionals and IT professionals has been applying their mind to personalized learning in the electronic environment. They have been developing a suitable learning environment to fit students' learning styles. The paper describes a general model and a theory of adaptive eLearning from the perspective of the University of Ostrava professionals. It also demonstrates hard facts of the research in the field of language learning. This paper, Individualization of foreign language teaching through adaptive eLearning, is an extended version of the paper published in the ICWL 2015 workshop proceedings.

The monthly magazine Časostroj (Time Machine), published in the Czech Republic since 2011, is meant to enable “a fun journey into history” for readers aged 7–15. Several years ago, this magazine took 2nd place in a competition organised by the Czech Academy of Sciences for the popularisation of science. The paper considers how this specifically-profiled popularisation of history oscillates between academic (pedagogical, didactic), everyday communicative and “entertainment” styles, as well as how the entertainment function of language and texts is promoted in contemporary communication. Attention is devoted to the fact that in this popularising discourse – probably much more than in scholarly historiography – narration merges with commentary, and historical fiction has a specific use. The selection of topics and historical events is determined witha consideration of young readers, who are transported into history and directly integrated into past events. The magazine’s authors and editors engage their intended readers in continuous dialogue and maintain live contact with them. The paper also presents the various genres which appear in the magazine (from myths, legends and fables to comics, including, e.g. “historical detective stories”). It further recalls and accents everyday life in history in this popularising discourse and its connections to the gender perspective (female perspective), among others. Emphasis is also placed on the educational function of the texts – on how young readers are encouraged to be actively interested in history and to be independent thinkers (e.g. through alternative history).

Even though school-based parental involvement has been linked to academic and behavioral benefits for children, little is known about the links between parental involvement for Ukrainian refugee families and contextual factors such as Czech language fluency, teaching styles, and student assessment. Identifying the barriers and limitations to cooperation between the home and the school might contribute to helping refugee children adjust to their new life in the host country. The article presents the results of a study with an exploratory qualitative approach using interviews and an interpretative phenomenological analysis for data interpretation. The study was designed to explore the multiple barriers that refugee families face when engaging with their children’s Czech public schools. The results revealed that Ukrainian parents encountered a number of challenges and that a welcoming school environment was crucial for involving them in their child’s school.

Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.

<p>Οι περισσότεροι ερευνητές, συμφωνούν, πλέον, πως η βασική αιτία των ελλειμμάτων, που εμφανίζουν οι δυσλεκτικοί μαθητές στην κατάκτηση του γραπτού λόγου, οφείλονται στο «φωνολογικό έλλειμμα», δηλαδή στις δυσκολίες αποθήκευσης, όσο και ανάκλησης, των φωνημάτων των λέξεων. Οι δυσλεκτικοί μαθητές εμφανίζουν, επίσης, ένα γενικότερο έλλειμμα αυτοματισμού, που εκδηλώνεται ως αδυναμία γρήγορης και αυτοματοποιημένης ονομασίας των φωνημάτων, καθώς και γρήγορης και αυτοματοποιημένης γραφής τους, με τα αντίστοιχα γραπτά σύμβολα. Η σημασία της παροχής πολυαισθητηριακής διδασκαλίας σε επίπεδο γραφοφωνημικής, ορθογραφικής και μορφολογικής συνειδητοποίησης είναι αποδεδειγμένη από πολλές έρευνες στον τομέα των παρεμβάσεων για δυσλεκτικούς μαθητές.</p><p> Στην παρούσα μελέτη διερευνήθηκε η αποτελεσματικότητα της Πολυαισθητηριακής Μεθόδου Διδασκαλίας, που δημιουργήσαμε στην ελληνική γλώσσα, στην ανάπτυξη των δεξιοτήτων<strong> </strong>ορθογραφημένης γραφής στους δυσλεκτικούς μαθητές<strong>. </strong>Η πολυαισθητηριακή μέθοδος<strong> </strong>εφαρμόστηκε, εξατομικευμένα, 6 ημέρες την εβδομάδα για διάστημα τριών μηνών, σε 24 δυσλεκτικούς μαθητές δημοτικού σχολείου. Ως ομάδα έλεγχου επιλέχθηκαν 24 δυσλεκτικά παιδιά, με αντίστοιχα χαρακτηριστικά με την πειραματική ομάδα, τα όποια παρακολούθησαν αποκλειστικά το πρόγραμμα του σχολείου τους. Τα αποτελέσματα της χρήσης της Πολυαισθητηριακής Μεθόδου έδειξαν στατιστικά σημαντική βελτίωση στην ορθογραφημένη γραφή λέξεων της πειραματικής ομάδας, σε σχέση με την ομάδα έλεγχου, καθώς και στατιστικά σημαντική βελτίωση στην επίδοση της πειραματικής ομάδας, σε σχέση με την επίδοση της πριν από την εφαρμογή της μεθόδου.</p><div id="SL_balloon_obj" style="display: block;"><div id="SL_button" style="background: transparent url('chrome://imtranslator/content/img/util/imtranslator-s.png') repeat scroll 0% 0%; display: none; width: 24px; height: 24px; position: absolute; cursor: pointer; visibility: visible; opacity: 1; transition: visibility 0.1s ease 0s, opacity 0.1s linear 0s;"> </div><div id="SL_shadow_translation_result2" style="display: none; margin-top: 30px; margin-left: 1px; direction: ltr; text-align: left; min-height: 40px;"> </div><div id="SL_shadow_translator" style="display: none;"><div id="SL_providers"><div id="SL_P0" class="SL_BL_LABLE_ON" title="Google">G</div><div 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With the widespread use of English as the lingua franca of academia, there is a growing need of research into how non-native speakers striving to be socialized in target academic discourse communities deal with variation in meaning and organization of academic texts across fi elds, languages and cultures. An important indicator of competent linguistic production is the mastering of the register- and genre-specifi c formulaic expressions termed lexical bundles, which are defi ned as sequences of three or more words with frequent co-occurrence in a particular context (Biber et al. 1999). While recent studies have addressed disciplinary and novice-expert differences in the use of lexical bundles, cross-cultural variation in bundle use remains underexplored. This paper investigates lexical bundles indicating authorial presence in a specialized corpus of Master’s degree theses from the fi elds of linguistics and methodology written by German and Czech university students. The aim of the study is to compare how novice Czech and German authors use lexical bundles indicating authorial presence, to consider whether and to what extent the novice writers have adapted their writing style to the conventions of Anglo- American academic writing, and to discuss the role of the L1 academic literacy tradition and instructions received in writing courses for the modelling of novice writers’ academic discourse. The analysis shows that the variety and frequency of interpersonal bundles in Czech and German novice writers’ discourse do not approximate to the standard of published academic texts in English. The fi ndings also indicate that while the considerable similarities in the way Czech and German novice writers use the target structures for constructing authorial presence refl ect their common roots in the Central European tradition of academic discourse, the divergences may be attributed to a difference in the degree of adaptation to Anglo-American writing conventions.

Pauses act as important acoustic cues to prosodic phrase boundaries. However, the distribution and phonetic characteristics of pauses have not yet been fully described either cross-linguistically or in different genres and speech styles within languages. The current study examines the pausal performance of 24 Czech speakers in two genres of read speech: news reading and poetry reciting. The pause rate and pause duration are related to genre differences, overt and covert text organization, and speech tempo. We found a significant effect of several levels of text organization, including a strong effect of punctuation. This was reflected in both measures of pausal performance. A grammatically informed analysis of a subset of pauses within the smallest units revealed a significant contribution for pause rate only. An effect of tempo was found in poetry reciting at a macro level (speaker averages) but not when pauses were observed individually. Genre differences did not manifest consistently and analogically for the two measures. The findings provide evidence that pausing is used systematically by speakers in read speech to convey not only prosodic phrasing but also text structure, among other things.

The paper reports on a survey into the linguistic needs of law professionals in four European countries, with the aim of identifying their views on the importance and their use of foreign language skills as well as their preferences for ELP course content. The data, obtained from a questionnaire survey of 536 legal professionals from Poland, the Czech Republic, Croatia and Germany, show that while the respondents agree on many of the major points, there are also some differences conditioned by the respondents’ age and the specific tasks they perform in the legal profession. The article argues that these variables have to be taken into consideration in the LSP context because they determine some of the specific needs that need to be addressed in Legal English instruction. It is suggested that the findings about the lawyers’ self-perceived importance and preferred styles of learning are highly relevant for LSP practitioners, particularly when designing Legal English programmes and testing materials.

The article examines the use of book speech constructions in the Notes of Sailor Veresh-chagin, a handwritten text of the 19th century, which was found in one of the handwritten collections of the National Library of the Czech Republic and introduced into scientific circulation by M.V.Melikhov. Thenotes of a hardly literate peasant-sailor, which have an objective folk-colloquial basis, are interesting in terms of book speech structures used in them. From a sample text (or several texts), the author borrowed words and constructions typical of book texts and appropriate to the genre chosen by him, including words and structures characteristic of business speech. In many cases, the reproduced words and combinations were not clear for the author, so he transformed them. The functional purpose of such constructions was most like-ly dictated by the author’s desire to write the text according to certain rules corresponding to the chosen gen-re and presented in the sample text (texts) known to him. The analysis of book elements in the sailor’s notes reveals thefunctioning of certain lexemes in a particular period in the history of the Russian language, totrace their dynamics. Research into the linguistic features of works of folk literature, to which the sailor’s notes belong, is certainly significant since such works reflect the Russian speech of a certain period. Thestudy of the Notes makes it possible to trace the history of individual words and the functioning ofspeech elements of different styles, and contributes to the reconstruction of a true portrait of both the time and the heroes of that time.

The article deals with the fundamental development directions of futurism studying in Russian poetry in the D. Chizhevsky’s scientific heritage. The author determined the methodological significance of the futurism analysis initiated by the Ukrainian scientist just as organic and valuable artistic phenomenon in the history of Russian literature. His research «On the poetry of Russian futurism» (New York, 1963) was published on the contrary to the total silencing of the avant-garde in the USSR and its almost complete erasure from the historical map of the development of literature. The scientist connects there a number of distinguishing tenden- cies of the futuristic poetics with the preceding stage (the literature of symbolism), and predicts the appearance of studies of this aspect of literary continuity. Author of this article analyses works of similar subjects that have replenished science at the late twentieth – early twenty- first centuries (Bobrinskaya, Kling). D. Chizhevsky pays the most attention to the peculiarities and innovations of the poetic language of the futurists, defines various ways of word creation in their poetic practice – morphological word forms, innovations, morphemic and phonetic «zaum», violations of grammatical norms. As a specialist in comparative literary studies, he drew attention to the connection between the Russian avant-garde and both the Polish (the Scamander group) and the Czech avant-garde in the works of individual authors (V.Nesval). While studying Russian futurism and in a number of works on baroque literature, D. Chizhevsky traces the diachronic connection of Russian futurism with the baroque tradition, reveals the typological affinity of many events in time distant literatures. The baroque dimension of futuristic poetics clearly observed in the conceptual position of Chizhevsky when it comes about «complexity», the opacity of the poetic language of such artists as Mayakovsky, Pasternak, about lan- guage game, the experiment of an abstruse language, intentional stylistic opacity, and the «incomprehensibility» of futurist texts. The profound idea of outlining diachronic typological processes in various literatures turned out to be quite productive and had further literary development, just as a scheme of the «wave» movement of styles proposed by Chizhevsky in the es- say «Cultural and historical eras». In support of this thesis, in this article it was analyzed a number of philological works of the late twentieth – early twenty-first century, where the analogies between the baroque and avant-garde artistic paradigms were traced. To a large extent, the works of the Ukrainian philologist and culturologist have contributed to the formation of broad historical and literary views on typological processes in various literatures, on the study of the genesis of individual literary phenomena and historical typology in the diachronic aspect.

Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts considerable attention of researchers and was covered in various sources, including monographic essays (Zahaikevych, M., 1973), scientific, encyclopedic, journalistic articles (Bielik Zolotariova, N., 2009; Sulim, R., 2010; Paukov, S., 2007), where the opera “Poet” is mentioned in different contexts. The reviews of premiere performances of this opera were given: in scenic version at Kharkiv (Velychko, Yu., 2002) and in philharmonic variant in Kyiv (Sikorska, I., 2004); in his interviews, the composer also recalled this work. Nevertheless, the holistic analysis of the concept of the opera and the image of its leading hero, as well as its vocal-stage interpretation by the Kharkiv Opera’s artistic collective, has not been carried out yet. The objective of this article is to formulate the concept of the stage embodiment of the Poet’s image in the opera of the same name by L. Kolodub, on the basis of its interpretation at the Kharkiv National Opera and Ballet Theatre and self-own scenic experience of the author of these words, which is currently the only performer of the protagonist’s part. Summary of the main material. The composer has many times emphasized the outstanding importance of Taras Shevchenko’s work for every Ukrainian. “I consider Shevchenko to be a personality who has arisen on the basis of Ukrainian folklore. She is understandable to everyone, everyone cares - this is a very social poet. Many perceive him naturally, since the problems of his works excite and affect people. Shevchenko is incredibly interesting! I constantly re-read him and every time I find a new one. The main thing is that he himself suffered, all this is transmitted in his poetry. At the same time, he is a very big optimist, a warm-hearted person” (from the interview, as cited by Koskin, V., 2008b). The composer noted that the scenic life of his opera was not easy: at first the work arose interest both in Dnipropetrovsk and Kyiv (Children’s Music Theater on Podol, National Opera Theater). In 1988, when the opera was created, S. Turchak, who was supposed to be the conductor, suddenly passed away, and the new management of National Opera deleted it from their plans. Nevertheless, the opera was staged at Kyiv in the philharmonic performance in the arrangement for soloists, choir and brass band (2004). In I. Sikorska’s (2004) opinion, the composer “broke the stereotypes”, having redrafted the score in such a way that the brass orchestra’s timbre palette rivals the symphonic one. The opera is written on the basis of drama “Path” by O. Biletskyi and Z. Sagalov. The librettists’ idea was that the events of poet’s life intervene with the plot collisions of his works. For example, execution of Jun Hus symbolically coincides with the moment of death of Shevchenko himself. Moreover, the poet’s image is identified with heroes of his works. So, Colodub’s opera is the authors’ interpretation of Shevchenko-Kobzar’s fate from the XX century human’s point of view. Therefore, both, phantasmagoria and cinematographic methods are justified. The composer thought that “modern opera requires novel forms of delivering the material. The art of cinema and drama theater are developing fast, and opera esthetics is sort of frozen in the 19th century, she is not seeing even the heels of the far-ahead walking dramaturgy of the modern theater” (from the interview, Koskin, V., 2008a). The principle of introspection became the main dramaturgical principle of opera libretto’s construction. Avoiding the symphonic introduction, the first scene instantly transfers the viewer to the last March night of the Poet’s life. Being on the edge of eternity, the heavily ill Shevchenko is diving in memories. The Poet in the opera acts simultaneously as the event’s participant and its commenter, revealing gradually through different scenic roles: as a na&#239;ve creative person (scene 10), as a poet-citizen, who points out social injustices (scenes 3, 4, 15, 16), as a loving and beloved person (scenes 6, 7, 14, 20), or a thinker (scenes 11, 13, 1, 22). Over time, these roles are summing up, turning Shevchenko’s image into polyphonic and lifting the latter to the epic generalization. The image of the Poet become the symbol of the nation’s self-consciousness lost in the conditions of imperial Russia’s brutal reality (scene 29, “The burning of Jan Hus” – the Czech thinker is the hero of the Shevchenko’s poem of the same name). The opera’s authors do not separate the title hero from the storm of events and kaleidoscope of others scenic personages, which stipulates the specificity of vocal dramaturgy of Shevchenko’s opera character. The Poet’s vocal party does not include the developed solo or duet episodes, but it consists of concise replicas-phrases written by the recitative (Dargomyzhsky-Mussorgsky’s tradition) and several solo statements of arioso type. Conclusions. So, “Poet” by L. Kolodub, continuing the line of psychological opera-drama, vividly presented in the twentieth century by the works of D. Shostakovich, A. Berg, B. Britten and their followers, at the same time appeals to symbolism as to one of the main means of artistic expression. The image of Taras Shevchenko is interpreted as polysemantic: the fate of the Poet coincides in the perception of the audience with the fate of the Ukrainian people in their desire for liberty in a situation of opposition to the autocratic regime. And the freedom of expression of poetic and civic thought appears as a conscious necessity in the struggle for personal freedom, honor and human dignity. The logical culmination of the development of the image is the final scene of the auto-da-f&#233;, where the burning of Jan Hus, the hero of Shevchenko’s poem, acts as a symbol of cruelty to the Poet himself, and to the people, of whose part he is. The musical language of the Poet’s vocal party, on the one hand, is quite naturally approaches to the style of Ukrainian kobzars folk lyrics; on the other hand, it inherits the recitative type of melodicism, which is a characteristic feature of psychological musical theater. Such a synthesis helps to reveal the image of the Poet as the outstanding representative and spiritual leader of the Ukrainian people, and, at the same time, to emphasize the rich content of his work, and the beauty of the inspirited poetic Word. Theopera provides rich artistic material for the study of innovative type of dramatic thinking in the context of the development of the national tradition of the genre and is promising for further study.

The topic of my research is the Hungarian students at the universities of England and Scotland in the modem age (1789-1914). In this topic, prof. emer. George Gömöri carried on research-work on Hungarian students in England and Scotland (16—17th century) and there are other researchers and historians who are concerned with making scientific investigations on H ungarian and Transylvanian students abroad like Richard Hörcsik and Agnes Simovits. Moreover, regarding to the Transylvanian Unitarians: Elisabeth Zsakó and Andrew Kovács have to be mentioned. My research includes the studies of students from the Hungarian Kingdom and from Transylvania. I burrowed in sources and I collected references and trying to find all of the H ungarian students who studied in England and Scotland during the long 19th century. First of all I examined the matriculation books of Oxford and Cambridge which contain facts about the students’ birth-places, nationality or their origin, the date of entry, and their fathers' name. I also checked the registers of the colleges in w hich I found the same data. Furthermore, I burrowed in the documents of the H ungarian Protestant church districts, especially the documents of foreign affairs and of the educational administration. I also searched through the annual reports of Universities. After all I completed my data from different encyclopedias, like Pallas, Szinnyei's or Révai's. During the long 19th century 13 English and 4 Scottish universities existed. I found H ungarian and Transylvanian students in 4 English universities and in all the Scottish ones. Altogether there were 226 students. A couple of them studied in more universities. In England: 138. In London: 70, in Cambridge: 32, in Oxford: 30, in Manchester: 1, the target universities of 5 students are unknown. In Scotland: 101. In Edinburgh: 91, in Aberdeen: 5, in Glasgow: 3, in St. Andrew's: 2. (I mention that during my research I found 2 other Hungarian students who studied in Belfast.) Before 1860 we can't talk about the flow of students, according to my research there were only 10 students. 1 have to emphasize that my research has not been finished yet, consequently the num bers may change in the future. Studying in England and in Scotland wouldn't have been possible without the foreign or the home scholarships and foundations. I found that the greater part (more than 50 per cent) of the students who studied in England and in Scotland, traveled and studied with the assistance of English and Scottish foundations. More than 80 of the Hungarian students learnt theology at the Neu> College in Edinburgh, where a foundation was founded in 1863 for H ungarian and Czech reformed theological students; which granted 50 pounds per capital for 2 people from both of the countries in every year. Another foundation existed for Transylvanian Unitarians by the Manchester New College which institute was situated in London, than in 1889 it moved to Oxford. This college welcome 20 Transylvanian Unitarians who studied theology, pedagogy and other arts. For Transylvanian Unitarian women there was another scholarship - so-called the Sharpefoundation - in London at the Charming House School, which made possible for 16 Transylvanian women to study different studies in England between 1892 and 1914. Besides these foreign foundations there were H ungarian ecclesiastical relief funds which helped students who would have liked to study in England and Scotland. I found Szalapfoundation among the documents of the Trans-Danubian Church District. In other church districts there were other aids about 200 korona/crowns per capital and in special cases the church district awarded 400 crowns to a student to cover his travel expenses. In H ungary there were other foundations at the universities to maintain the students who wanted to study in England. After having finished their studies in Hungary, the medical students could gain experiences in England with the Benc-travelling-scholarship and w ith the Schordann-scholarship. In the early years of the 20th century medical students studied at the universities of England and Scotland for 2 years in general. Tor engineers there was the Abraham Ganz scholarship which made the way free to England. Furthermore, I found a Joseph Ferenc jubilee scholarship, it was the foundation of the city of Budapest which made possible for students to study abroad, especially in London. Besides these, other state-foundation existed for students. The religious distribution of the students is the following: Reformed: 100, Unitarian: 38, Catholic: 6, Jew: 8, Evangelical: 4. It can be ascertained that the greater part of the students were reformed and Unitarian who according to my research studied theology at the universities of England and Scotland. Regarding the origin of the students, more than 22% came from Transylvania. The 50% of the Transylvanians chose London as a destination. It is worth examining what kind of jobs they took and what kind of articles and books they wrote in connection with their English and Scottish studies after they had returned from England or from Scotland. The majority became teachers and pastors. First of all they examined the educational system of England and Scotland, secondly they saw the renewal of the Free Church of Scotland so they played an important role in the changes of the Hungarian Reformed Church. For instance the new institution whereas priests are working in prisons came from Scotland too. Owing to the fact that there were H ungarians who studied medical science in England, they acquainted H ungary with new scientific achievements. Those who became the m asters of English language found employment in diplomacy or they became interpreters and translators. As a result of their works, the writings of Darwin, John Stuart Mill and Shakespeare could be read in Hungarian. Those who got job in connection with politics or law, examined the Anglo-Saxon system of law and the English parliamentarism. They wrote books about the comparison of the H ungarian and English system of government, also about the international law ... etc. A m ong the Hungarian engineers Andrew Veress w ho finished his studies in England took part in building the first Romanian railway. What is more, the botanist, paleontologist and mineralogist Elek Pávai Vajna, who originated from Transylvania, studied natural sciencies in England. O n top of all, the famous Asia-scientist Aurel Stein studied in England too. Thanked to other students who were engaged in horticulture the English style of parks became know n in H ungary. As a conclusion I w ould like to summarise my experiences. The revealed data shows that the m ajor part of Hungarian students who studied in England and Scotland, were Reformed theological men students w ho studied with the aid of foreign foundations after 1860. W ithout a scholarship it was hard to get to England and Scotland, because of the distance and the other reason w as that the University of Cambridge and Oxford w ere elite schools and too expensive for Hungarians. In these schools the members of H ungarian aristocratic families could study like Ziehy s, Batthyány's, Esterházy's and Festetics’s. Thanked to their foreign studies the Hungarian students brought back the new scientific achievem ents and knowledge from England/Scotland w hich led to the modernization and scientific renewal of Hungary.