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The Commentary deals only with stylistic and linguistic matters. Textual problems are sometimes discussed, but only when they can be illuminated by points of usage. Diverse subjects are treated, but certain themes predominate. Many of the notes are concerned with the history and usage of certain words and stylistic devices down to the end of the first century A.D. Tacitus' originality and idiosyncrasies, and his indebtedness both to contemporary developments in educated usage and to the historiographical tradition, are pointed out. Archaisms, poeticisms, and words of high style are differentiated from words current among the educated classes. Tacitus' vocabulary is compared in artificiality with that of previous historians and other archaising writers of the early Empire. The Controversiae and Suasoriae of the Elder Seneca, the Institutio Oratoria of Quintilian, and the Declamations ascribed to Quintilian have been taken as evidence for the ordinary educated usage of the period.

The research focuses on solutions to problems experienced in distinguishing between tragedy and pathos. The tragic is always characterised by emotions, and 'narrative can only be regarded as tragic through its tragic theme' (Steiner, 1961:16). Aristotle was the first to define tragedy he regards dramas/narratives as tragic if the protagonists die at the end, and the emotions of pity and fear are aroused. The tragedies Aristotle refers to all display emotional intensity, but are quite dissimilar. In some, the central emotions are evoked by the death of the protagonist, but in others there are events that are more intensely emotive than the death itself. In this study, the researcher provides an in-depth definition of the key concept 'tragedy', the different tragic emotions experienced and related concepts. Phatudi'sTladi wa Dikgati (1958) and Rammala's Lukas Mot helet hele (1963) prove clearly that there are two different types of tragedies, one of which contains pathos and the other contains tragedy. The research emphasises that these Sepedi narratives contain tragedy rather than mere pathos. The focus of this study is Sepedi tragic narratives, which have not previously been investigated in depth (Mohatlane, 2002:17). Only M.L. Bopape, P.M. Makgamatha and P.S.M. Mokgobu concentrated on tragic narratives, and P.M. Kgatla and P.S. Groenewald commented briefly on tragic narratives. The adopted narratological model employed in this research focuses plot and language usage, which are only briefly touched on in this research, as they have already been dealt with by prior theorists whose explanations of these narrative levels assist in understading the arrangement of the plot in tragic narratives. The research methodologies employed in analysing the structure of Sepedi tragic narratives/pathos to distinguish tragedy from pathos are descriptive, discussive and comperative. The researcher found few narratives containing pathos and tragedy in African languages, especially in Sepedi. The discussion of tragedy focuses on an analysis of the foundations, description, types and main characters (protagonists) of tragedy. Sepedi tragic narratives and pathos were influenced by Western culture; for example, Serudu's drama aka la peloga le tlale (1990) and G.H. Frans's Maaberone (1940) were influenced by Shakespeare's Romeo and Juliet. In this study, pathos is defined as related to societal sympathy. Holman (1936:166) explains that the 'emotional events in pathos affect the main character, his/her family and relatives, and they are left alone in those miseries and are expected to solve those problems without help from society'. In texts containing pathos, the main character is neither a villain nor a model of perfection, but basically good and decent. Even though the protagonist is great, he dies, but not because of moral blindness or error. He receives empathy because of his good character. The research concludes that in a text containing pathos, the protagonist is portrayed as simple and perfect. The events are so tragic that they induce pity and fear, more than death itself. Concerning tragic narratives, the investigation focuses on narratives of morality and ethics. Groenewald (1993:37) lists seven types of moral narratives, including tragedy and pathos. The two books that were the focus for this study were Rammala's Lukas Mot helet hele and Phatudi's Tladi wa Dikgati. The discussion of Lukas Mot helet hele focuses on the concepts of the (a) topic, (b) characters, (c) protagonists/antagonists as the most distinctive elements in tragic narratives and pathos. Authors organise their work in line with themes, which also control the main ideas and supporting ideas of the plot from beginning to end, and the protagonist, who dies at the end. This character is a great person who dies because of flaws (pride, jealousy and failure to take advice from others). The mistake is not easily recognised, it is hidden; it arouses emotions of pity and fear in the spectators. The analysis of Lukas Mot helet hele looks at (a) love, (b) segregation and hatred, (c) the hooliganism of Lukas Junior, (d) the emotional pain of the wife of Lukas (senior), and (e) the character Albi. The literary style (writing techniques) is analysed. Phala (1999:78) describes technique as 'the elements of writing and other concerns of the development of the plot, message and narrative' which are noted after the theme/message. Phatudi's novella Tladi wa Dikgati is analysed focusing on the protagonists and events that make it a tragic novella. The summary exposes the theme, characters, events, and place. The emphasis is on characters and events as central to tragic narrative. Analysis of Tladi wa Dikgati focuses on the theme, techniques, plot and writing style. The arrangement of events depends on the aim of the author and his objectives. It was found that this type of narrative reveals the emotions of fear, and depicts tragedy, and that the protagonist arouses pain or pity in the reader through attraction and suspense as the main techniques. Events are arranged and language is used to evoke a sense of tragedy and pity. / Thesis (DLitt)--University of Pretoria, 2016. / African Languages / DLitt / Unrestricted

Este trabalho pretende elaborar uma análise estilística da obra \"A terceira margem do rio\", de João Guimarães Rosa. O levantamento, a análise e interpretação dos recursos formais utilizados no conto operam com os conceitos de adaptação e inadaptação, que caracterizam o narrador como um personagem ambíguo, um homem de dois mundos. Este trabalho não faz nenhum recorte quanto aos níveis de língua estudados (nível fonológico, lexical, morfológico, frasal, enunciativo) e, abordando o conceito de convergência estilística, procura seguir, linha a linha, os fatos expressivos presentes no conto, flagrando, assim, a intensidade poética que existe na prosa rosiana. Na primeira parte da dissertação, expõem-se os pressupostos teóricos e metodológicos da análise estilística por nós empreendida e alguns aspectos relativos à situação da obra de Guimarães Rosa dentro da literatura brasileira. Ainda nessa parte, justifica-se a estrutura do trabalho e se verificam algumas características sobre a obra a que pertence o conto estudado. A segunda parte, dedicada à análise estilística propriamente dita, estuda os efeitos de adaptação e inadaptação, que compreende três momentos da narrativa: 1) a sensação de normalidade e adaptação às normas e convenções presentes nas margens lógicas da sociedade racional; 2) os tons de perplexidade do narrador diante do mistério e da escolha de \"nosso pai\"; 3) o sentimento do trágico e os tons de melancolia do narrador diante de sua culpa. Na conclusão, são retomados alguns fatos estilísticos analisados e algumas contribuições dos ensaios que nortearam a interpretação proposta. / The objective of this dissertation is to elaborate a stylistic analysis of the narrative \"A terceira margem do Rio\", by João Guimarães Rosa. The research, analysis and interpretation of the form components used in the story prove the validity of the adaptation and inadaptation concepts that characterize the narrator as an ambiguous character. This essay does not exclude any of the levels of the language studied (phonologic, lexical, morphologic, phrasal and enunciative) and, considering the stylistic confluence concept, tends to pursue, point by point, the expressive facts of the story, showing the poetic intensity that exists in Guimarães Rosa\'s prose. In the first part of the dissertation, the theoric and methodological stylistic analyses that we use in this study and some aspects related to the situation of Rosas\'s story inside the Brazilian literature are exposed. Still in this part, the work structure is justified and some characteristics about the oeuvre which this story belongs to are verified. The second part, dedicated to the stylistic analysis itself, studies the effects of adaptation and inadaptation (unsuitableness) that appear in the three moments of the narrative: 1) the sense of normality and adaptation to the rules and convention present in the logical edges of the rational society; 2) the narrator perplexity tones ahead of the mystery and the chosen of \"nosso pai\"; 3) the tragic feeling and the melancholic tones of the narrator, caused by his guilt. In the conclusion, some analyzed stylistic facts and some contribution of the essays that guided the proposed interpretation are recapitulated.

Este trabalho pretende elaborar uma análise estilística da obra \"A terceira margem do rio\", de João Guimarães Rosa. O levantamento, a análise e interpretação dos recursos formais utilizados no conto operam com os conceitos de adaptação e inadaptação, que caracterizam o narrador como um personagem ambíguo, um homem de dois mundos. Este trabalho não faz nenhum recorte quanto aos níveis de língua estudados (nível fonológico, lexical, morfológico, frasal, enunciativo) e, abordando o conceito de convergência estilística, procura seguir, linha a linha, os fatos expressivos presentes no conto, flagrando, assim, a intensidade poética que existe na prosa rosiana. Na primeira parte da dissertação, expõem-se os pressupostos teóricos e metodológicos da análise estilística por nós empreendida e alguns aspectos relativos à situação da obra de Guimarães Rosa dentro da literatura brasileira. Ainda nessa parte, justifica-se a estrutura do trabalho e se verificam algumas características sobre a obra a que pertence o conto estudado. A segunda parte, dedicada à análise estilística propriamente dita, estuda os efeitos de adaptação e inadaptação, que compreende três momentos da narrativa: 1) a sensação de normalidade e adaptação às normas e convenções presentes nas margens lógicas da sociedade racional; 2) os tons de perplexidade do narrador diante do mistério e da escolha de \"nosso pai\"; 3) o sentimento do trágico e os tons de melancolia do narrador diante de sua culpa. Na conclusão, são retomados alguns fatos estilísticos analisados e algumas contribuições dos ensaios que nortearam a interpretação proposta. / The objective of this dissertation is to elaborate a stylistic analysis of the narrative \"A terceira margem do Rio\", by João Guimarães Rosa. The research, analysis and interpretation of the form components used in the story prove the validity of the adaptation and inadaptation concepts that characterize the narrator as an ambiguous character. This essay does not exclude any of the levels of the language studied (phonologic, lexical, morphologic, phrasal and enunciative) and, considering the stylistic confluence concept, tends to pursue, point by point, the expressive facts of the story, showing the poetic intensity that exists in Guimarães Rosa\'s prose. In the first part of the dissertation, the theoric and methodological stylistic analyses that we use in this study and some aspects related to the situation of Rosas\'s story inside the Brazilian literature are exposed. Still in this part, the work structure is justified and some characteristics about the oeuvre which this story belongs to are verified. The second part, dedicated to the stylistic analysis itself, studies the effects of adaptation and inadaptation (unsuitableness) that appear in the three moments of the narrative: 1) the sense of normality and adaptation to the rules and convention present in the logical edges of the rational society; 2) the narrator perplexity tones ahead of the mystery and the chosen of \"nosso pai\"; 3) the tragic feeling and the melancholic tones of the narrator, caused by his guilt. In the conclusion, some analyzed stylistic facts and some contribution of the essays that guided the proposed interpretation are recapitulated.

This thesis deals with the structure of the composition which we can find in stylistic expression of pupils of the basic school. The fact that the attempts of pupils are in the initial stage is taken into the account. We will talk about the history of stylistic lessons, its goals and requirements. There will be mentioned stylistic forms which are typical for the basic school. We will find how teachers can prepare and correct the stylistic expressions of pupils, about typical mistakes in the expressions of pupils and how teachers can prevent them. We will briefly look at the history of naratology and we will mention a few aspects which are connected with the narrative analysis. A few selected expressions will be analyzed in the practical part.

The diploma thesis Producer and recipient in advertising communication deals with communication factors in advertisement, especially with role of producer, addressee and recipient who have principal influence on representation of advertisement. The thesis examines process of creation of advertisement, introduces basic vocabulary which is used in advertising agencies, and points out why is important to make a difference between parts of the text (headline, copy, claim), although it is necessary that these parts of the text work together. Special emphasis is put on claim and influence of advertisement on language and conversation of recipients.

Abstract   The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in The Economist in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.                       Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.                       The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.                       Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.   Keywords: translation strategies, scientific discourse, metaphors, stylistic devices, hedging       Abstract   The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in The Economist in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.                       Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.                       The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.                       Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.   Keywords: translation strategies, scientific discourse, metaphors, stylistic devices, hedging       Abstract   The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in The Economist in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.                       Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.                       The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.                       Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.   Keywords: translation strategies, scientific discourse, metaphors, stylistic devices, hedging       Abstract   The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in The Economist in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.                       Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.                       The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.                       Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.   Keywords: translation strategies, scientific discourse, metaphors, stylistic devices, hedging

<p><strong>Abstract</strong></p><p><strong> </strong></p><p>The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in <em>The Economist</em> in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.</p><p>                      Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.</p><p>                      The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.</p><p>                      Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.</p><p> </p><p><strong>Keywords</strong>: translation strategies, scientific discourse, metaphors, stylistic devices, hedging      </p><p><strong>Abstract</strong></p><p><strong> </strong></p><p>The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in <em>The Economist</em> in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.</p><p>                      Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.</p><p>                      The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.</p><p>                      Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.</p><p> </p><p><strong>Keywords</strong>: translation strategies, scientific discourse, metaphors, stylistic devices, hedging      </p><p><strong>Abstract</strong></p><p><strong> </strong></p><p>The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in <em>The Economist</em> in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.</p><p>                      Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.</p><p>                      The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.</p><p>                      Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.</p><p> </p><p><strong>Keywords</strong>: translation strategies, scientific discourse, metaphors, stylistic devices, hedging      </p><p><strong>Abstract</strong></p><p><strong> </strong></p><p>The following essay is an analysis of the translation process from English into Swedish of four articles about the oceans of the world, printed in <em>The Economist</em> in December 2008. This publication claims to be using a language characterised by "clarity, style and precision", wherefore these concepts provide the focus for the analysis. "Clarity" was looked at in terms of metaphors, "style" in terms of quotes and allusions present in headlines, leads and subheadings and "precision" was studied in terms of hedging.</p><p>                      Metaphor is employed as a clarifying device in scientific discourse. The 36 occurring metaphors were classified as either 'dead', 'cliché', 'stock' or 'original'. Dead metaphors, 50% of all, turned out to be highly effective in scientific discourse and therefore the term 'fixed metaphors' would be preferred. The original metaphors used give evidence to the writer's literary ambitions. The translation strategy applied was in most cases literal translation.</p><p>                      The publication makes frequent use of quotes, allusions and aestheticizing devices in headlines, leads and subheadings. The origins of those stylistic elements are not always transparent and had to be identified. In case of existing recognized translations those were kept; when not available, original translations were attempted. Adopting the house-style by taking balance, metre, rhyme and alliteration into consideration during the translation process was time-consuming, indicating that a fully translated edition on a weekly basis is not feasible. Literal translation was rarely possible, instead equivalence was aimed at.</p><p>                      Hedging is a means for increased precision in scientific discourse. The main reason for using epistemic hedging with a proposition is face-saving, i.e. the writer avoids responsibility for the truth value of the proposition. 62% of the sentences were found to include at least one hedged instance. The instances of hedging of numerical data and quantifiers were almost equal to the number of hedges referring to the writer's personal stance. Literal translation was adequate for the translation process.</p><p> </p><p><strong>Keywords</strong>: translation strategies, scientific discourse, metaphors, stylistic devices, hedging      </p><p> </p>

Tematem niniejszej pracy są wybrane osobliwości w zakresie konstruowania zdań złożonych jako cecha składniowo-stylistyczna rozprawek uczniowskich. Materiał badawczy stanowiło 45 wypracowań maturalnych uczniów szkół polskich na Wileńszczyźnie. Wykorzystana została metoda analizy tekstu pisanego. Dotychczasowe badania nad polszczyzną uczniów szkół polskich na Wileńszczyźnie nie dotyczyły zakresu syntaksy. Niniejsza praca prezentuje wyniki wstępnych badań nad takimi składniowymi wykładnikami stylu, jak międzyzdaniowe wskaźniki zespolenia w konstrukcjach wielopredykatowych oraz nad konstrukcjami przesadnie rozbudowanymi, zwanymi potokami składniowymi. Tak więc głównym celem było zbadanie połączeń międzyzdaniowych (współrzędnych i podrzędnych, pomijając bezspójnikowe), które miały pokazać, za pomocą jakich wskaźników zespolenia badana grupa maturzystów łączy wypowiedzenia w tekstach pisanych, które wskaźniki nawiązania cieszą się największą popularnością u uczniów, które zaś nie są przez nich używane. Zakładałam, że w wypracowaniach jako tekstach pisanych o większym stopniu intelektualizacji powinno się znaleźć dużo wykładników nawiązania, oczekiwałam również dużej liczby spójników o zabarwieniu książkowym. Niezmiernie ważnym elementem analizy spójników parataktycznych oraz hipotaktycznych było zaakcentowanie ich wartości stylistycznej. Kolejnym zadaniem było zasygnalizowanie występowania w wybranym materiale ważnego problemu, a mianowicie nieporadności stylistyczno-składniowych w... [toliau žr. visą tekstą] / Šis magistro darbas nagrinėja sintaksiniai-stilistinius klausimus. Norėta nustatyti, kokių jungtukų pagalba lenkų mokyklų Lietuvoje abiturientai jungia sudėtinius sakinius, kuriuos jungtukus jie vartoja dažniausiai, o kurie visai neatsispindi (trūksta) jų rašytinėje kalboje. Didelis dėmesys buvo kreipiamas į jungtukų stilistinius bruožus (t.y. kurie yra vartojami rašytinėje kalboje, kurie šnekamojoje, galiausiai kurie pasižymi neutralumu). Darbas susideda iš įžangos, 4 skyrių ir pabaigos. Pirmajame skyriuje yra pateikti teoriniai sintaksiniai-stilistiniai klausimai. Antras skyrius ir trečias yra sukomponuoti analogiškai: antras vaizduoja sudedamųjų jungtukų analizę, trečias prijungiamųjų jungtukų, o taip pat parodomųjų įvardžių. Analizė paremta yra 45 mokinių rašiniais. Paskutinis darbo skyrius tik atkreipia dėmesį į įvairias klaidas mokinių sudėtiniuse sakiniuse, jame nėra visapusiškos analizės. Šio skyriaus tikslas buvo tik parodyti pastebėtas sudedamųjų sakinių problemas, kurias verta nagrinėti (tarp jų ir stilistinio pobūdžio klaidos). Pradžioje buvo iškelta hipotezė, kad mokinių rašiniuose turi būti daug jungtukų, o ypač rašytiniai kalbai būdingų, tačiau ji ne visai pasitvirtino. Lenkų mokyklų Lietuvoje abiturientai sudedamuosiuose sakiniuose daugiau vartojo neutralių sudedamųjų jungtukų. Prijungiamuosiuse sakiniuose proporcijos tarp neutralių jungtukų ir rašytinei kalbai būdingų buvo labai panašios. / The present master’s thesis examines syntactic-stylistic issues. The main goal of the thesis was to find out with the help of what conjunctions the graduates of Polish schools in Lithuania most often combine composite sentences, and which conjunctions are used by them the most often; also what conjunctions are missing in their written language. Great attention has been paid to stylistic features of conjunctions (i.e. which are used in the written language, spoken language, and finally, which of them are distinguished for neutrality). The thesis consists of an introduction, 4 chapters and the end. The first chapter is devoted to the theoretical syntactic/stylistic issues. The second and the third chapters are composed analogically: the second one contains an analysis of composite conjunctions, and the third one - of subordinate conjunctions and demonstrative pronouns. The analysis was based on the compositions of 45 pupils. The final chapter of the thesis only draws attention to different mistakes made by pupils in composite sentences, and does not provide a comprehensive analysis. The goal of this chapter was only to show the problems of composite sentences which have been noticed and worthy of examination (including the stylistic type of mistakes). At the beginning of the thesis a hypothesis was raised that there should be a lot of conjunctions characteristic of the written language in the compositions of pupils; it proved to be true only in part. The graduates of Polish... [to full text]