The diploma work is divided into two parts - theoretical and practical. The first part is further divided into the theoretical linguistic subsection and theoretical political science subsection. The theoretical linguistic part comprises information on metaphors, metonymies and synecdoches taken from Czech and Spanish linguistic handbooks and is focused on a phenomenon of levelling and it also deals with the function of the aforementioned rhetorical figures. In the first part there is also a chapter on the rhetorical style and translation of rhetorical figures. The second, practical part deals with the analysis of the rhetorical figures in selected political speeches, their function, frequency and possible levelling when translating them into the target language. The analysis is carried out on the basis of a comparable sample of political speeches in the Czech and Spanish languages. They are the speeches of two important personalities of the 1970s, President Ludvík Svoboda's speeches in the Czech language and in terms of the Spanish linguistic background - the speeches of his Chilean counterpart - President Salvador Allende, and their Czech translation. Key words: levelling, metaphor, metonymy, synecdoche, translation, political speech

Abstract Language is a repertoire of culture and a powerful and versatile medium in communication. Idioms mirror human wisdom in the process of conceptualization of the world. Idioms have interlocked and grown into records of a community’s past culture. Idioms therefore constitute a rich, but at the same time elusive, area of cross-cultural exchanges. Idioms reflect the colour and variety of human social activities, and so play an important role in the linguistic ontologization of emotions. The vocabulary of emotions has been the object of intensive investigations in many languages, but bibliographical exploration reveals that idioms as a component of the lexicon are not yet part of the main field of theoretical interest. In particular, while there have been studies of idioms of emotion in English, there have been few on emotion idioms in Vietnamese, and very few systematic investigations of emotion idioms (EIs) across English and Vietnamese. Hence, our linguistic study of the conceptualization of emotions in English and Vietnamese will significantly contribute to the development of this research domain with data from a language other than English. The study undertakes a contrastive investigation of idioms that express the seven basic emotional concepts of HAPPINESS, SADNESS, ANGER, DISGUST, LOVE, FEAR, and DESIRE in English and Vietnamese. There are three foci: (1) similarities and differences in formal structure between the EIs in English and Vietnamese; (2) similarities and differences in semantics between such idioms; and (3) an investigation of the patterning and regularities of the established similarities and differences between the EIs in the two languages. To the end, we have conducted a hand search approach of the dictionaries in both languages, which has enabled the establishing of a corpus of 1065 entries (603 for English and 462 for Vietnamese). As regards the formal structure, the study sets up the lexicogrammatical frames for the canonical forms and variation patterns of the idioms, and interrelates quantitatively and quantitatively the relationship of the idioms’ variant form vis-à-vis the canonical form. In light of the findings, the study has shown that a high level of canonicity is observed in the idioms in both English and Vietnamese. In general, they conform to a restricted number of construction types: verbal, nominal, adjectival, prepositional, and sentential. Nevertheless, many other idioms permit variable flexibility in their composition: the substitutability of their component parts, insertion of lexical items, and some variation in syntactic patterning. For the idioms which are logged as canonical and variant, we have suggested rules to cover the patterns. As regards the semantic features of the idioms, the study is substantially reliant on the theory of conceptual metaphor (CMT) and metonymy, as first developed by Lakoff & Johnson (1980), to analyze the data. The data analysis leads to the discovery of conceptual mappings/correspondences from the various source domains on to the target domains of emotions, which are very productive of idioms. An in-depth analysis of cross-linguistic and cross-cultural aspects in the idioms is provided to determine similarities and differences in terms of conceptualization of the emotions between the two languages. The contrastive analysis of idioms reported in the traditional literature is usually the comparison of idioms with body-part terms: e.g., mát mặt (‘cool face’) ‘HAPPINESS’ in Vietnamese; lose one’s head in English, animals: e.g., gầm như hổ đói (‘roar like tiger hungry’); go ape ‘ANGER’, and colours: e.g., đỏ mặt tía tai (‘red face purple ear’); blue in the face ‘ANGER’. The present analysis seeks greater explanatory depth and theoretical grounding in the framework of cognitive linguistics. We present the semantic patterning of the idioms, and the patterning in turn reveals how English and Vietnamese people talk about and structure the abstract conceptual domains (i.e., emotions) (Gibbs & Wilson, 2002). In light of the findings, this research has revealed both commonalities and differences in the conceptualization of the emotions in English and Vietnamese. The affinities are grounded in common bodily experiences. On the other hand, cross-cultural variations are also obvious. The most important conclusion that can be drawn for the study is that metaphors and metonymies involved in emotion-expressing idioms are not only heavily subject to physiological basis (Solomon, 1984), but also to cultural influences on the basis of the cultural image schemas (Dobrovol'skij & Piirainen, 2006; Emanatian, 1995; Geeraerts & Grondelaers, 1995; Ungerer, 1993). The thesis also presents implications concerning the linguistic ontologization of emotions, and their application to second language learning and the translation of idioms.

Submitted by MARCIA CRISTINA BOLDIM ASSIN null (marcia.assin@hotmail.com) on 2017-07-07T01:56:56Z No. of bitstreams: 1 Dissertacao A Construção das Imagens no Processo de Leitura e Compreensão Textual - Marcia C B Assin.pdf: 2239534 bytes, checksum: a8c353ca1cb74de5b1adb5a1fceea997 (MD5) / Rejected by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: O arquivo submetido está sem a ficha catalográfica. O arquivo submetido não contém o certificado de aprovação. A versão submetida por você é considerada a versão final da dissertação/tese, portanto não poderá ocorrer qualquer alteração em seu conteúdo após a aprovação. Corrija estas informações e realize uma nova submissão com o arquivo correto. Agradecemos a compreensão. on 2017-07-13T16:39:57Z (GMT) / Submitted by MARCIA CRISTINA BOLDIM ASSIN null (marcia.assin@hotmail.com) on 2017-07-18T02:09:32Z No. of bitstreams: 1 A Construção das Imagens no Processo de Leitura e Compreensão Textual - Marcia C B Assin.pdf: 2374187 bytes, checksum: b8844d26ee51c055e81095df16bf9168 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-18T18:37:17Z (GMT) No. of bitstreams: 1 assin_mcb_me_arafcl.pdf: 2374187 bytes, checksum: b8844d26ee51c055e81095df16bf9168 (MD5) / Made available in DSpace on 2017-07-18T18:37:17Z (GMT). No. of bitstreams: 1 assin_mcb_me_arafcl.pdf: 2374187 bytes, checksum: b8844d26ee51c055e81095df16bf9168 (MD5) Previous issue date: 2017-05-26 / Neste trabalho, propomos uma discussão sobre a presença das imagens, especialmente a metáfora e a metonímia nas redações de candidatos do vestibular da Fuvest e ENEM, assim como a ocorrência de imagens em uma proposta de redação. A motivação para esta pesquisa é identificar a presença desses processos nos textos produzidos pelos candidatos e como fornecer ao aluno recursos para que ele interprete uma proposta de texto metafórica e produza textos explorando a força argumentativa da metáfora e da metonímia. O corpus utilizado foi uma amostra com algumas redações da Fuvest e do ENEM. A pesquisa foi realizada sob a perspectiva da Linguística Cognitiva, especialmente, com ênfase nas operações mentais complexas como Leitura e Memória; Espaços Mentais; Categorização e Teoria dos Protótipos; Analogia; Metáfora e Metonímia; Integração Conceptual. / In this work, we propose a discussion about the presence of images, especially the metaphor and metonymy in compositions written by candidates of the Fuvest and ENEM tests, as well as the occurrence of images in a writing proposal. The motivation for this research is to identify the presence of these processes in the texts produced by the candidates and how to provide to the student resources for them to interpret a metaphorical proposal for the text and produce texts exploring the argumentative force of metaphor and metonymy. The corpus used was a sample with some writing from Fuvest and ENEM. The research was carried out from the perspective of Cognitive Linguistics, with especial emphasis on complex mental operations such as Reading and Memory; Mental Spaces; Categorization and Theory of Prototypes; Analogy; Metaphor and Metonymy; Conceptual Integration.

This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu literary studies, this is an attempt to fill that void. This thesis provides some new insight into this concept, while also devising a practical method for the analysis of the radio trilogy. Chapter one outlines the aim of the study, scope of the study and the definition of some terms. This is followed by explaining the method of research and theories on radio serial dramas. There is also a discussion of the historical background in the development of Zulu radio serial drama and Ntuli's position and contribution to it. Finally, there is a review of previous research studies in Aincan Languages on radio drama. In chapter two plot structure of a radio trilogy is discussed. Theories of drama trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in detail. This is followed by an in-depth analysis of the plot structures of Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano. Chapter three deals with the characterization of radio trilogy. It distinguishes between the actors and characters. Different methods of character portrayal are investigated. Chapter four deals with perspectives on the theme of the radio trilogy. Types of themes are dealt with. Chapter five discusses the dialogue in radio trilogy. It deals with the differences between a dialogue, duologue and monologue, and explains the functions fulfilled by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic of the dramatic action is discussed. Chapter six concentrates on the style of radio trilogy. Elements and different types of styles are discussed. Kinds of images, figurative language, proverbs, idioms, biblical allusions and various influences are discussed in detail. Chapter seven concludes by summarizing the main finding ofthis study, and giving observations about the quality ofNtuli's contribution to radio drama trilogy. lt also explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)

本論文「客語「放」及其同類動詞：框架語義與構式之互動」以Fillmore (1985)提出的「框架語義」以及Goldberg (1995)等學者提出的「構式語法」觀點為基礎，分析客語「放」字構式呈現的多義現象。客語「放」字涉及「使動事件」：空間位移與狀態變化。本文著重分析「使動結構」與客語「放」字在動賓、動補及句子等構式中語意－句法的互動。同時藉助隱喻與轉喻的強化，說明客語「放」字延伸語意之間的關聯性，並進一步闡述客語「放」字在動賓結構中詞彙化為複合詞的現象。此外，本文亦檢視客語其他放置類動詞：方向同類動詞、工具同類動詞、方式同類動詞，經由審視其詞彙化類型與框架語義之互動，說明其語意內涵與句法上的表現。因此，本論文經由分析詞彙化類型與探討事件架構中參與角色的展現與否，說明客語放置類動詞語意與句法間的相互關係。 / English verbs describing putting, a prototypical exemplar of a caused-motion activity, have been pervasively found to be the first acquired and the most frequently used verbs in many languages. Their semantic compatibility with various syntactic structures reinforces the association between verbal meanings and the constructions, giving rise to a grouping of related but distinct senses (Goldberg et al. 2004). Piong3 (放) ‘to put’ in Hakka is abundant in semantics. The basic meaning of piong3 designates a common pattern of human experience: An animate entity exerts manual force upon a physical object and causes the object to move. Adopting Goldberg’s (1995) Constructions and Fillmore’s (1985) Frame Semantics, this study aims to account for the meaning relatedness latent in piong3 and explicate the shades of meaning rooted in the set of its congeners with different degree of family resemblance. It is argued that the delicate nuances denoted by piong3 are derived from the interaction between frames and constructions while the extended meanings of piong3 are linked to its typical use through various metaphors and metonymies such as CONTAINER, EVENT STRUCTURE, CHANGE OF STATE AS CHANGE OF LOCATION metaphors and ACTION FOR RESULT metonymy. Furthermore, with regard to congeners of piong3 in Hakka, it is maintained that differences in profiling and lexicalization patterns capture the primary difference between piong3 and its congeners. Specifically, piong3 does not lexicalize other semantic elements (i.e. path, means, manner, result, and etc.) into its lexical meaning whereas its congeners explicitly do so, in that three subtypes of the congeners can be identified: directional congeners, means congeners, and manner congeners.

This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu literary studies, this is an attempt to fill that void. This thesis provides some new insight into this concept, while also devising a practical method for the analysis of the radio trilogy. Chapter one outlines the aim of the study, scope of the study and the definition of some terms. This is followed by explaining the method of research and theories on radio serial dramas. There is also a discussion of the historical background in the development of Zulu radio serial drama and Ntuli's position and contribution to it. Finally, there is a review of previous research studies in Aincan Languages on radio drama. In chapter two plot structure of a radio trilogy is discussed. Theories of drama trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in detail. This is followed by an in-depth analysis of the plot structures of Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano. Chapter three deals with the characterization of radio trilogy. It distinguishes between the actors and characters. Different methods of character portrayal are investigated. Chapter four deals with perspectives on the theme of the radio trilogy. Types of themes are dealt with. Chapter five discusses the dialogue in radio trilogy. It deals with the differences between a dialogue, duologue and monologue, and explains the functions fulfilled by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic of the dramatic action is discussed. Chapter six concentrates on the style of radio trilogy. Elements and different types of styles are discussed. Kinds of images, figurative language, proverbs, idioms, biblical allusions and various influences are discussed in detail. Chapter seven concludes by summarizing the main finding ofthis study, and giving observations about the quality ofNtuli's contribution to radio drama trilogy. lt also explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)