Борьба стихотворной строки с предложением в поэтическом тексте

This article considers the relationship and interaction of the main structural units of poetic text: metric (lines) and grammatical (sentences). The line and the sentence (or its significant structural part — syntagma) only ideally correspond to each other. In practice, however, the metrical organisation of the verse dictates its own rules. The conflict of these units in the reader’s consciousness causes a process of division and understanding (comprehension) of the poem. Referring to various examples, the author demonstrates the primacy of the line over the sentence which is normal for the reader (titles of poems in the table of contents collections; the use of stepwise lines; enjambements; asyndetic constructions, etc.). These observations are confirmed by statistical data of search queries for poetic texts in Yandex. The line also takes on organising functions in cases where the syntax of the phrase is unclear or ambiguous. When a part of a sentence is moved to another line (enjambement), there is a psychological effect of failed expectations that complicate the process of understanding. If the whole poem is built on enjambement, it reduces its efficiency: the reader “gets used” to receiving and evaluating it as a kind of wordplay. The compactness of the line, “the closeness of the poetic string” (Yu. Tynyanov) together with asyndeton allows the reader to reconstruct various logical (temporary, cause-and-effect, concessive, etc.) connections between different parts of the poem. The author concludes that the collision between the line and the sentence as two types of text division contributes to the aesthetic effect of the latter. The theoretical theses are substantiated with examples from Russian poetry (B. Pasternak, M. Tsvetaeva, A. Tarkovsky, I. Brodsky, A. Kushner, A. Parschikov, etc.).В статье рассматривается соотношение и взаимодействие основных структурных единиц поэтического (стихотворного) текста: единицы метрической (строки) и грамматической (предложения). Строка и предложение (или его значимая структурная часть — синтагма) лишь в идеале соответствуют друг другу. На практике же метрическая организация стиха диктует свои порядки. Конфликт этих единиц в сознании читателя обусловливает процесс членения и понимания (осмысления) стихотворения. На различных примерах (заголовки стихотворений в оглавлениях сборников; использование подстрочий («лесенки»); анжамбеман; бессоюзные конструкции и др.) показано обычное для читателя главенство строки над предложением. Эти наблюдения подтверждаются статистическими данными поисковых запросов к «Яндексу» по поэтическим текстам. Строка принимает на себя организующие функции и в тех случаях, когда синтаксис фразы неясен или двусмыслен. При переносе части предложения на другую строку (анжамбемане) возникает психологический эффект обманутого ожидания, усложняющий процесс понимания. Если же стихотворение целиком построено на приеме анжамбемана, то это снижает его эффективность: читатель «привыкает» к приему и оценивает его как попытку словесной игры, своего рода штукарство. Компактность строки, «теснота стихотворного ряда» (Ю. Н. Тынянов) в сочетании с бессоюзной связью позволяет читателю реконструировать различные логические (временные, причинно-следственные, уступительные и пр.) связи между отдельными частями стихотворения. Делается общий вывод, что столкновение строки и предложения как двух видов членения текста способствует усилению эстетического эффекта последнего. Теоретические тезисы иллюстрируются примерами из русской поэзии (Б. Пастернак, М. Цветаева, А. Тарковский, И. Бродский, А. Кушнер, А. Парщиков и др.)

Особая прагматика 3-го лица

The category of grammatical person serves for the distribution of syntactic roles among the participants of speech acts. This is a typical shifter that provides the transition from the language system to speech reality. The first person denotes the speaker, while the second person denotes the person spoken to (hearer). The third person has a special position in the system of persons, i.e. it denotes an object or person who does not participate in the communicative act. Therefore, some scholars consider it “non-person” (É. Benveniste). Nevertheless, there are situations in the Russian language when the third person is used to designate the hearer, with either emphasised politeness (respect) or, vice versa, anti-politeness (disapprobation, indignation, etc.). In the first case, the third person emphasises the special status of the addressee, for example Чего желает уважаемый гость? For the Russian language, it is a somewhat archaic means. But there are modern genre conditions in which the third person used in relation to the interlocutor receives a positive connotation. This is a public interview with famous people when the appeal acquires an additional representative function. In the second case, the third person has a negative connotation; it is used to deliberately exclude the interlocutor from the circle of communication participants (for example Она еще будет меня учить!). In this case, a change of person (from second to third) may be accompanied by a change in the grammatical tense or number. In all cases, the use of the third person in relation to the interlocutor is a powerful pragmatic tool. The article refers to examples from Russian fiction.Категория грамматического лица служит для распределения синтаксических ролей среди участников речевого акта. Это типичный шифтер, обеспечивающий переход от языковой системы к речевой реальности (Р. Якобсон). 1-е лицо обозначает говорящего, 2-е лицо — слушающего (адресата речи). У 3-го лица особое положение в системе лиц: оно обозначает предмет или человека, не участвующего в акте общения. Поэтому некоторые ученые считают его «не-лицом» (Э. Бенвенист). Тем не менее, в русском языке встречаются ситуации, когда 3-е лицо используется для обозначения слушающего (адресата), и при этом передается или значение подчеркнутой вежливости (уважения) или, наоборот, антивежливости (неодобрения, возмущения и т. д.). В первом случае 3-е лицо подчеркивает особый статус адресата, например: Чего желает уважаемый гость? Для русского языка это несколько архаичное средство. Но существуют и современные жанровые условия, в которых 3-е лицо, используемое по отношению к собеседнику, получает положительную коннотацию. Это публичное интервью с известными личностями, когда обращение приобретает дополнительную репрезентативную функцию. Во втором случае 3-е лицо имеет негативную окраску, оно используется для демонстративного исключения собеседника из круга участников коммуникации (например, Она еще будет меня учить!). При этом смена лица (со 2-го на 3-е) может сопровождаться изменением грамматического времени или числа. В статье описываются сопутствующие языковые средства (выступающие вместе с 3-м лицом) и соответствующие дискурсивные условия. Во всех случаях использование 3-го лица по отношению к собеседнику представляет собой сильное прагматическое средство. Представлены примеры из русской художественной литературы

Синтактика, когниция и композиционная семантика

The object of the article is word semantics and its realization in the immediate context. The goal and the innovative component of the study is the analysis of the problem in the light of cognitive linguistics. We proceed from the assumption that the lexical meaning of a word contains a component responsible for its entry into the text. This component involves searching for lexical partners of the word in the syntagmatic chain. The semes participating in this process are actualized — they must get into the bright field of con-sciousness. The classical manifestation of this connection is the so-called semantic agreement (собака лает ‘a dog barks’, бурый медведь ‘a brown bear’, волосы дыбом ‘hair (stands) on end’, etc.). We use examples from Russian literature to demonstrate that when a non-typical (non-standard) word combination is formed, the concepts get intersected (mixed). The examples, such as самопишущий костюм ‘a self-writing suit’ or жаркая робость ‘hot timidity’, expand a person’s cognitive horizons making the individual accustomed to a different (virtual) reality. The background and guarantor of this combinatorial process is the so-called “common sense” based on the native speaker’s previous experience. The result of the study is the presentation of five special situations manifesting the relationship between the word and its text partners: polysemantic words, phraseological units, introduced (embedded) meanings, additional connotations and a surprise effect. The author provides examples of the pressure (influence) of text memory on the speaker when selecting a necessary word and considers the idea of the predicative nature of the compatibility of lexemes. The article justifies the emergence of compositional semantics as a special direction in modern linguistics and demonstrates some of its results (based on the Russian language)

Optical sum rule in metals with a strong interaction

The restricted optical sum rule and its dependence on the temperature, a superconducting gap and the cutoff energy have been investigated. As known this sum rule depends on the cutoff energy and the relaxation rate even for a homogeneous electron gas interacting with impurities or phonons. It is shown here that additional dependence of the spectral weight on a superconducting gap is very small in this model and this effect disappears totally when the relaxation rate is equal zero. The model metal with a single band is considered in details. It is well known that for this model there is the dependence of the sum rule on the temperature and the energy gap even in the case when the relaxation is absent. This dependence exists due to the smearing of the electron distribution function and it is expressed in the terms of Sommerfeld expansion. Here it is shown that these effects are considerably smaller than that of related with the relaxation rate if the band width is larger than the average phonon frequency. It is shown also that the experimental data about the temperature dependence of the spectral weight for the high- materials can be successfully explained in the framework approach based on the temperature dependence of the relaxation rateComment: 13 pages, 7 figures, the talk given on Internatinal coference on theoretical physics, april 11-16,2005, Mosco

Effect of orbital currents on the restricted optical sum rule

We derive the restricted optical-conductivity sum rule for a model with circulating orbital currents. It is shown that an unusual coupling of the vector potential to the interaction term of the model Hamiltonian results in a non-standard form of the sum rule. As a consequence, the temperature dependence of the restricted spectral weight could be compatible with existing experimental data for high-$T_c$ cuprates above the critical temperature $T_c$. We extend our results to the superconducting state, and comment on the differences and analogies between these two symmetry-breaking phenomena.Comment: Revised version, to appear in EPJ

Temperature dependence of the spectral weight in p- and n-type cuprates: a study of normal state partial gaps and electronic kinetic energy

The optical conductivity of CuO2 (copper-oxygen) planes in p- and n-type cuprates thin films at various doping levels is deduced from highly accurate reflectivity data. The temperature dependence of the real part sigma1(omega) of this optical conductivity and the corresponding spectral weight allow to track the opening of a partial gap in the normal state of n-type Pr{2-x}Ce(x)CuO4 (PCCO), but not of p-type Bi2Sr2CaCu2O(8+delta} (BSCCO) cuprates. This is a clear difference between these two families of cuprates, which we briefly discuss. In BSCCO, the change of the electronic kinetic energy Ekin - deduced from the spectral weight- at the superconducting transition is found to cross over from a conventional BCS behavior (increase of Ekin below Tc to an unconventional behavior (decrease of Ekin below Tc) as the free carrier density decreases. This behavior appears to be linked to the energy scale over which spectral weight is lost and goes into the superfluid condensate, hence may be related to Mott physics

Evidence for a correlation between the sizes of quiescent galaxies and local environment to z ~ 2

We present evidence for a strong relationship between galaxy size and environment for the quiescent population in the redshift range 1 < z < 2. Environments were measured using projected galaxy overdensities on a scale of 400 kpc, as determined from ~ 96,000 K-band selected galaxies from the UKIDSS Ultra Deep Survey (UDS). Sizes were determined from ground-based K-band imaging, calibrated using space-based CANDELS HST observations in the centre of the UDS field, with photometric redshifts and stellar masses derived from 11-band photometric fitting. From the resulting size-mass relation, we confirm that quiescent galaxies at a given stellar mass were typically ~ 50 % smaller at z ~ 1.4 compared to the present day. At a given epoch, however, we find that passive galaxies in denser environments are on average significantly larger at a given stellar mass. The most massive quiescent galaxies (M_stellar > 2 x 10^11 M_sun) at z > 1 are typically 50 % larger in the highest density environments compared to those in the lowest density environments. Using Monte Carlo simulations, we reject the null hypothesis that the size-mass relation is independent of environment at a significance > 4.8 sigma for the redshift range 1 < z < 2. In contrast, the evidence for a relationship between size and environment is much weaker for star-forming galaxies.Comment: Accepted for publication in MNRAS. 16 pages, 11 figures, 6 table

Beyond words: Aesthetic knowledge and knowing in design

Aesthetic knowledge comes from practitioners understanding the look, feel, smell, taste and sound of things. It is vital to work in many organizational contexts. In this paper, we explore aesthetic knowledge and knowing in organizations through detailed observation of design work in the architectural practice Edward Cullinan Architects. Through our research, we explore aesthetic knowledge in the context of architectural work, we unpack what it is, how it is generated, and how it is applied in design projects, shared between practitioners and developed at the level of the organization. Our analysis suggests that aesthetic knowledge plays an important part in organizational practice, not only as the symbolic context for work, but as an integral part of the work that people do. It suggests that aesthetic reflexivity, which involves an opening up and questioning of what is known, is experienced as part of practice as well as a `time out' from practice