Reglas y representaciones a nivel fónico en la interlengua de aprendices búlgaros

En este artículo se analizan las representaciones fónicas de aprendices que tienen como L1 el búlgaro y adquieren el español como L2, manifestados en su Interlengua. El objetivo que se plantea este estudio consiste en elaborar una metodología para sistematizar los errores de estos aprendices a nivel universal y particular. Para cumplir este objetivo, se han planteado dos tareas fundamentales: (1) contrastar los sistemas fónicos del español y el búlgaro para establecer, a nivel segmental y suprasegmental, los elementos que son iguales, semejantes y diferentes, y (2) elaborar un sistema de errores que permita perfeccionar la pronunciación foránea de estos aprendices. Las conclusiones que se han formulado pretenden orientar a los docentes para seleccionar los métodos más apropiados a fin de mejorar la competencia y actuación de los aprendices búlgaros en el campo de la fonética correctiva

Po-co-co Balkans: Dancing Bears and Lovesick Donkeys, Bouncing Mines and Ethnic Conflict in Two Films from the Region

The article will explore how two filmic artefacts from the Balkans, Emir Kusturica’s Life Is a Miracle (2004) and Danis Tanovič’s No Man’s Land (2001), respond to the identity politics underlying traditional Balkanist discourse and its latest version reinvigorated by the 1990s conflicts in the region. It argues that the two films analyse the destructive impact of ethnocentric macropolitics on local forms of community affiliation and offer instead examples of micropolitical agency that are absurd and embodied, dangerously anti‐identitarian and non‐partisan. Condemning the universalism and essentialism of Balkanist othering, frequently employed by the culture industries (and mass media in particular), No Man’s Land and Life Is a Miracle recognise the power of identitarianism and the inevitable complicity of artistic representations in such discursive practices. Nonetheless, each of them attempts to forge its own sympathetic way of conveying that which others have decided to demonise or sentimentalise

"Perceiving [...] in one's own body" the Violence of History, Politics and Writing: Anil's Ghost and Witness Writing

This article discusses Michael Ondaatje’s novel Anil’s Ghost as a form of witness writing, which does not become a redemptive spectacle of, or a cure-all solution to, the civil war context of the text. Resisting transparent representation and absolute cognitive mechanisms, Ondaatje’s work bears witness to the irreducibility and opacity of difference through its emphasis on the corporeal and the tangible. Intimate and affectionate, witnessing emerges in the novel as a gesture of micropolitical empowerment whereby unwitnessed stories and unacknowledged witnesses are recognized and validated. Engendering anxiety rather than relief, however, the intimate and disturbing scope of Anil’s Ghost does not redeem history through art; instead, by unsettling the fundamentals of optical transparency and absolute knowledge, this act of witness writing exposes historical whitewashings and excisions, and offers affectionate caress in the irreparable sutures of macropolitical pressures

Reglas y representaciones a nivel fónico en la interlengua de aprendices búlgaros

En este artículo se analizan las representaciones fónicas de aprendices que tienen como L1 el búlgaro y adquieren el español como L2, manifestados en su Interlengua. El objetivo que se plantea este estudio consiste en elaborar una metodología para sistematizar los errores de estos aprendices a nivel universal y particular. Para cumplir este objetivo, se han planteado dos tareas fundamentales: (1) contrastar los sistemas fónicos del español y el búlgaro para establecer, a nivel segmental y suprasegmental, los elementos que son iguales, semejantes y diferentes, y (2) elaborar un sistema de errores que permita perfeccionar la pronunciación foránea de estos aprendices. Las conclusiones que se han formulado pretenden orientar a los docentes para seleccionar los métodos más apropiados a fin de mejorar la competencia y actuación de los aprendices búlgaros en el campo de la fonética correctiva

Haptic Writing as Micropolitical Art in Michael Ondaatje's Narrative Works

This thesis offers a reading of Michael Ondaatje's narrative works that correlates certain aesthetic choices with alternative forms of political allegiance. Starting with a discussion of what constitutes the haptic qualities of these texts, I demonstrate how synaesthesia and indexicality as aesthetic devices and thematic choices forge a more egalitarian and interactive relationship between reader, author and work. Whilst the dissolution of monologic textuality gives way to heteroglossic textural propinquity, Ondaatje's works do not simply celebrate multivalent meaning, but recurrently remind one of the disruptive potential of the haptic. For not only are these narratives postmodernist flights into imagination and experiment, but they also constitute disturbing interventions into mainstream. discourses. Furthermore, haptic writing iscapable of offering an ethicil1ly responsible narrative that disrupts normative regimes of representation without dismissing the personal and the intima~. The indexical nature of hapticity constructs the text as a trace of a material reality and real material bodies; a remainder that is itself physical and opaque. Thus, the inscrutable corporealities and untranslatable textualities enact a form of witness writing, which does not become a redemptive spectacle, nor does it offer a cure-all solution. Resisting transparent repres;ntation and absolute cognitive me'chanisms, Ondaatje's works bear just witness to the irreducibility of difference and self-reflectively acknowledge their own representational limits. Similarly to the physicality of the body,· haptic writing testifies to its own insufficiency and invites the reader in her tum to become an embodied and participatory, an agentive and vulnerable witness. The agency conferred by a haptic writing is of a microscopic rather than macro nature. Ondaatje's much criticised interest in the personal and the intimate, however,does not soar into a celebration of individualism. The haptic emphasis on the irreducibility of corporeality highlights a site where multiple allegiances can gain recognition without being subsumed into a uniform political stance. However, such immanent relationality can be romanticised or exoticised, just as multiple microscopic allegiances can be co-opted by regimes of dispersed control or of qmisi-fascistic nature. In this respect, Ondaatje's narratives not only gesture at their insufficient and constructed nature, but also outline their potential implication in and appropriation by normative discourSes.EThOS - Electronic Theses Online ServiceGBUnited Kingdo