Изучение близких по значению слов с помощью корпусных данных: аргументная и актантная структура глаголов <Emphasis Type="Italic">испортить</Emphasis> и <Emphasis Type="Italic">подпортить</Emphasis>

This article aims to further develop a methodology for studying and describing argument and actant structures. The specific features of corpus methodology as applied to Russian are also discussed. The article discusses the differences between the verbs isportit’ and podportit’ based on corpus material from the Russian National Corpus. This study is an example of how corpus material can be used for studying the relationship between meaning and grammatical features. The various arguments that appear in combination with the two verbs differ in their frequency, i.e. the verbs are not identical in their grammatical behavior. They also differ in their actant structure, which means that their semantic content and behavior are different. This serves as evidence for the different roles that subjective judgment may play with regard to their use.     

The optimal placement of <Emphasis Type="Italic">up</Emphasis> and <Emphasis Type="Italic">ab </Emphasis>– a comparison

The particle verb construction (PVC), also referred to in the literature as phrasal verb or separable complex verb, occurs in most if not all of the Germanic languages. The work presented here deals with a comparison of the transitive PVC in English and German. In English, the construction occurs in two alternating word orders (They called off the concert vs. They called the concert off ). In German, on the other hand, only one order is possible (Sie sagten das Konzert ab vs. *Sie sagten ab das Konzert; *Sie absagten das Konzert). The central question is why this kind of word order alternation is possible in a language with otherwise relatively strict word order, such as English, but not in a related language such as German, which is otherwise freer in its constituent ordering, allowing, e.g., for scrambling. In this article, the pattern is explained in terms of (the ranking of) violable universal constraints from different modules of the grammar. I introduce a PVC-related syntactic constraint which punishes particle pied-piping. I argue that it is the rank of this constraint with respect to a number of prosodic constraints that is responsible for the variation between English and German.     

Comments on Jäger “<Emphasis Type="Italic">Anything</Emphasis> is <Emphasis Type="Italic">nothing</Emphasis> is <Emphasis Type="Italic">something</Emphasis>”: on the diachrony of polarity types of indefinites

This response focuses on two synchronic and two diachronic issues raised by Agnes Jäger’s contribution to this volume. On the synchronic front, we take a closer look at the limits of the featural underspecification approach adopted by Jäger, arguing for the need to draw a featural distinction between “ordinary” indefinites and positive polarity items, and also highlighting that the [affective] feature appears to play a rather central role not only in the domain of indefinites, but also beyond. In the diachronic domain, we briefly take issue with the feasibility of constraint reranking as an explanation for change, and then turn to a consideration of how a reinterpretation of Roberts and Roussou’s (2003) analysis of “increasing negativity” may be captured in terms of an Agree-based system (cf. Biberauer and Roberts 2010b). Like Jäger’s proposed system, this alternative does not predict that indefinite-related developments should always be unidirectional, as has sometimes been supposed (cf. i.a. also Hoeksema 2010).     

The Order of <Emphasis Type="Italic">Mimesis</Emphasis> in Saint-John Perse’s <Emphasis Type="Italic">Vents</Emphasis>

The claim by the 20th Century French poet Saint-John Perse that poetry is essentially a metaphysics invites readers and critics to reflect on the origins of both philosophy and poetry. In taking up this question, this paper focuses on the concept of mimesis from which the ancients derived, among other things, the principles of poetic and artistic production. By examining the way mimesis functions in Saint-John Perse’s Vents, it aims not only to establish the basis for understanding how the poet’s metaphysical claims are realised, but it also throws light on other aspects of his poetic vision, such as his view of cosmic unity, his explicit humanist mission and his much publicised double vocation in politics and poetry. Parallel to this, the paper briefly develops Plato’s, Aristotle’s and Girard’s treatment of mimesis and touches upon Merleau-Ponty’s, Bachelard’s and Nietzsche’s views on poetic expression.     

Pierrepont at a Crossroads of Literatures: An Instructive Parallel Between the First Branch of the <Emphasis Type="Italic">KARLAMAGNÚS SAGA</Emphasis>, the Dutch <Emphasis Type="Italic">RENOUT</Emphasis> and the Dutch <Emphasis Type="Italic">FLOVENT</Emphasis>

In the French original of the first branch of the Karlamagnús Saga [fKMSI], in the Dutch Renout and in the Dutch Flovent – three early 13th century texts from present-day Belgium – a toponym Pierrepont plays a conspicuous part (absent, however, from the French models of Renout and Flovent); fKMSI and Renout even have in common a triangle: “Aimon, vassal of Charlemagne – Aie, his wife – Pierrepont, their residence”. The toponym is shown to mean Pierrepont (Aisne) near Laon in all three texts. In fKMSI, it is due almost certainly to the intervention of one of two Bishops of Liège (1200 – 1238) from the Pierrepont family, and in the other two texts to a similar cause. Consequently, for fKMSI a date “before 1240” is proposed.     

<Emphasis Type="Italic">Emilia Galotti</Emphasis> and <Emphasis Type="Italic">La Princesse de Clèves</Emphasis>

We know, from statements Lessing made, that the catastrophe at the end of Emilia Galotti was based on a classical source, Livy’s account of the murder of Virginia by her father. However the sequence of events and the psychological forces that bring about this tragic conclusion in the play are not part of Livy’s text, nor are they inspired by the other dramatic treatments of the Virginia story with which Lessing was familiar. In his examination of Emilia Galotti, Gustav Kettner claims that Lessing drew on Richardson’s novels, in particular Clarissa, to develop his source material. The present article agrees that prose fiction was an important factor in Lessing’s new approach in this tragedy, but argues that rather than Clarissa, it was Mme de Lafayette’s La Princesse de Clèves, a novel Lessing also knew, that helped shape his artistic choices. The numerous parallels between the French novel and Lessing’s play in relation to setting, configuration of the plot, the portrayal of the heroine and the exploitation of visual art are too numerous to be merely coincidental and suggest that Lessing’s ‹modernisierte ... Virginia’ owes as much to this work as to Livy.     

Коннекторы русского языка с формантом <Emphasis Type="Italic">при</Emphasis>: корпусное исследование

The paper describes connectors in Russian that contain the element pri: pri ?tom, pritom, pri?em and pri tom ?to. The author defines the relationship they express as a relationship of concomitance, which can be established both at the propositional level and at the level of speech acts, and describes the features of each paradigm member. The analysis is supported by statistics, obtained from the supracorpora Russian-French database of connectors as well as based on data from the Russian National Corpus (RNC).     

The Mother and <Emphasis Type="Italic">the word known to all men</Emphasis>: Stephen’s Struggle with <Emphasis Type="Italic">amor matris</Emphasis> in James Joyce’s <Emphasis Type="Italic">Ulysses</Emphasis>

In this article I will pursue the meaning of the word known to all men in Joyce’s Ulysses. The sentence appears three times in the novel in three different locations that each adds meaning to it in diverse ways. First it appears in ‘Proteus’ where it is associated with Stephen’s amorous longings; latter is turns up in ‘Scylla and Charybdis’ where it is inscribed within a scholastic and Thomistic discussion of love; eventually it appears in ‘Circe’ where the anguished Stephen is confronted with his dead and dreaded mother, who reminds him of the interdependence of maternal love (amor matris) and the inescapable common lot of all, namely death. The importance of love to the understanding of the sentence is, in addition, deepened by the circumstance that Bloom, as an embodiment and representation of love, is present at all of the textual locations of the sentence.     

<Emphasis Type="Italic">Droit</Emphasis> and <Emphasis Type="Italic">Engin</Emphasis>: Mesencius and Drances as Feudal Counselors in <Emphasis Type="Italic">Le Roman d’Enéas</Emphasis>

This article examines the radical revisions made to two characters from the Aeneid, Mezentius and Drances, in the twelfth-century French romance Le Roman d’Enéas. In particular, Mezentius and Drances are portrayed largely as vicious or unpleasant in the Aeneid, making their depictions in the Enéas surprising; from a torture-prone exiled tyrant in the Aeneid, Mezentius becomes a reasonable advisor advocating restraint and the rule of law, and the cowardly, jealous Drances becomes less obsequious, more clever, and more devoted to the well-being of the state. Although the relationship between the Aeneid and the Enéas is a popular area of inquiry for critics studying the romance, the changes made to these two characters are not often explored in any depth, perhaps because they are seen as less important to the central narrative and indicative of careless adaptation for the sake of the plot. I argue, however, that the transformations Mezentius and Drances undergo are carefully considered appropriations of their Virgilian characterizations. The author does not simplify the complexities of the Virgilian characters but instead reappropriates them to comment on the historical role of the courtly counselor and his theme of balance between private emotions and public duty for the sake of the state. By so doing, he cleverly engages twelfth-century audience’s expectations to make relevant political commentary and gives twenty-first-century readers new insights into medieval methods of adaptation.     

Feminizing Aureation in Lydgate’s <Emphasis Type="Italic">Life of Our Lady</Emphasis> and <Emphasis Type="Italic">Life of Saint Margaret</Emphasis>

Although the fifteenth-century English poet John Lydgate frequently references Chaucer as the model for his ornate aureate style, recent scholarship has argued that Lydgate’s poetic style is more ambivalent towards Chaucer and more innovative than was previously acknowledged. This paper examines Lydgate’s Life of Our Lady and Life of Saint Margaret, two poems in which Lydgate’s aureate discourse of poetic inspiration is centered upon the image of a sanctified female body that is simultaneously virginal and fecund, and upon the corresponding figurative language of liquid abundance and gems. Lydgate uses this paradoxical image to develop multiple registers of poetic and spiritual meaning around his aureate language, distancing himself from the patriarchal Chaucerian poetic model and emphasizing that his decorative poetic style is not merely ornamental but instead is integral to his poetic matter.     

Predicate agreement with quantifier phrases containing the words <Emphasis Type="Italic">polovina</Emphasis> or <Emphasis Type="Italic">tret’</Emphasis> and an approximative marker

This paper focuses on predicate agreement with quantified phrases that include bolee, svy?e ‘more’, okolo ‘about’, menee ‘less’ and the nouns polovina ‘a half’, tret’ ‘a third’, and numerals. This study based on data from the National Russian Corpus describes the modern standard of predicate agreement with quantified phrases containing okolo, bolee + poloviny?/?treti. The data show that a predicate is most likely to occur in the singular with ‘bolee, okolo + numeral’ and in the plural with ‘okolo, bolee + polovina?/?tret’?’. The author proposes an answer to the question of why the standards of agreement for quantified phrases with similar structures are different. The factors that influence the form of the predicate are also examined.     

<Emphasis Type="Italic">Le</Emphasis><Emphasis Type="Italic">Jeu de la Feuillée</Emphasis> et la dissonance du sujet

The Jeu de la Feuillée (Adam de la Halle, 1276) is based upon a dramatic configuration articulated on a plural dissonance, polyphonic and digressive, to a certain extent lacking in cohesion but nevertheless endowed with coherence inasmuch as this articulation becomes a metaphor for the action of the character on the stage. An action which is static: that of a self divided due to the tedium of its daily life, which ends up losing itself in the midst of a contradictory multiplicity. This play of voices is moreover enriched by the presence of a comic quality which, if indeed it attenuates the tragic dimension of the conflict, on the other hand contributes to reducing the absolute nature of the values which configure Adam’s universe and which might thus permit him to resolve his internal tension. The character therefore remains confronted with himself and with his space, in what we might call an interior estrangement, which is manifest in characteristics such as heterotopy, vagrancy, sterility and even untruth fed upon a project which is never realized. All these features converge upon the character, who in some way announces the modern hero and his crisis.     

Did Chaucer know the ballad of <Emphasis Type="Italic">Glen Kindy</Emphasis>?

This paper argues that the contexts in which Geoffrey Chaucer (in The House of Fame) and Gavin Douglas (in The Palice of Honour) refer to the legendary Welsh harper Glascurion (or Glaskeryane) suggest that they may well have known a story about him close to that of the surviving ballad Glasgerion (also called Glen Kindy). Chaucer implies that Glasgerion’s music gave him power over the physical world, and links his name with apprentice harpers, while Douglas associates him with the music of love—all details exemplified in the later ballad tradition.     

<Emphasis Type="Italic">Before</Emphasis> and <Emphasis Type="Italic">After</Emphasis> without coercion: comment on the paper by Cleo Condoravdi

The following contribution was inspired by Cleo Condoravdi’s article on NPI licensing in temporal clauses (Condoravdi 2010). Condoravdi gives a coherent and comprehensive account of before which crucially involves coercion of propositions to the earliest or maximal times at which the propositions are true, and a modal component for non-factual interpretations. I argue for a non-modal, non-coercive analysis of clauses like [A before B] as ‘A is the case when B has not been the case’, triggering a conversational implicature that B will be the case later. I will also discuss temporal operators involving measure phrases, like three hours before.