Katarzyna Dziwirek – författare

This book examines American cultural values and their expressions in everyday speech, particularly an American discourse strategy which the author coins as a metaphoric comparison'. The book argues that culture not only conditions perceptions of reality but also shapes language patterns. Through comparisons with Polish, it shows how idiosyncratic and culture-bound American English is and how, in view of its global popularity, adopting it as mode of communication can alter the lens through which we see the world in both clearly discernible and subtle ways. This book will be of interest to a broad audience including linguists, American Studies scholars, non-native speakers of English, and Slavists.

This book examines American cultural values and their expressions in everyday speech, particularly an American discourse strategy which the author coins as a metaphoric comparison'. The book argues that culture not only conditions perceptions of reality but also shapes language patterns. Through comparisons with Polish, it shows how idiosyncratic and culture-bound American English is and how, in view of its global popularity, adopting it as mode of communication can alter the lens through which we see the world in both clearly discernible and subtle ways. This book will be of interest to a broad audience including linguists, American Studies scholars, non-native speakers of English, and Slavists.

Nominated for the Best contribution to Slavic Linguistics/AATSEEL book award 2011The concept of complex emotions is obviously polysemous. On the one hand, we can interpret it as a non-basic, non-prototypical, or culture-specific notion, on the other - and this is the interpretation we propose in this work - a complex emotion concept can be looked upon as a concept whose complexity emerges in interaction, due to the complex nature of its object. Our interpretation is thus construction-based, one in which meaning is not to be found exclusively in the lexical semantics of the term, but also in the, clearly meaning-laden, grammatical construction, e.g. a complement clause, expressing the object or cause of the emotion. The construal of a scene mapped on the form of a complex sentence involves the emotion that is unambiguously complex and not necessarily universal or prototypical. We argue throughout this book that cross-linguistic grammatical mismatches are a visible sign of conceptual and categorizational distinctions between the conceptualization of emotion in different languages and cultures. They also signal differences in what individual speakers consider salient in a portrayed scene.We offer a contrastive corpus-based study of Polish and English emotion concepts and the linguistic patterns they enter. Our theoretical approach combines lexical semantics and cognitive linguistics and proposes a cognitive corpus linguistics methodology. It is a cognitive linguistic endeavor in which we analyze grammatical category mismatches and provide detailed semantic analyses of different complement choices of emotion predicates. We also discuss insights into Polish and English cultural values gleaned from the different underlying categorizations of emotions. Combining theoretical analyses with pedagogical theory and classroom applications, this work breaks new ground and will reach audiences of linguists, teachers and students of Polish, teachers and students of English, translators, and other language researchers and practitioners.

Nominated for the Best contribution to Slavic Linguistics/AATSEEL book award 2011

The concept of complex emotions is obviously polysemous. On the one hand, we can interpret it as a non-basic, non-prototypical, or culture-specific notion, on the other - and this is the interpretation we propose in this work - a complex emotion concept can be looked upon as a concept whose complexity emerges in interaction, due to the complex nature of its object. Our interpretation is thus construction-based, one in which meaning is not to be found exclusively in the lexical semantics of the term, but also in the, clearly meaning-laden, grammatical construction, e.g. a complement clause, expressing the object or cause of the emotion. The construal of a scene mapped on the form of a complex sentence involves the emotion that is unambiguously complex and not necessarily universal or prototypical. We argue throughout this book that cross-linguistic grammatical mismatches are a visible sign of conceptual and categorizational distinctions between the conceptualization of emotion in different languages and cultures. They also signal differences in what individual speakers consider salient in a portrayed scene.

We offer a contrastive corpus-based study of Polish and English emotion concepts and the linguistic patterns they enter. Our theoretical approach combines lexical semantics and cognitive linguistics and proposes a cognitive corpus linguistics methodology. It is a cognitive linguistic endeavor in which we analyze grammatical category mismatches and provide detailed semantic analyses of different complement choices of emotion predicates. We also discuss insights into Polish and English cultural values gleaned from the different underlying categorizations of emotions.

Combining theoretical analyses with pedagogical theory and classroom applications, this work breaks new ground and will reach audiences of linguists, teachers and students of Polish, teachers and students of English, translators, and other language researchers and practitioners.

Contents: Barbara Lewandowska-Tomaszczyk/Katarzyna Dziwirek: Emergence of Cognitive Corpus Linguistics – Piotr Pęzik: Extraction of multiword expressions for corpus-based discourse analysis – Galina I. Kustova/Olga N. Lashevskaja/Elena V. Paducheva/Ekaterina V. Rakhilina: Verb Taxonomy: From theoretical lexical semantics to practice of corpus tagging – Karen Sullivan: Grammatical constructions in metaphoric language – Monika Kopytowska: Corpus linguistics and an eclectic approach to the study of news - the mechanism of framing – Hanna Pułaczewska: Syntactic reduplication as an ironically-driven pragmatic principle in the spoken language –