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The present paper discusses the cultural and stylistic issues in the translation of a part of the 2004 Republican Party Platform. Political text in American English and Swedish is in focus, and translation examples are accounted for and categorised according to Vinay & Darbelnet’s (1995) system theory of translation procedures. The conclusion is that cultural issues caused fewer problems than stylistic ones when the Republican Party Platform 2004 was translated.

The thesis works with the fact that communication on social network sites, particularly on Twitter, occurs in short text messages, tweets, which are restricted to the maximum of 140 characters. This leads to the tendency to shorten single and multiword expressions in order to save space and increase the content of sent information. The thesis examines the hypothesis that the number of shortenings on Twitter and their variation may function as a stylistic indicator of tweet genre. It is expected (i) that the number of shortenings in the Twitter sample will be higher compared to other genres and (ii) that the sample will contain more types of shortening, some of which will be characteristic for the tweet genre in general in comparison with the control sample. The research sample of 200 shortenings was collected from two Twitter trends, #Grenfell Tower and #Wimbledon. In the analysis part, the collected sample of shortenings is examined quantitatively, compared to the control sample and separately, interpreted qualitatively. The Appendix contains the complete table listing the meanings of all shortenings. Key words: Twitter, shortening, stylistics, internet linguistics, language of social media

Most of the Germanic languages developed new tense forms allowing the grammatical expression of fine semantic distinctions, including periphrastic perfects and pluperfects; previously, the preterite alone had been used to express semantic content of this sort. In the absence of robust quantitative data regarding the subsequent development of these forms and distribution in the early Germanic languages, a relatively uncomplicated model has generally been assumed, in which there is little synchronic variation in their use and a steady, though not necessarily continuous, diachronic progress toward the state observed in the modern languages. The goal of this work is to provide accurate quantitative data regarding the apportionment of these semantic domains among the available grammatical forms in Old English and Old Saxon, in order to provide meaningful measurements of the synchronic and diachronic use of the periphrastic forms. Very different patterns were found in the use of these forms in the two languages. In Old Saxon the periphrastic forms are used freely, with a frequency similar to or greater than that of the preterites. In Old English there are no significant diachronic trends, but considerable variation exists synchronically among texts, with some making free use of the periphrastic forms and others preferring the preterite almost exclusively. A number of factors potentially responsible for this variation have been investigated, but none can account for the entire range of observed variation on its own. In the absence of any other account for the observed variation, the hypothesis is proposed that the periphrastic forms and the preterite differed in their perceived stylistic value, in a manner whose exact nature may be no longer recoverable; such a hypothesis would be in keeping with previous findings regarding languages such as Middle English and Middle High German. Old English and Old Saxon would therefore differ in the extent to which they make use of the potential for variation created by the absence of a paradigmatic opposition among the relevant grammatical categories.

The Murderbot Diaries is a series of science fiction books that deal with the experiences of Murderbot, a human-machine construct. This study uses a corpus stylistics methodology to analyse the language of the books and looks for changes that occur in said language. The paper attempts to answer the question of how the development of the main character can be ascertained through the use of corpus stylistics methods. Using tools like the exploration of keywords, type/token ratio, semantic prosody, clusters and collocations, this thesis attempts to bridge the divide between quantitative and qualitative literary. From the application of these toolkits, insights such as Murderbot’s neurotic actions, love-hate relationships, and unusual vocabulary choices can be observed. This could serve as a starting point for further research that could be carried out on this series so as to arrive at further conclusions that might prove to be useful within the study of the science fiction genre.

This thesis presents a close reading of the award-winning novel The Handmaid’s Tale (1985) by Margaret Atwood. Drawing on Conceptual Metaphor Theory as a framework, and the notion of embodiment, the study sheds light on metaphorical linguistic expressions that contribute to the realization of conceptual container metaphors pertinent to the main character’s psychological state. The thesis demonstrates that there are dual results for containment. Firstly, the author conceptualizes the character’s body as a container that is imprisoned because of the patriarchal regime’s control. Secondly, the body is portrayed as a container for safety and love before the regime’s takeover. In addition to this, the thesis examines themes of nature symbolism and time. The containment of nature serves as a metaphor for oppression because of environmental destruction in the country. Nevertheless, it carries a glimpse of hope and freedom and/or different forms of escape. Finally, through time conceptualized as a container, the character enters the past, and the memories it brings. This either provides an escape from the present reality — mental time travel that has positive or negative effects on the character’s mental state, or reminds her of the imprisoned life she is presently in.

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<p>This dissertation, by presenting comprehensive analyses of six poems by the Hungarian poet Sándor Weöres, investigates the poetical forms and the poetical philosophies in these texts. The poems represent specific philosophic spheres of Weöres' poetry. The analyses emerge from the formal elements, and aim to shed light upon the structural coherences between the texts and their philosophical contexts. This method of analysis also complies with Weöres' views on the aesthetics of poetics and his method of writing, where form and structure always played an outstandingly important role. The complex methods used in the analyses are very much influenced by the views and methods of a text stylistics that looks at the literary work as a global entity. Taken together, these analyses illustrate the focal points of a remarkable poetical form and a most profound philosophical context in the poems of an outstanding Hungarian poet.</p>

This dissertation, by presenting comprehensive analyses of six poems by the Hungarian poet Sándor Weöres, investigates the poetical forms and the poetical philosophies in these texts. The poems represent specific philosophic spheres of Weöres' poetry. The analyses emerge from the formal elements, and aim to shed light upon the structural coherences between the texts and their philosophical contexts. This method of analysis also complies with Weöres' views on the aesthetics of poetics and his method of writing, where form and structure always played an outstandingly important role. The complex methods used in the analyses are very much influenced by the views and methods of a text stylistics that looks at the literary work as a global entity. Taken together, these analyses illustrate the focal points of a remarkable poetical form and a most profound philosophical context in the poems of an outstanding Hungarian poet.

L’objectif de la thèse est de rassembler des arguments permettant de déterminer si la seconde partie de la légende mariale moyen-néerlandaise Beatrijs (vv. 865-1038) est originale ou plutôt l’œuvre d’un continuateur. Dans la séquence narrative dont il est question, l’auteur développe le thème de la confession, préalable spirituel à la rémission des péchés. En premier lieu, l’analyse stylistique objective (c.-à-d. basée sur des paramètres quantitatifs) de l’ensemble du corpus-texte nous a permis de ne déceler aucune différence notable entre les deux parties de la légende. Ensuite, par l’étude de la structure diégétique, nous avons tenté d’expliquer le rôle du processus pénitentiel dans l’œuvre moyen-néerlandaise. Grâce aux principes d’analyse sémiotique de Propp, Greimas, Courtès et Dundes, nous avons pu remarquer que la légende présente une double articulation narrative reposant sur une double quête : le rejet du péché par le retour à l’espace hétérotopique initial (dans la première partie) et la quête de la pureté originale par la confession des péchés (dans la seconde partie). Cette dernière quête semble donc très logiquement faire partie intégrante de l’œuvre médiévale. The aim of this thesis is to determine whether the second part of the Middle-Dutch legend Beatrijs (vv. 865-1038) is original. In the final sequences, the author highlights the role of confession in the absolution of sins. In the first part of our work, we carried out a stylistic analysis of the whole legend that rested on quantifiable parameters. As no significant differences could be observed between the two parts, the stylistic homogeneity seemed obvious. In the second part of our research, the emphasis was laid on the narrative structural approach. On the basis of the theories of semioticians (Propp, Greimas, Courtès and Dundes), we could analyse the legend as a bimotifemic « complex tale » in which the success of the first quest in the first part (return to the heterotopic point of departure) must be considered the first stage in the expiation. The second quest in the second part (return to the original purity) can only be achieved through confession. This physical and spiritual movement ensures absolution and salvation : for that reason we can assert that the confession process is an integral part of the medieval legend as a whole.