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Title |
Innovative View At The Role Of Emotive Adjectives In The Explication Of Positive And Negative Emotions In Telenovelas In The Educational Process |
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Author |
Olena Menshykova, Mykola Zubov, Hanna Vusyk, Halyna Stoianova, Liudmyla Panchuk |
| Citation |
Vol. 21 No. 10 pp. 125-134 |
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Abstract |
The article explores emotions and their verbalisation based on cinematography, namely a cinema dialogue of telenovela as a promising standardized linguistic corpus of text. Every country adapts the scripts of the global genre of telenovela for the opportunities of their linguoculture and non-verbal semiotic contexts. The choice of emotive vocabulary for every script has ethnospecific features, determined by the necessity to search for standardized semantic sets of emotives. The article investigates the issue to include emotive vocabulary into didactic materials paying attention on commonly used adjectives in students` emotional expressions. Basing on the presented data (selected from the film dialogues of the original German-language telenovelas ""Sturm der Liebe"", ""Alisa ? folge deinem Herzen"" and ""Wege zum Gl?ck, Spuren im Sand""), we analysed and catalogued emotional lexical units with the emphasis on the status, frequency, and semantics of emotive adjectives among other morphological classes. The evaluative function of the adjectives often shapes the emotive charge of the entire sentence, while the descriptive property of ""characteristics” provides the emotive utterance with additional emotive shades. Adjectives are seen as implicit and explicit intensifiers, with the former fulfilling emotions at the expense of the semantics of positive or negative emotives, and the latter intensifying the already present emotional charge of the noun. The article presents the data on how frequently certain adjectives are used in telenovelas and further compares them with the data of corpus research and frequency dictionaries. The article looks at the problems of correlation of positive and negative emotives in the sentences to denote positive and negative emotions. It also explores the reason for a significant representation of the lexemes with the positive semantics in the negative emotive utterances. The results of lexical and semantic analysis enabled us to classify several positive and negative adjectives into semantic groups. It paves the ground for further shaping of the prototypic model of film dialogue and didactic models of comprehending foreign emotive vocabulary. |
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Keywords |
emotive, emotive adjectives, positive/negative emotions, intensifier, cinematography, culture, culturological analysis. |
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