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Polysemy is an essential linguistic process that occurs intensively in language. It plays a significant role in creating phraseological combinations and generating various semantic changes in the language. Polysemy should be distinguished from eurysemy (lexical broadness) and homonymy. Polysemy and eurythmy in language and speech reveal some common properties; however, they are essentially different linguistic phenomena. In Eurysemy, the word's meaning is realized similarly through the context, but it does not undergo significant changes. One of the structural components of a polysemous word is a lexico-semantic variation or separate meaning, which is essential in the study of polysemy. Elimination of polysemy - actualization of a particular meaning of a word is carried out in context. There are two opposing views regarding the nature of a word's linguistic meaning in linguistics. The word itself has no lexical meaning and acquires it only in context. The lexical meaning initially enters the word and is only expressed and recognized in context. A polysemantic word implemented within a set of fixed indicators has a phraseologically related meaning, and each combination of a given polysemantic word with a specific hand becomes a separate phrase. The article deals with polysemy in language generally and in literary works. It explains its significant role in creating phraseological combinations and generating semantic changes in the language and other linguistic features.

As one of the most significant syntax elements, syntactical relations are vital in forming a phrase and a sentence in English. The formation of grammatical rules and regularities related to subordination and coordination in contemporary English did not happen suddenly. Reviewing individual works from the first English grammar to the most contemporary ones gives a reason to understand how this linguistic phenomenon has been formed in modern English grammar. Since the first English grammar was based on the Latin model, they focused more on the language's morphology. They extensively covered the explanation of parts of speech, and syntactical relations were neglected like other syntax issues. Although it is not fully compatible with the modern English language, in essence, each of the authors of prescriptive grammar managed to express different ideas concerning syntactical relations. Making some mistakes regarding determinations of the syntactical links and relevant systematizations does not reduce the historical importance of those grammars. In some way, reflecting such ideas in grammar led to introduction of more accurate and complete approaches to the subject in classical English grammar in the later period. The scientific basis of syntactical relations was developed in classical grammar, as in all grammatical elements. Finally, modern English grammar has completed the most comprehensive explanation of this topic. Syntactical ties have also been reviewed in detail, with most or all contemporary English grammar devoted to syntax.

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

This article aims to analyze the work 'Mal-entendido em Moscou' ('Misunderstanding in Moscow'), by Simone de Beauvoir from to specific themes: the aging and the finitude. The book tells the story of André and Nicole, two retired professors who feel the weight of aging and travel to the USSR for the second time in their life. Thus, a series of misunderstandings start taking place: the lack of communication, the fear of aging, a long-standing love, the assumption of female identity, their political expectations and the difference between the characters' comprehension of the world itself. In this text, I address these divergences, especially the impact of aging and the realization of finiteness by the main character and how these matters of uneasiness reverberate in all of us as well. The article is subdivided as follows; first it deals in general with the relationship between philosophy and literature in Beauvoir's production; the following presents the plot of the work, highlighting some important elements for the discussion and; finally, it investigates questions about aging and facticity, seeking to understand the original focus that the philosopher outlines in the courageous and realistic creation that she makes of her characters.

Das Versprechen ist an der Grenze zwischen Sprache und Handlung zu verorten, denn ein Versprechen verweist auf die zukünftige Ausführung eines Aktes. Damit geht es mit dem Versprechen weniger um das Wissen von der Zukunft als um die Herstellung einer 'verbindlichen Beziehung' zwischen Gegenwart und Zukunft: Wenn ein Versprechen gegeben wird, geht man davon aus, dass es in der Zukunft auch eingehalten werden wird. Zur Herstellung eines 'verbindlichen' Versprechens bedarf es daher zum einen spezifischer Regeln und Methoden, zum anderen über die Sprache hinausgehender Faktoren. Der Akt des Versprechens erfordert einen Zusatz – eine Kraft, eine Absicht, einen Willen oder bestimmte Umstände. Das Versprechen führt somit paradigmatisch vor, unter welchen Bedingungen überhaupt eine sprachliche Äußerung eine Verpflichtung auf zukünftiges Handeln zum Ausdruck bringt, zumal das Versprechen auch den Kern einer ganzen Reihe zukunftsbezogener Sprechakte bildet, man denke an den Bund, das Gelübde, den Eid oder den Schwur.

"Poetry is the expression of the beautiful, through words elaborately woven with each other", according to the Argentine writer Borges Jorge-Luis. Poetic process, the complicated art of creating poetry becomes perceived in different ways by every author. Thus, for others, it consists a sacramental route where the creator-poet exposes his internal world, his thoughts, his personal experiences, through verses, being in a situation of daydreaming or vision. Certainly, this clearly individual element in poetry is inevitably influenced from external factors, such as the common ideology of the times, the socio-political status and the moral perception of society. This emotive experience is especially arduous and suppressive and for the person who tastes it. However, this traumatic experience is simultaneously a curative treatment for the poet. For most poets, writhing poems reflects a situation of liberty, autonomy, promotion of ego and personal feelings, which are suppressed by the conservative look of the society whereas they, finally, find outlet through creation. French Surrealists move towards this spirit, and, generally, creators. For the beginning of this ceremony of poetic action, the boost, the stimulus, the spark that will penetrate the spirit of the poet enabling him to create poetry are necessary. And surely, the conception of many poems takes place during the evolution of a dream, where the poet's spirit is free to express as it wishes itself. A basic resource of inspiration for the majority of poets is the past, pleasant or traumatic, a stone corner of the past, however, and a guide towards the uncertain future. The concept of "Creative Writing" is placed on the same wavelength with the poetic process. In reality, it is integrated into it. All these who adopt and get involved with creative writing, are possessed with the same feelings and worries. The pleasure of creation, the new. The individual expression, the mental amalgamation with the receiver-reader are diffused. Furthermore, the person discovers new, until then, possibilities of himself. In parallel, there is an extroversion in the whole procedure. Positive experience creates the will for further continuation of this attempt. Regarding the cultivation and promotion of the trainees' abilities of creative writing, the role of the teacher is extremely important. The analyses of the texts of respected creators from the teacher function in a helpful way , as well as the perceptions related to writing of the writers themselves. What is more, this is intensified when common points of writers' assembly (Greeks and foreigners) about poetic creation are located. Teachers should present the positive elements of creative writing if they wish to reach its desired result and cultivation. After all this analysis and contact of trainees with the thoughts and way of writing of known writers, the need and desire for an attempt of trying this experience will, gradually, take place. This attempt of trial functions as a basic lever for the launch of creative writing. Besides, "writing is nothing else but a guided dream" (Borges Jorge- Luis). A "dream" that we all of us should live.

This article aims on reflecting on the teaching process of the English language in Brazil starting from a perspective that contemplates the sociocultural factors and also the linguistic factors that might influence the learning of a foreign language. Weinreich, Labov and Herzog (2006 [1968]) see any linguistic changes as the result of a process of linguistic fit between variables internal to the linguistic system and those external to it (i.e. socioeconomic factors). Issues such as the Brazilian basic education system, proficiency evaluation, use of English with other speakers, and literacy issues can be considered as extralinguistic factors (external to the language, but which exert influence in it) that along with linguistic system factors, such as Interlanguage, can lead Brazilian speakers to develop a "Brazilian English" (in comparison toterms known as "British English" or "American English"), or to use this language as "lingua franca", to ensure that the purpose of any message is passed on.