Obviously, this can be explained by the fact that the singer and listener as the main
characters of most of Eurodisco ELT, act in them as an active beginning – passivity is
not inherent in a world where people love each other demonstrating their feelings,
relations and emotions.
Despite the high frequency of the active voice and low frequency of the passive
voice, the use of the artistic space of Eurodisco allows combining them. Their
combinatorics is based on three such schemes: “active – active” and “active – passive”.
In this case, the scheme “passive – passive” is uncharacteristic for Eurodisco ELT, and
the scheme “active – passive” is not very productive. It is clear that the scheme “active
– active” is constructive here. This is a direct consequence of the cognitive features of
the recipient, which involves the explicit admission of the subject, the predicate and the
object, which is acceptable to the consciousness, whereas the implication of the figure
(the main feature of the passive turn) complicates the person’s understanding of
propositional information, since the addressee of Eurodisco ELT can speak not only as
a native speaker, but also an ordinary foreign speaker.
Let’s consider the most productive scheme for the Eurodisco ELT “active –
active” which is inherent polypersonal type of sentences.
Prototypical personal pronouns are those in which the subject is represented by a
personal pronoun of the first person singular I:
I live for your love.
Oh just set me free.
I live for your love.
Is it real?
I live for your love.
Oh just let me be.
I live for your love.
Cause I need your love to feel.
(Bad Boys Blue “I live”)
In the sentences like I live for your love, I need your love to feel the subject always
has as maximally personal, finite, individual, unique character.
To deviations from the prototype, it is necessary to include personal sentences in
which the subject denotes a person represented either by a noun to the designation of
an animated creature or a personal pronoun (except for the first person singular):
Brother Louie, Louie, Louie
Oh, she’s only looking to me
Oh, let it Louie
She’s undercover
Brother Louie, Louie, Louie
Oh, doing what she’s doing
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