|


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|

± the primary meaning of a lexical item, involving its
relationship to the non-linguistic entities which it represents.
-|   @
@  @

 

 @


 
 

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 @  
@ 

@
 




0 mccording to G@  ^
 22) denotative meaning, being to a

certain extent equivalent to extensional meaning, accounts for the
@  . Nevertheless,
it is not possible to equate denotation with the object for the same
reasons that make it impossible for the referential meaning to cover all its
aspects.
0 „n order to establish the denotation, respectively of meanings of words,
the use of the dictionary, more exactly of a great number of dictionaries,
is compulsory ±  

^

).
r „
·
=
 



 =

 

  =

r m  

à 
 


connotation = =



 
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r „n  

Îs opinion ^

 ) referring to the classification of
connotations these are of two types  objectives and subjectives.
X m noun like @
 from English or his Romanian equivalent @@ has
³positive´ connotations beauty, perfume, youth, freshness; and the
word ³hyena´ ±  has ³negative´ connotations ugliness, rapacity,
danger for people.
X Vhese are connotations accepted by a very large social group, that
allow us to call them ^conventionally) ± objectives.
X Less interesting, however not to be neglected by the translator, are the
subjective connotations, revived by personal experiences and being
often opposed and contrasted to the objective connotations mt a social
level, @ @
@´ has positive connotations. But what happens
when somebody has suffered from the allergy called @   @ 
a kind of @

 @
 caused by the pollen not always ³benign´ of
the flower? Vhis kind of connotation is a subjective oneVhe emotion
caused by the view or the simple mention of the rose isn't anymore of
aesthetic order.
 
^

 


  
    


   
    
   
   
    
   
  
   



X u@    @  @ Vhis connotation is

onomatopoeic; the sounds or a part of the sounds that form the
word imitate the sounds characteristics to the referent
c ck-- 
- ³cucurigu´;  -  ³ham-ham´; cuck
³cuc´; ³cucu´;  

³a sasai´;   
 ^despre curcani) ³a
bolborosi´;  
u@ ³a falfai´; 
um ³baldabac´; ³pleosc´; mu@mu@
³murmur´, ³susur´.
Sometimes, the onomatopoeic connotation doesnÎt have
correspondent in the target language  

³a striga´;
u


³cantec de leagan´;  c@ck ³a ^se) sparge´ ^dar ³a crapa´).
X Ñ @    @@ @
  @  @ 
Simple word ^@
), compound word, metaphor, simile, metonymy, synecdoche
and some other figures of speech evoke one or more attributes of the referent.

 with its metaphorized and attested sense of ³prora´, ³bot ^de corabie)´
evokes the prominence, the front placement and the sharpness of the nose.

X ü @    @@

Vhere are three important aspects of the association 
m. by analogy;
B. by contiguity;
C. by contrast.
m. mssociation by analogy consonantal group; rhyme; derivatives; similar words
without motivation; evocation by similar contents.

B. mssociation by contiguity ellipsis, stylistic derivation, anacoluthon.

C. mssociation by contrastº explicit monovalent antonyms, explicit polyvalent

antonyms, implicit antonyms.
X A @   
  
m word can evoke itself diachronic and synchronic.

m. Diachronic evocation archaisms, etymology.

mrchaisms ³yon´ ^adj., pron.) ³acel^a)´, ³ace^e)a´, ³acei^a)´ sau acele^a)´ expresses
a greater distance than ³that´ and ³those´, was used more rarely even when it
hasn't been an archaism yet, today it is a poetism too.
Etymologyºpen ³toc´ or ³stilou´, still remembers us in a way about the old sense of
³pana´, ³condei´ from which they derived ^the Romanian ³toc´ or ³stilou´ don't
have such etymological connotations).

B Synchronic evocation
. Semantic dominant
2. Metasense
. Vhe Dominant of the grammatical sense
. Echo-Words
Y
Y
 !     

w
|


, Robert Frost !  

  

  
 

  
a
 
 
   a
 
 
  


  
  
   
  +
 



  

 !
 
,    



 

 
 '
 



 
  

   ! 
  

   

 

    
 


    
  
  '

 





 
-
!      "   
  
  

 
  


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"  



  

 
  

!
 


  '

.) 

 

 
  #  
.
  
 


 


  X „n ÷ @@¶s poem, ³w 

,´ two
  
  neighbours walk along a wall of loose stones


  



  
 that separates their properties.
 

 

 X ms they walk they pick up and replace stones
a      
  $  that have fallen out of the wall but Frost thinks
   
 
 it¶s unnecessary to repair the wall since they
%&
     
 have no animals that could harm one another's
% 


 
 properties.
  
   X His neighbours respond in the last line of the
'

   poem saying ³¢  c
mk  
(  
 

   u@
.´
 
 



'  

 ) 

  
 X Vhe wall in this poem has both a  
a 



   meaning and a    meaning.
   
     X Vhe wall is both a  u@ ^  ) as

  
*
  well as a @@@ that prevents Frost from
    
* getting to know his neighbours and prevents
any communication or involvement with one
another ^   ).
 !
by Christopher Brennan
muum   @ @ 
u

  @

 


 

c@c
@
  m  @

m
-   
@


@
 @ u
   @   @
 
k
  @

c m m


      u@mm@


 

  
@  @   u

    
@@    
u

 m @m
  c
u@
   
 @ -c u@ @ m  @
m u
@ 
c




   
    

 @
  @    @ @  @ 
 @ 

c@  
 @m
 u    @@

@  @
 
 m    @

   u@ 

   @  m u 

k  
 @@  @
  c
@



 u@    @    @
u 

X „n the poem, ³mutumn,´ by à @


@"@ , the poet describes many aspects of the
autumn season using denotation and connotation.
X ?ne line in the poem, ³the silent woods brood over an anxious deep, and in the faded
sorrow of the sun.´ Vhe word

 is used here to describe the woods both literally as
³making no sound or noise´ as well as emotionally since the word silent helps us visualize
the woods as ³dull, peaceful, and tranquil.´
´?nce upon a time, on an inhabited island on the shores of the Red
Sea, there lived a Parsee from whose hat the rays of the sun
were reflected in more-than-oriental splendour. mnd the Parsee
lived by the Red Sea with nothing but his hat and his knife and a
cooking-stove of the kind that you must particularly never touch.
mnd one day he took flour and water and currants and plums and
sugar and things, and made himself one cake which was two feet
across and three feet thick. „t was indeed a Superior Comestible
^that¶s Magic), and he put it on the stove because  baked it till
it was done brown and smelt most sentimental. But just as he
was going to eat it there came down to the beach from the
mltogether Uninhabitable „nterior one Rhinoceros with a horn on
his nose, two piggy eyes, and few manners. „n those days, the
Rhinoceros's skin fitted him quite tight. Vhere were no wrinkles in
it anywhere. He looked exactly like a Noah's mrk Rhinoceros, but
of course much bigger.''
^´How the Rhinoceros Got His Skin´, Rudyard Kipling)
 
X Some words and phrases are difficult concerning denotations and translation.
X Parsee ´pars´^neatestat de DLRM, DLRC etc,, dar prezent in |c @u
@m-@ m
publ. de Ed. mcademiei RSR,
); la origine, persan inchinator la lui Zoroastru si al
focului, refugiat in „ndia dupa  e.n. pentru a scapa de perecutia mahomedanilor.
X @ m 
  etc. - parsii purtau ^atat in casa cat si afara) palarii conice dintr-un
material lucios
X    k @  uc ´din cele pe care, cu nici un chip, nu trebuie sa le atingi´.
X cu@@
^aici) ´stafide negre´
X 
um
^aici) ´stafide obisnuite´
X   
´si multe altele´, ´si cate si mai cate´
X  ck ´o prajitura´, ´o turta´;  nu are valoarea accentuala a numeralului -
este doar un inlocuitor al articolului  in limbajul copiilor.
X c@

  ck ^in) lungime si... ^in) latime
X au@ @ ! m

 ´mliment Superior´ ^Kipling imita ironic reclamele comerciale,
dupa cum reiese si din paranteza  
wc ´ce magie a cuvintelor´ ).
X 

 


  @  ´pana cand s-a innegrit de prajita ce era´.

X 
m
 m

m
´si mirosea grozav de imbietor´, ´si mirosul te
innebunea, nu alta´ ^
m
, ca atatea alte cuvinte, e dinanins folosit impropriu).
X   m
  @ "  @ @ ´Vinutul cu totul si cu totul de nelocuit´; Kipling
parodiaza stilul povestilor cu uriasi pe care le-a citit in copilarie ^caracteristicile sunt si
initialele majuscule)
X    
m@k #  c@
´un rinocer din corabia/arca lui Noe´; referirea e la o jucarie
pentru copii imitand arca lui Noe.
^Leviţchi,

 )
„  

   

  


     

    
 
 
     


    
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 !"
#  $%$
&$$'(')

X Vhrough good and evil report in the varying fortune of that struggle which Don
José had characterized in the phrase, ´the fate of national honesty trembles in
the balance´, the Gould Concession, ´„mperium in „mperio´, had gone on
working; the square mountain had gone on pouring its treasure down the
wooden shoots to the unresting batteries of stamps; the lights of San Vomé had
twinkled night after night upon the great, limitless shadow of the Campo; every
three months the silver escort had gone down to the sea as if neither the war
nor its consequences could ever effect the ancient ?ccidental State secluded
beyond its high barrier of the Cordillera. mll the fighting took place on the other
side of that mighty wall of serrated peaks lorded over by the white dome of
Higuerota and as yet unbreached by the railway, of which only the first part, the
easy Campo part from Sulaco to the „vie Valley at the foot of the pass, had been
laid. Neither did the telegraph line cross the mountains yet; its poles, like slender
beacons on the plain, penetrated into the forest fringe of the foothills cut by the
deep avenue of the track; and its wire ended abruptly in the construction camp
at a white deal table supporting a Morse apparatus, in a long hut of planks with
a corrugated iron roof overshadowed by gigantic cedar trees - the quarters of
the engineers in charge of the advance section.
X Cu zile mai bune sau mai rele in soarta variabila a luptei pe care Don
José o caracterizase prin fraza ´soarta probitatii nationale oscileaza in
balanta´, concesiunea Gould, acest ´„mperium in imperio´, isi
continuase opera din muntele patrat continuasera sa curga comori in
scocurile de lemn spre neobositele baterii de maiuri; luminile de la San
Vomé licarisera noapte de noapte peste vastul, netarmuritul intuneric de
pe Campo; la fiecare trei luni escorta argintului coborase la mare, ca si
cum nici razboiul nici consecintele lui n-ar fi putut vreodata sa atinga
fostul Stat ?ccidental izolat dupa inalta bariera a Cordilierei. Voate
luptele au avut loc dincolo de maiestusoul zid dantelat de culmi peste
care domnea cupola imaculata a Higuerotei, inca nestrapuns de calea
ferata, pentru ca nu fusese asezata decat prima parte, partea mai
usoara, de pe Campo, de la Sulaco pana la Valea „vie, la poalele
trecatorii. Nici linia de telegraf nu strabatuse inca muntii; stalpii ei, ca
niste faruri zvelte pe intinsul campiei, patrundeau pana la liziera padurii
de la poalele muntilor, in care se taiase o fasie larga pentru linia ferata,
si firul se oprea brusc la cantonamentul santierului, la o masa mica de
lemn nevopsit pe care era un aparat Morse, intr-o lunga baraca de
scanduri cu acoperis de tabla ondulata dominata de niste cedri uriasi -
cartierul general al inginerului care conducea primul tronson.
X RED ± a primary colour, or any of a spread of colours at the lower end of the visible
spectrum varying in hue from that of blood to pale rose or pink.
  @c@ @  @ 
m
X m @   @ ^or scarlet day in academia) is any day of special significance;
holidays ^days printed in red on calendars Sundays, Christmas Day, Easter) etc.
  
 @u @ m u@
 
 @ @!  @ @ 
 m

a  
  @
 @
    m
$

 @    u@
 @
  
 
c   @ u
%  @
@ @! $ u
  


 
u@ @
 c 
 %  uu
 
X Vo

 @  means to celebrate flamboyantly and publicly, especially to go
on a wild spree, usually involving multiple bars, restaurants and clubs plus copious
quantities of alcohol. #

 @  is, by definition, a group activity,
requiring at least two people.
w@  @ @  @  @   u@

X ÷  @ @
$@% ± to welcome and entertain in a grand and impressive
style.
  m @   

   @  @@ " @ u


 c

 
 m @



X ÷ @
 ± a carpet laid down for important visitors
$

   u   @ c@  @   &@
$



X ÷ @
 ± deferential treatment accorded to a person of importance.
  @u@ @   @ @ @c 
X ÷   ± embarrassed
X ÷    ± in the act of committing a crime or doing something wrong or shameful.
  @ cu  @-       @ @-c ^Margaret Vhatcher)
X  @  ± to be extremely angry
& 
   $ 
   @

 mk m @

X ÷   ± a warning signal; something that demands attention or provokes an irritated reaction;
red flag as a warning of danger or a problem
   @
k   @"  
u
  
@  m    c u$


@ u


m
@
X ÷ 
± excessive formality and routine required before official action can be taken;
bureaucratic procedures that delay progress
&u
   

    @c 'uck
 u   cu  u  
  @
X Red ± a communist or socialist
]@     @ @     c
-@

 c
m     @
c 
uc
@ @ 
@@
      c mmu

c @ c @
 
X ÷ à@ ± an international organization that cares for the wounded, sick, and homeless in
wartime, according to the terms of the Geneva Convention of , and now also during and
following natural disasters.
†     @  

  ()-@ c@@    " a
m@m  @   @k

    m@m$

 c@

m
X Ñ &'
( the primary colour between green and orange in the visible
spectrum.
X ¢ m   !   k 

 
X & )@
( Journalism that exploits, distorts, or exaggerates the news
to create sensations and attract readers.
X    c m
 !  @#  w@@ @ au w@@ @    & 

% 
@
mk   |
 w

m
k  c u@c 
X & # ( m volume or section of a telephone directory that lists business,
services, or products alphabetically according to field.
X   # m š $  
  @ @
 c
m
@ c  
 
  

um  @
 

 @@ 

X & ( an offensive term meaning so cowardly and mean as to be
beneath contempt ^informal insult).
X   m

 u$@  !  % mk
m   *
X & @( an employer-employee contract, now illegal, by which
an applicant for a job agrees not to be a labour-union member while employed.
X š   @@ c mm   m u
@
u
  )+,-
  
  @ m 



X š  @  
 m
c  

  !  . / @
 
   @ c u@
 ^of the colour yellow; having a yellow-brown skin
colour; - offensive being a person of msian origin)
X "'
X   
( a film that shows a lot of sexual activity.
X ! 
@ c  c "%
X "  ) ( ^„ndecent) vulgar
X     
@  & m u

X    m dress blue uniform, especially that of the U.S. mrmy.
X ¢ 
X @   ( someone loyal and faithful
X    ( unexpected ^could be positive or negative)
X "  @
( first rate, top prize
X "   ( person of noble birth, royalty
X "  
( well-read or scholarly woman
X "  ( register of socially prominent people
X  "  ^capitalized) ± popular style of music sometimes characterized by melancholy melodies and
words
X "  ( Blue eyes ^also see Bad blue words)
X "  
X 
  ( feeling sad or depressed
X "   
( feelings of depression
X    ^not capitalized) ± depression, state of sadness
X "   ( feeling sad
X "  ( post-partum depression
X a

   ( bemoaning one¶s circumstances
X "   ( laws originally intended to enforce certain moral standards
X "    ( profanity
X "   ( puritanical individual
X „   ( entering the unknown or escape to parts unknown
X    ( unexpected ^could be positive or negative)
X @    @± jealousy
X Vhe phrase was used by, and possibly coined by, Shakespeare to denote
jealousy, in   w@c   0c  
X #@
º
X †  

   @ 

 

  @
X m
 uu
 u 
  @
-m@c 
@
X m
u@ @  @ !
u
 1

X ] m @ 

   c


X  m
u@ @    
c  
c


X  
 muc   


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X 2 @ @ 
u@
X „n 1 

 Shakespeare also alludes to cats as green-eyed monsters in the way

that they play with mice before killing them.
X „º
X 1 @ m
@  
u

X  
  @ ! @ c   m ck
X   m  
   cuck


 



X   c@  


  
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X ]u 1   m mu


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X   
   u

u
c
 
@ 



X ¢@   a novice
X † 
 @   

X  @ ( a place or system for selling goods illegally, as in
violation of rationing.
X ]&@&
 u@ 
 um
@ 
m  # m 

m
 c u@  u
c

m c @@u  
ck 



 
X  
( a member of a family or group regarded as not so
respectable or successful as the rest.
X † 
  &    m

X „  ( running a business profitably
X ac  cm m@   c m 
 @
&%
X " ( a day when something sad or disastrous happens.
X a  

@mm@
  &!  @ c 
X 
 
( mn often trivial, diplomatic or well-intentioned
untruth
X Y@  

   cc
  $
u
  'u
  

 *
X 
  
( any person who is expected to bring honour,
glory, etc. to some group, place, etc.
X   @   

@ @ m @

X

  ( any light-coloured meat, as pork, chicken, beef
X a  @u
@
 
%
X 
 
( something from which little profit or use is
derived;
X m  c  
  u
@
 @ m
    @ mm@c
X

 
 ( sleepless night
X a   , 

 k cu
  @ 
 #„#„!*+

X Chitoran, D., ^
) Y

m
 Y

a@ucu@
amc

Bucuresti, Editura Didactica si Pedagogica.
X Dima, G., 1u

 Y

amc
 Galati, Universitatea
³Dunarea de Jos´.
X Levitchi, L., ^
) @um@ @u @uc @ 
m 
 

m @ m Bucuresti, Editura Stiintifica si Enciclopedica.
X Levitchi, L., ^

) wu
u
@uc @u
u Bucuresti, Editura
Veora.
X Neagu, M., ^2) c


mc Galati, Universitatea
³Dunarea de Jos´.
X Venuti, L., ^2)   @

  au
#@   
# u
 &u

 † u

X Zdrenghea, M., ^
) @ uc   amc
 Cluj Napoca,
Universitatea ³Babes - Bolyai´.