Работа посвящена изучению категориальных признаков дескриптивов винодельческой продукции в русской и англоязычных лингвокультурах на примере описаний органолептических характеристик вин. Материал исследования составили 250 текстов на английском языке и 250 текстов на русском языке, полученных на сайтах виноделен Великобритании, США, Канады, Австралии, Новой Зеландии и России. В первой части работы рассматриваются одни из ключевых понятий когнитивной лингвистики — концепт и категория. Изучаются характеристики дескриптива как средства категоризации и концептуализации, вводятся рабочие понятия категории, концепта и дескриптива, устанавливается взаимоотношение понятий категории и концепта, рассматривается роль вина в истории человечества и подходы к описанию вкусовых характеристик вин. Во второй части работы выявляются наиболее крупные концепты, к которым авторы описаний обращаются при описании запаха, вкуса, визуальных и тактильных характеристик вин, изучается работа этих концептов в их контекстуальном окружении. С помощью концептуального анализа были выявлены характеристики упоминаемых продуктов, к которым обращаются авторы описаний для передачи вкуса вина — так потенциальный покупатель может составить наиболее точный образ вкуса напитка в своем когнитивном пространстве. Наиболее частыми категориальными признаками, к которым происходит обращение, являются цвет продукта, особенности фактуры, род продукта, место произрастания, доступность продукта и др. В работе произведено описание выявленных категориальных признаков. На этапе сравнения признаков, обнаруженных в англоязычной и русскоязычной лингвокультурах, результаты исследования представляются в виде диаграмм. Результаты исследования могут быть использованы в маркетинговых целях и быть изучены с опорой на знания психолингвистики и лингвокультурологии. В приложении приводится список проанализированных текстов и сводные таблицы с результатами компонентного анализа дескрипций. / The work is devoted to the study of categorial features of descriptions of wine in Russian and English linguistic cultures based on the example of descriptions of organoleptic characteristics of wines. The research material consists of 250 texts in English and 250 texts in Russian, obtained from the websites of wineries in Great Britain, the USA, Canada, Australia, New Zealand and Russia. The first part of the work deals with the key concepts of cognitive linguistics – concept and category. The characteristics of description as a means of categorization and conceptualization are studied, the operational definitions of category, concept and descriptive are introduced, the relationship between the concepts of category and concept is established, the role of wine in human history and approaches to the description of wine taste characteristics are considered. The second part of the paper identifies the largest concepts to which the authors of the descriptions refer when describing the smell, taste, visual and tactile characteristics of wine, and studies the work of these concepts in their contextual environment. Conceptual analysis was used to identify the characteristics of the mentioned products that the authors of the descriptions refer to in order to convey the taste of wine so that the potential buyer can compose the most accurate image of the taste of the drink in their cognitive space. The most frequent categorial features that are referred to are product color, texture features, the genus of the product, the place of cultivation, the availability of the product, etc. The paper describes the identified categorical features. At the stage of comparing the categorial features found in the English and Russian-speaking linguocultures, the results of the study are presented in the form of diagrams. The results of the study can be used for marketing purposes and can be studied with the support of knowledge of psycholinguistics and linguoculturology. The appendix contains a list of the texts analyzed and summary tables with the results of the component analysis of the descriptions.

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Cognitive linguists posit that language as a system of meaning is closely related to cognition and to the associated perceptual and physiological structures of the body. From the cognitive semantic viewpoint, cognitive processes underpin and motivate linguistic phenomena such as categorisation, polysemy, metaphor, metonymy and image schemas. The pedagogical implication of the cognitive semantic perspective is that understanding these cognitive motivations facilitates language learning. This dissertation uses an applied cognitive semantic approach to `make sense' of a traditional knowledge system, Traditional Chinese Medicine (TCM). TCM views human physiology as a holistic and dynamic system that exemplifies the same principles as the cosmos-environment. TCM models result in a categorisation of physiological phenomena based on a complex system of experiential and cosmological correspondences. I suggest that the holistic epistemology of cognitive linguistics is well suited to an understanding of these holistic models. From a pedagogical viewpoint, I argue that an analysis of the cognitive motivations which underpin TCM categorisations and the polysemy of some key TCM terms can help the student make sense of TCM as a meaningful system of thought and practice. Both the theoretical and applied approaches explored in this dissertation should have relevance to other traditional knowledge systems, particularly traditional medical systems. / Linguistics / M.A. (Linguistics)

在中日文裡要表達某個物體的上方空間時，都會使用「上」這個字。因此中國人學日文或是日本人學中文時，往往會認為中日文的「上」是完全的對應。但仔細觀察中日文中關於「上」的例子，我們可發現很多實例並非呈現一對一的對應關係。本論文主要目的在以中日對照研究的立場，應用認知語言學的形象圖式及形象圖式轉換與隱喻和轉喻理論解釋中日文「上」的多義和語義延伸的現象，並描繪出中日文「上」的語義網絡。 本論文共分成五章。第一章，概述研究動機和方法及研究範圍。第二章，藉由形象圖式理論分析中文「上」的基本空間意義及延伸的意義。第三章，藉由形象圖式理論分析日文「上」的基本空間意義及延伸的意義。第四章，比較中日文「上」的共通點及相異點，並透過圖表來清楚呈現出其對應關係。第五章，本論文的總結，繪出中日文「上」的語義網絡，並提出本論文今後研究的課題。 【關鍵字】：認知語言學、形象圖式、被觀察者、參考體、語義延伸、隱喻、轉喻、文法化 / 中国語と日本語で〈ある物体の上部・上方〉といった空間を表現する際、中国語でも日本語でも同じ「上」という漢字を用いる。このため、日本語を学ぶ中国語母語話者、また中国語を学ぶ日本語母語話者が、日本語の「Nの上」と中国語の「N＋上」を一義的に対応させて使用してしまうケースが多い。しかし、実際の用例を見ると「Nの上」と「N＋上」が一義的に対応しない場合が多数存在する。そこで、本稿では「上」を取り上げ、認知言語学の考え方を導入して、日中対照研究の立場から、その共通点・相違点を比較し、日中両語の対応関係を明らかにすることを目的とする。また、認知言語学の意味拡張の概念を用い、その意味・用法がどのような認知プロセスを経て生まれたものであるのかを図示で解明してみたい。 　本稿は五つの章からなる。第1章は序論である。第2章では、中国語のプロトタイプ的意味とその拡張された意味を論じる。第3章では、日本語のプロトタイプ的意味とその拡張された意味を論じる。第4章では、対照研究を通じて、日本語と中国語の対応関係を論じる。第5章は、分析した結果をまとめ、今後の研究の方向と課題を述べる。 【キーワード】：認知言語学、イメージ・スキーマ、トラジェクター、ランドマーク、意味拡張、メタファー、メトニミー、文法化

This thesis examines the conceptualization of life in the lyrics of Czech popular songs of 1960s. The thesis derives theoretically and methodologically from cognitively and culturally-based approaches to language, especially from the theory of conceptual metaphor and metonymy (e. g. Lakoff and Johnson) and the concept of language as a picture of the world (school of Lublin). At first the thesis analyses the semantics of lexeme life. The analysis is based on the data from dictionaries and it reaches the basics of the linguistic picture of life as it is anchored in common language. Simultaneously the thesis works with the picture of life (in contrast with death) how it is served in the literature about Czech folk culture. The main part of this study consists of almost a hundred interpretations of lyrics from the examined period, which depict human life in its various stages and forms (through oppositions of life - death, youth - old age, etc.). The analysis follows relevant semantic elements which participate on its conceptualization. The thesis describes systematically and in detail particularly metaphors (structural, ontological and orientational), metonymy, and also the image schemes which are associated with life (scheme of JOURNEY, CYCLE). The attention is paid to their specific language...

The diploma thesis explores the four seasons from the view point of the linguistic picture of the world theory. The etholinguistic approach is applied in the thesis - attention is paid to the Czech-specific perception of reality especially focused on the weather and the changes of the nature in the course of the four seasons. Human perception of the change is based upon the senses - the sense of hearing, the sense of smell, and touch and the eyesight. Each season is unique. The seasons can be differentiated by their season specific stereotypes, season prototypes, and connotations. On the linguistic pictures of each season collocations are built, from which new lexical items originate, describing the season as such. Due to anthropocentrism we perceive individual astronomical and meteorological issues as personified items to which we ascribe human behaviour and human qualities. The motto of the thesis says: "I will not do the spring sowing next year. " The motto denotes the interaction of two conceptual schemata (the scheme of a cycle and the scheme of a journey) realizing the fact that the natural cycle corresponds in our mental representation with the phases of human life. The difference between the concepts is that man always reaches the terminal point of his journey unlike the nature constantly...

Les recherches qui se sont intéressées à l’étude des événements de mouvement ont démontré que, pour les coder, les langues utilisent des stratégies de lexicalisation différentes. Selon la proposition de Talmy (1985), les langues romanes correspondent au type ‘verb-framed’(VF), tandis que les langues germaniques sont considérées ‘satellite-framed’(SF). Cette classification qui permet d’identifier des distinctions intéressantes au niveau macro-typologique, mais sa rigidité ne consent pas d’observer la variabilité inter- et intra-typologiques. La thèse étude les événements de mouvement de deux perspectives complémentaires. D’un côté, du point de vue de la typologie, on observe les différences existantes entre les langues appartenant au même groupes typologique et à la même famille génétique. De l’autre côté, du point de vue acquisitionnel, on analyse l’impact des facteurs typologiques sur l’acquisition du français L2 chez apprenants italophones. Dans ce but, on a été construit un corpus de productions sur la base d’un support qui montre des mouvements volontaires et provoqués soumis auprès quatre groupes d’informateurs: deux groupes de natifs (francophones et italophones) et deux groupes d’italophones apprenant le français L2 de deux niveaux de compétence. Les résultats montrent qu’il y a des différences intratypologiques entre les langues génétiquement proches, comme l’italien et le français. De même, ces mêmes différences intratypologiques engendrent des transfert en influençant la restructuration du penser pour parler. / Recent research is interested in studying motion events in different languages by showing that, they follow different lexicalization strategies to code motion events. In light of Talmy’s proposal (1985), romance languages are classified as ‘verb-framed’ (VF), while the Germanic ones are considered as ‘satellite-framed’ (SF). The Talmy’s classification legitimated a large number of studies that confirm the validity of this dichotomy, which is the identification of interesting distinctions on a macro-typological level. Nevertheless its rigidity does not allow to observe the inter- and intra-typological variability. The study investigates motion events from two complementary perspectives. On the one hand, the differences within languages of the same typological group and the same genetic family are observed from the point of view of the semantic type On the other hand, the impact of typological factors on French acquisition as L2 by Italian speakers is analyzed from the acquisitional point of view. For this purpose, a corpus of productions was collected in a controlled situation on the basis of a support containing voluntary and caused movements submitted to four groups of informants: two groups of native (French and Italian speakers) and two groups of Italian learners of French L2 of two different skill levels. The results show that there are differences between intra-typological languages which are genetically very close, such as Italian and French. Similarly, these same intra-typological languages generate some transfer that influences the restructuring of thinking for speaking. / Le recenti ricerche in psicolinguistica e in linguistica cognitiva si sono interessate allo studiodegli eventi di movimento in diverse lingue del mondo dimostrando che, per codificare glieventi di movimento, le lingue seguono strategie di lessicalizzazione differenti. Alla luce dellaproposta di Talmy (1985, 2000), le lingue romanze sono classificate nel tipo ‘verb-framed’(VF), ovvero a quadro verbale, mentre le lingue germaniche sono considerate ‘satelliteframed’(SF), ossia lingue a quadro satellitare. I due tipi si differenziano essenzialmente per ildiverso locus di codifica delle componenti semantiche: le lingue a quadro verbale, come ilfrancese e l’italiano, tendono a lessicalizzare l’informazione semantica della Traiettoria nelverbo principale, mentre la Maniera è omessa o espressa in una proposizione subordinata.Invece, le lingue a quadro satellitare come l’inglese, esprimono la Maniera nella radiceverbale e la Traiettoria mediante dei satelliti, ovvero degli elementi associati al verbo(avverbi, prefissi, particelle, etc). La classificazione di Talmy ha giustificato un gran numerodi studi che hanno confermato la validità di questa dicotomia, che permette di individuaredelle interessanti distinzioni a livello macro-tipologico, ma la sua rigidità non consente diosservare la variabilità inter- e intratipologica (Ibarretxe-Antuñano, 2004b,d, 2009a; Slobin,2004). La variabilità tipologica che le lingue mostrano nella concettualizzazione degli eventidi movimento, condiziona il modo in cui i locutori selezionano le informazioni semantiche(Traiettoria e Maniera) e, di conseguenza, il modo in cui un apprendente esprime lecomponenti di un evento di movimento in L2. La tesi studia gli eventi di movimento da dueprospettive complementari. Da un lato, dal punto di vista della tipologia semantica, siosservano le differenze esistenti tra le lingue appartenenti allo stesso gruppo tipologico e allastessa famiglia genetica. Dall’altro lato, dal punto di vista acquisizionale, si analizza l’impattodei fattori tipologici sull’acquisizione del francese L2 di apprendenti italofoni. A questoscopo, è stato costruito un corpus di produzioni raccolte in una situazione controllata sullabase di un supporto che mostra dei movimenti volontari e provocati sottoposti a quattrogruppi di informatori: due gruppi di informatori nativi (francofoni e italofoni) e due gruppi diapprendenti italofoni di francese L2 di due livelli di competenza (intermedio e avanzato).I risultati mostrano che vi sono delle differenze intratipologiche tra lingue geneticamentemolto vicine, come l’italiano e il francese. Analogamente, queste stesse differenze intratipologiche generano dei transfert influenzando la ristrutturazione del pensare perparlare.

How we approach a poem changes it. Recently, it has been suggested that one readerly approach - a bodily orientation characterised by distance, suspicion, and resistance - risks becoming reflexive, pre-conscious, and predominant. This use-oriented reading allows us to destabilise, denaturalise, dissect, defend, and define poetic texts through its manifestation in contemporary literary critique, yet it is coming to be regarded as the sole manner and mood of intelligent, intellectual engagement. In this thesis, I demonstrate the need to pluralise this attentive orientation, particularly when it comes to contemporary lyric poetry. I suggest how an overlooked mode of response might foster a more receptive mode of approach: the 'co-creative' response. Lyric poems mean to move us, and they come to mean by moving us. Recent 'simulation theories of language comprehension', from the field of cognitive neuroscience, provide empirical evidence that language processing is not a product of a-modal symbol manipulation but rather involves 'simulations' by certain classes of neurons in areas used for real-world action and perception. As habituation and abstraction increase, however, these embodied simulations 'streamline', becoming narrow schematic 'shadows' of once broad, qualitatively rich simulations. Poems, I suggest, seek to reverse this process by situationally novel variations of language, coming to mean in the broadly embodied sense in which real-world experiences 'mean'. Readers are asked to 'enact' the poem, to 'co-create' its meaning. Where critique traditionally requires that readers resist enactive participation in the aim of objective analysis, the co-creative response - a response 'in kind' by imitation, versioning, or hommage - asks readers to receive and carry forward the enactive unfolding of a poem with a composition of their own. I assert that, by thus responding with - rather than to - poems, we might foster an attentive stance of active receptivity, thereby coming to understand poems as the enactive phenomena they are.