http://hdl.handle.net/11089/9623 2026-04-10T13:42:57Z http://hdl.handle.net/11089/9686 Foreign Accents in Polish: Non-native Speakers’ and Native Listeners’ Views Szpyra-Kozłowska, Jolanta; Radomski, Marek to draw implications for the phonetic training of foreigners who undertake to learn Polish. 2014-03-11T00:00:00Z http://hdl.handle.net/11089/9685 The Pragmatics of Person and Imperatives in Sign Language of the Netherlands Maier, Emar; Schepper, Kees De; Zwets Martine We present new evidence against a grammatical distinction between second and third person in Sign Language of The Netherlands (NGT). More precisely, we show how pushing this distinction into the domain of pragmatics helps account for an otherwise puzzling fact about the NGT imperative: not only is it used to command your addressee, it can also express ‘non-addressee-oriented commands’. 2014-03-11T00:00:00Z http://hdl.handle.net/11089/9683 Gloomy Images of Yellow and Żółty in a Corpus-Based Cognitive Study Gieroń-Czepczor, Ewa The outcomes confirm a conceptual proximity reflected in the semantics of these colour terms, which seems to be - perhaps surprisingly - incongruous with the popular association of yellow/żółty with the sun. As the evidence provided by the British National Corpus and the Polish Scientific Publishers' corpus (PWN) reveals, the central and peripheral readings are inspired by the imagery of autumnal and physiological changes, while the semantics of both yellow and żółty reflect the significant influence of cultural factors, unparalleled in the polysemies of the other five basic colour terms. 2014-03-11T00:00:00Z http://hdl.handle.net/11089/9684 Key Components of Musical Discourse Analysis Aleshinskaya, Evgeniya Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social context’, and ‘text’. These components of musical discourse analysis, in their various aspects and combinations, should help thoroughly examine the context of contemporary musical art, and determine linguistic features specific to different genres of musical discourse. 2014-03-11T00:00:00Z