Please use this identifier to cite or link to this item:
https://dspace.uzhnu.edu.ua/jspui/handle/lib/47602
Full metadata record
DC Field | Value | Language |
---|---|---|
dc.contributor.author | Гайданка, Діана Володимирівна | - |
dc.contributor.author | Ніконова, Віра | - |
dc.date.accessioned | 2023-02-08T10:43:46Z | - |
dc.date.available | 2023-02-08T10:43:46Z | - |
dc.date.issued | 2021-04 | - |
dc.identifier.citation | Applied Linguistics Research Journal. ALR Journal 2021, 5 (4), 8-16 | uk |
dc.identifier.uri | https://dspace.uzhnu.edu.ua/jspui/handle/lib/47602 | - |
dc.description | The paper aims at elucidating the manipulative potential of ad-hoc word-formation in the TV series through the prism of linguocognitive and pragmatic approaches. The prospects of identifying communicative strategies that underlie ad-hoc words in the dramedy lay grounds to contemplating their role as markers of the manipulative impact optimization. The paper proposes to elucidate the role of various word-building types of ad-hoc units in construing memorable characters that the viewing audience can identify with by means of the integrated linguocognitive and communicative analysis. Given that the telecinematic discourse presents a complex multimodal unity, operating at two levels: diegetic and extradiegetic, the author argues that ad-hoc units realize communicative strategies of self-presentation and characterization at both in-film and through-film levels, correlating with the two key functions of dramedy: attraction and manipulation. Various word- building types of ad-hoc units that serve as markers of the self-presentation strategy help the main female characters express themselves while the collective author is construing an image of a charismatic and independent thirty-something heroine. Ad-hoc units that realize the characterization strategy are mainly used in witty friendly banters (diegetic level) to highlight stereotypical relationships problems. | uk |
dc.description.abstract | The paper aims at elucidating the manipulative potential of ad-hoc word-formation in the TV series through the prism of linguocognitive and pragmatic approaches. The prospects of identifying communicative strategies that underlie ad-hoc words in the dramedy lay grounds to contemplating their role as markers of the manipulative impact optimization. The paper proposes to elucidate the role of various word-building types of ad-hoc units in construing memorable characters that the viewing audience can identify with by means of the integrated linguocognitive and communicative analysis. Given that the telecinematic discourse presents a complex multimodal unity, operating at two levels: diegetic and extradiegetic, the author argues that ad-hoc units realize communicative strategies of self-presentation and characterization at both in-film and through-film levels, correlating with the two key functions of dramedy: attraction and manipulation. Various word- building types of ad-hoc units that serve as markers of the self-presentation strategy help the main female characters express themselves while the collective author is construing an image of a charismatic and independent thirty-something heroine. Ad-hoc units that realize the characterization strategy are mainly used in witty friendly banters (diegetic level) to highlight stereotypical relationships problems. | uk |
dc.language.iso | en | uk |
dc.subject | Ad-hoc – word-formation | uk |
dc.subject | Telecinematic discourse | uk |
dc.subject | Communicative strategy | uk |
dc.subject | Communicative tactic | uk |
dc.subject | Communicative technique. | uk |
dc.title | Ad-Hoc Lexical Units as Markers of Communicative Strategies in the TV-Series. "Sex and the City" | uk |
dc.type | Text | uk |
dc.pubType | Стаття | uk |
Appears in Collections: | Наукові публікації кафедри англійської філології |
Files in This Item:
File | Description | Size | Format | |
---|---|---|---|---|
Ad_Hoc_Lexical_Units_as_Markers_of_Commu.pdf | 1.75 MB | Adobe PDF | View/Open |
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.