Lingvostilistika hermeneutičkog kruga
Review of: Remzija Hadžiefendić-Parić, Lingvostilistički zapisi, KDBH „Preporod”, Zagreb, 2016.
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Review of: Remzija Hadžiefendić-Parić, Lingvostilistički zapisi, KDBH „Preporod”, Zagreb, 2016.
More...(Милош Ковачевић. Српски стилистичари. Београд: Српска књижевна задруга, 2021, 332 стр.)
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The subject of the paper is the linguistic and stylistic features of the novel Under the Peeling Ceiling by Goran Petrović. The aim is to learn: (1) linguistic means used to shape discourse and (2) stylistic specificities of the novel. Linguistic features are considered on: (1) morphological and (2) lexical level. Each of the mentioned language levels has certain stylistic specificities. The results of the analysis showed that, on the morphological level, it is important to consider the use of: (1) verb tenses and their narrative functions (perfect, as well as present and future and with a transposed, preterite meaning) and (2) adjectives (with the syntactic function of attribute and noun part of the predicate), and with the squeeze value of the epithet. The specificity of the novel on the lexical level is shown by the use of expressive lexis (onymic lexis, creations, loanwords, deverbative nouns, diminutives/ hypocoristics, exclamations, pejoratives). The aforementioned language features formed the style of Goran Petrović's narration in the novel Under the peeling ceiling.
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The newspaper headline is the first contact between the author and the recipient and in terms of stylistics, it is one of the compositional aspects of the text. In relation to the text itself, as well as to the communication partner, the headline fulfils an informative, engaging and especially in journalistic genres, persuasive function. Following the previous research focused on the 1960s, the aim of the study is to analyse and compare headlines in Slovak newspapers in the period of totalitarian and democratic establishment with a focus on the journalistic genre. The research sample, excerpted from the official discourse of the Communist Party of Czechoslovakia (1948 - 1956, 1961 - 1970) and the more recent Slovak mainstream e-discourse (2011 - 2021), contains almost 800 headlines to monitor the developmental tendencies of a given text component under the influence of changed extra lingual conditions. The aim of the research is to verify the expected linguistic and communicative modifications captured, for example, in a freer approach to the use of language. The given assumption expected at the structural-pragmatic level is conditioned by the dismantling of political-ideological control of the socialist period. At the stylistic-pragmatic level, we also assume a more direct and qualitatively more elaborate expressiveness in the language.
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Anđelko Vuletić is a poet, storyteller, playwright and translator from Bosnia and Herzegovina. He chooses the areas of Herzegovina, where the playfulness of the expressionist vision is realized, as the mythical and real setting of his novels. The narrative-confessional tone prevails in the composition and form of his novels and thus intimate view of things in the characters. The main part of the plot is related to the fate of the main character, and by speaking in the first person, which is very common for Vuletić’s characters, the character often takes over the role of the storyteller, although he already exists in the form of a reliable storyteller. This paper will show the basic linguistic and stylistic features of the novel Gorko sunce. It will analyze specificities at the semantic, semiotic and stylistic level and point out the most significant linguistic and stylistic units (phonostylistic, morphostylistic and syntaxostylistic).
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Reader M. M., a proofreader for a reputable Croatian newspaper, asked us if the genitive form of the plural noun company > vrtaka is valid. The noun company is not a new noun, it is not a novelty of our time. It is also confirmed in Šulek's Dictionary of Scientific Nomenclature from 1874 (p. 1202) in the form of tvrdka as bohemianism in the botanical nomenclature (lat. sterium), but also the translation of tal. the word firm. Here we are talking about the company as a company or enterprise, so not as a botanical name.
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This article deals with the Croatian and Serbian translation of the Silesian dialect, which appears in Wojciech Kuczok’s novel Gnój. The analysis includes the dialect stylization present in the source text, as well as the strategies and techniques used for its translations. The various translation solutions used by the translators also were compared and evaluated.
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Coming from a patriarchal society, Calixthe Beyala belongs to that generation of writers who decided to break the silence imposed on them by men. Her battle is marked by a linguistic revolution, the use of asexually marked language, and the manipulation of grammatical norms in speech, which translate her inner rebellion. Le Christ Selon l’Afrique is full of allusions to artists, musicians, singers, composer-authors, song interpreters fromdifferent horizons who marked the showbizz world be it classical or contemporary. This brings about a place of meeting for different consciences, and the gathering of multiple ideologies. The text thus becomes an intentional and conscious construction, a hymn to cultural diversity, and the acceptance of otherness. One could wonder how through music, the process of introducing different tunes in literary world could partake in a linguistic cultivation of an inclusive claiming ideology. Our aim is to show that women individuation which is a major characteristic of the writer, and marked here by pluri-lingualism, guides the reader towards a new way of understanding the World. She uses ametonymic and metaphorical language, represented by different elements which shows multiple voices present in societyand their ties. By so doing, she endures the wellbeing of her project aimed at giving value to the persecuted. Building that contemporary architecture where neither races and nor genres defined by the traditional patriarchal society would exist. Instead, she tries to build a society where singularity is integrated in plurality. This study goes with the principles of speech analysis and more precisely, the heuristic approach of speech.
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Stylistics is a topic, which is present in the Slovenská reč journal from its very beginning – not only in scientific studies, but also in essays, reviews, discussions and reports. Slovenská reč is a platform, where the continuous stabilization of stylistics as part of Slovak linguistics can be observed, including the research objectives, terminology and methodology. The majority of articles are focused on the linguo-stylistics and stylistics of communication spheres, based mainly on the concept of functional style – scientific, media, administrative, literary, and common spheres specifically. In the last decades, it is also a religious sphere. In the 1950s, in accordance with its main profile, educational stylistics is preferred; in the 1960s – 1980s, it is textual stylistics and theoretical and practical questions of composition. There are also articles concerning other parts of stylistics, mainly translational stylistics and in the 21st century significantly also pragmastylistics.
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This article aims to describe the diminutives of culinary origin in Bulgarian and Romanian. The diminutives belonging to that group include lexemes indicating food products, meals, beverages, spices, kitchen equipment, utensils, clothing and facilities, related to food and nutrition in general. The feature analyses the denotative, as well as the connotative meanings of “culinary” diminutives and seeks to explain their abundance in both languages.
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Kibun (気分) and kimochi (気持ち) are Japanese near-synonyms words difficult to distinguish from each other in terms of meaning and usage based on their dictionary definitions. In this article, in order to reveal the semantic and usage differences of these two words, the collocations that form with these words are evaluated within the framework of conceptual metaphor theory. The sample of the study consists of collocations in the structure of “kibun 気分 /kimochi 気持ち + preposition + verb” in the corpus named BCCWJ Balanced Corpus of Contemporary Written Japanese. According to the findings of the study, kibun (気分) is something that has a taste and moves up and down in the body; kimochi (気持 ち ) is something that is understood, communicated to others, expressed in words and occupies space in the body.
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A writer’s style reflects how textual meaning-making processes are achieved through a literary text's form, which includes various textual strategies employed. Available literature suggests that almost every linguistic theory takes the sentence structure as a combination of ‘form’ and ‘content’, whose taxonomic amplifications provide a springboard for description that leads to a more comprehensive extension of linguistic analyses revealing the semantic and symbolic aspects of language making up a text. Hence, although textual analysis may start by identifying its form and content, a comprehensive approach that engulfs a text’s syntactic and semantic aspects provides a broader perspective. Keeping these in mind, this study is based on the premise that structural analysis enables the identification of the poet’s recurrent method of composing different literary texts of the same genre and guides analysts to semantic interpretations. Examining the poetic language of a selection of haikus written by Wright, with a focus on the syntactic and semantic identifications, it is observed that the poet has an uncompromising style toward utilizing a pattern with minor alterations to construct various poems. The poet achieves an effective diction using a restricted number of lexical and grammatical items, which fits into the terseness of haikus, a poetic form known for its brevity and conciseness.
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The paper interprets Signs by the Roadside as a hybrid genre and a condition for understanding the entirety of Andric’s work. They are the prerequisite for the understanding of Andric’s poetics.
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The title of Andrić’s short story Panorama refers to an old-fashioned image sequence which represented countries and cities of the world. The already worn out form of entertainment was liked by a naive and poor boy. His complex experience of panorama causes the composition of the short story, in which several semiotic layers can be discerned. The pictures as kitschy, false representamen represent objects – landscapes, buildings, and people from different parts of the world, and the boy connects them with personal experience or images. The picture in his consciuosness (interpretant) raises the subconscious superstructure (new representamen) of still images, which become alive in the boy’s dream, but also lead into anxious outcomes caused by his poverty or fears present in children’s dreams. In the nostalgic imagination of an adult man the life course of former panorama characters is thought out by further semiosis. This last layer acts as an epilogue with several stories made up besides the remembered images. The AustroHungarian advertising trick, which even in provincial cities has no echo, realized its aim in the reception of the Sarajevo boy since he experinced the still images as potency – filling them with his own meanings. The reverse of the panorama in the moment of its departure is the boy’s realization that money, unfortunately, essentially determines the fate of people and their creations. However, an adult man does not give up on imagination as the best part of himself.
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The Slovak translated literature, in its excessive opus, can proud itself with a large number of capital works by authors from ex-Yugoslavia. Among others, it contains works by Ivo Andrić, whose literary work first appeared in Slovak translation as early as 1926. The following great works by Andrić have so far been translated to Slovak language: ‘The Damned Yard’ (slo. ‘Prekliaty dvor’), ‘Anika’ / ‘Anika’s Times’ (slo. ‘Anikine časy’), ‘The Bridge on the Drina’ (slo. ‘Most na Drine’), ‘Solitude House’ (slo. ‘Dom na samote’), ‘Omer Pasha Latas’ (slo. ‘Omer paša Latas’), ‘Bosnian Chronicle’ (slo. ‘Trávnická kronika’). Andrić’s extraordinary narrative talent, realistically suggestive method of presenting reality, as well as skill at formulating the eternal truths – all of this brought to the Slovak reader the alluring world of Bosnia and Herzegovina, over the course of various socio-political eras. Translators who had the opportunity to translate Andrić were aware that this was a chance for them to showcase their skills; however, it also meant bearing a considerable amount of responsibility. Andrić’s opus has been translated to Slovak by the most expe rienced professionals (Andrej Vrbacký, Tomáš Štrba, Ivan Minárik, Branislav Choma, František Lipka, Jarmila Samcová), who had had years of background in literary translation. Nonetheless, this does not mean that their competencies were always sufficient for correct interpretations of Andrić’s work, influencing their ability to faithfully convey his words to Slovak language in an adequate way as a result. If we analyse Slovak literary translations of Andrić’s texts, we will find the most jarring discrepancies on the lexical level; discrepancies which, albeit, do not get in the way of fluency and clarity the text as a whole. On the other hand, if we analyse the texts in more detail, we can conclude that discrepancies exist in translations of Realia, toponyms, Turk loanwords, and some phraseological units. Despite that, we are still able to unambiguously conclude that Andrić’s opus has not lost its originality in Slovak translation, as Slovak readers to this day happily return to these books.
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Dramatic text “Kako Musa dere jarca’’ (CV / Necrography of Musa Ćazim Ćatić) is a poetic drama of Zlatko Topčić, which draws its sources from biographical data about the life of the one of the largest Bosniak poets Musa Ćazim Ćatić, but at the same time, it also carries in itsself the unique universal message of the poet as a perpetual foreigner in this material deterministic world. The poet is imprisoned in this world’s troubled womb of existence and the poet is also, through his existence, necessarily constrained by material aspects of his bleak existence. The figure of the poet, at the beginning and end of the play, is presented as a dead man, but in the specific form of the fetus, which is definitely one effective symbol that represents the poet ever conceived in the womb of Bosnia and the Bosnian world. The poet has captured the universal poetic fate in which he lives and exists as a perpetual stranger in this world, where he fights and creates, lives for the poetry and dies for it as well. The subtitle of this, shows that CV / Necrography has incognitive and persuasive function, because it introduces us to the inside of the play and offers us the reception of the tragic hero in which the eros and thantos are in creative symbiosis, in which the entire life is marked by death. However, Ćatić is also the symbol of the Bosniaks’ sufferings, at the crossroads between historical frictions, in an effort always remains connected with their heritage. Musa does not accidentally die in the position of the embryo, he symbolically dies in this position in which the others are born – what makes his death a new birth, birth in the true life which he has always aspired to, so the poet becomes in a certain way infinite in symbiosis with his country- Bosnia.
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Significant motifs in Šimić’s poetry pertain to the interpretation of soul and body, that is to comprehension of spirituality and materiality. In all his phases, from late impressionism, through expressionism to social phase, the author was, to a certain degree, preoccupied with dichotomy of those concepts by means of which he (re)presented existential, metaphysical, spiritual and social topics. This paper will show associative sequence of motifs composing basic terms of spirituality and materiality and projecting binary oppositions, such as god/woman, bliss/suffering, dance/illness, peace/struggle, life/death, etc. Through specified motif suggestions the paper will examine author’s attempts in revealing identity marks and situating subject within metatextual and contextual worlds of poetic text.
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The paper deals with poetics of Expressionism and anti-war position in Miroslav Krleža and Ahmed Muradbegović’s dramatic works. It specially focused the plays Vučjak by M. Krleža and Pomrčina krvi by A. Muradbegović. In this connection, particular attention was paid to the main characters of these dramatic texts – Krleža’s Krešimir Horvat and Muradbegović’s Ekrembeg.
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This paper analyses the role of a town (often marked as kasaba in Bosnian-Herzegovinian culture) within the structure of Ivo Andrić’s novel The Bridge over the Drina, Zija Dizdarević’s several short stories and Zuko Džumhur’s travelogues. The town / kasaba, whose architecture is based on ancient and Mediterranean concepts, has a center and an edge. Center symbolizes sociality, while the edge, with a great number of public places, doesn`t have that meaning. Various meanings and functions of the town / kasaba are found in mentioned works of Ivo Andrić, Zija Dizdarević and Zuko Džumhur. Some of them are highly symbolical. The town / kasaba is the crucial element in the inner structure of those works, seen also as the place of historical and cultural remembrance. Seen through narrator’s eyes, town often symbolizes social backwardness, which is best known stereotype about town (kasaba).
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The paper is devoted to the cultorological concept ‘Balkan town’, whose features can also be found in other Southern Slavic localities which developed under the Ottoman rule. Elements of this concept are visible in the Travnik Chronicle by Ivo Andrić. Thus, a very important role in the novel is played by ‘charshia’. Travnik was built as a Turkish city. The old Seljuk tradition of urban dwelling organization was transferred onto the newly acquired Balkan territories. Thus, each city was divided into charshia, a market and craftsmen’s area, and mahals, residential areas. Charshia was the place for economic and social life. This area consisted of numerous streets, composed of low-rise wooden buildings, workshops and stores. Charshia also housed community buildings, which used to be architecturally accentuated in oriental cities. These buildings included inns, a caravan-serai, baths, educational institutions and mosques. The charshia was open daily from early morning till sunset. It was closed only in difficult times when the town was facing some serious threat or when the town dwellers wanted to protest in times of public unrest. The Travnik Chronicle describes the unrest. The paper also deals with typical structure of a Balkan town, as well as a Balkan house.
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