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The review of: Злочевская Алла Владимировна: Три лика мистической метапрозы ХХ века: Герман Гессе – Владимир Набоков – Михаил Булгаков. Super Издательство, Санкт-Петербург, 2016, 552 c., ISBN 978-5-00071-999-2.
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Although Ziemowit Szczerek is one of the most interesting Polish writers of modern times, his books are not often translated into other languages. Given the fact that he mostly devotes himself to the subject of Central Europe, his books would certainly also find readers in the Czech Republic. The article raises the question of whether Szczerek’s very specific authorial style, which discourages potential translators, may be the cause of this state of affairs. This article tries to analyze the style and language of Szczerek’s writing on the material of his book Międzymorze (2017a). The aim of the text is, among other things, to show how careful analysis and philological training can help the translator understand the author’s specific style and thus help with the prospective translation. The article analyses specific means of expression, such as very creatively understood neologisms and expressive vocabulary. Particular attention is paid to specific sentence constructions and the possibilities of their translation into Czech. Also typical of Szczerek’s texts are foreign-language elements, reflecting the atmosphere of a place or characterizing the speaker whom the narrator meets on a journey through Central Europe. All these means of expression are a great challenge for any translator.
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The present paper analysis the position of the qualifying adjective in the nominal group, based on a corpus of texts included in the volume "Romanian documents and notes from the 16th century". The occurrences of the prefixed and postposed qualifying adjective as a modifier will be considered, in order to establish possible preferences of prefix or postposition compared to the nominal determined in the old Romanian language.
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Our research shows that in the early stages of language development, simple sentences had a wider use. This does not mean the absence of compound sentences, only simple sentences are more in proportion when we compare them. As we know, it is not possible to have the sentence structures used historically in a language in the same way in modern period. Because the thoughts of people that have developed over the centuries have certainly reflected this to the language. A person who started to think differently more complexly began to express their ideas not with simple sentences, but with compound sentences. In 12-13th centuries poets and writers, who took refuge in the palaces at a time when the Byzantine power in the land was weakened and the Seljuks were getting stronger, began to create new style works. The language of the works of Yunus Emre, who lived and created in the 13th century, has a very important place in this regard. When we compare it with the sentence structures in the language of the monuments belonging the 7th century, we now see different compound sentence structures in Yunus Emre's language. In this article, sentences found in Yunus Emre's language were first diversified by meaning and later by structure.
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The superlative expresses the highest degree of meaning of an adjective or an adverb and it can be realized as relative, which implies comparison, and absolute, which indicates a high degree of intensity without direct comparison. In Romanian, there are numerous ways of formation of absolute superlative, grammaticalized or expressive (phonetic, syntactic, lexical). Starting from a more detailed analysis of the absolute superlative in Romanian specialized literature, the aim of our paper is to identify to what extent there are comparable ways of formation of absolute superlative in Croatian, as well as to give an overview of this degree of comparison in Croatian with specific examples from the corpus.
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Space and Time Expressions in the Romanian Linguistic Imaginary. This work aims to inventory, with the help of space and time conceptual metaphors, the expressions that contribute to shaping a linguistic imaginary. The expressions represent a sine qua non condition of linguistic creativity and once identified, they pave the way to other cultural spaces. The language is our home, and the way we live in it, through expressions, proverbs, sayings, represent an unstable balance between inside and outside, between up and down, between then and now, creating a protective space - time and, at the same time, exposed to the outside world’s actions. To highlight the role of space and time expressions in shaping a linguistic imaginary, we used the conceptual metaphors theories as they were defined and illustrated by George Lakoff and Mark Johnson. We will try to demonstrate that in the Romanian linguistic imaginary there is a vertical spatiality (in terms of an up-down metaphor), which belongs to the pastoral world, in which the archaic man raises his eyes to the sky in a perfect communion with the Divinity (the expressions with sky, earth, sun, moon, stars, etc.). As far as it concerns time, we will inventory those expressions and sayings that reflect, in the collective mind, the time perception between ephemerality and eternity. In the Romanian linguistic imaginary, there is an eternal temporality (the expressions with vreme, that reflect the past-present-future triad) and a stationary one, representing the measure of a time slot (the expressions with ceas that reflect simultaneity, sequence, and duration). We will demonstrate, with the help of ontological metaphors, that temporal perception, through expressions, varies depending on the different possible consciousness states (pain, joy, love, dream, etc.). The research-based result will be to highlight the space and time linguistic images and their role in shaping the Romanian linguistic imaginary.
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The typological parameters to analyse the phenomenon of the national literary language on the basis of its terminological and theoretical presentation in the Belarusian and Polish scientific and educational paradigm are used in the article. Theoretical, educational methodological and lexicographic sources reflecting common and distinctive features in the conceptualization of the national literary language of Belarusians and Poles are used as analytical material. A terminological and classificatory asymmetry is traced in the interpretation of the national literary Slavic language within the boundaries of national linguistic and Slavic studies. The conceptualization of the Belarusian and Polish literary languages is indirectly related to their typological parameters and can be used as a typological model.
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The article presents a study of historical and linguistic aspects of testimonies of history witnesses. In our case those were forced labourers – Poles obliged in the Third Reich to wear the “P” symbol indicating their ethnicity. Because of the nature of the topic, an interdisciplinary approach was necessary. The first part of the paper recalls briefly the history of forced labour in Germany during World War 2 as well as illustrates with some examples the everyday life difficulties of the workers. All the samples analysed in this study are taken from an anthology by Anna Kosmulska, who collected and published them twice in 1995 and 2020 (2nd revised and expanded edition). It is an interesting fact that many of the people with the “P” symbol decided to stay after the war in the region and the city where they were forced to work for Germans. The article tries to find traces of orality in the redacted text of primordially spoken testimonies. To investigate that we decided to apply the theory of five indicators of spoken language by Bartmiński and Niebrzegowska-Bartmińska as well as certain statistical analyses (including sentence length, the relation between Polish conjunction i and preposition w, FOG index). Moreover, we discuss the communication situation of the witnesses of history together with the question of the existence of discourse community within this group and analyse the keywords of their testimonies.
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This article presents a comparative analysis on the poetics od Ivo Andic and Blaze Koneski, from the aspect of moral philosophy coprehension and its portion of presence. The analysis covers the segments of the Andric and Koneski’s stands and attitude on the issues of the decadentism in the art, their stands on the matter of the tradition, on the violence, etc. Also, this research analyses the style expressions on bouth authors. Especially, their interests and engagments for the human values and principals are accentted. The path of comparison moves in direction of the Balkan altruistic incoherence, the problem of the human relations and world parttiality that implicates the alienation and the loneliness. And finally, the problem of the rational behaviour of their literature heroes is accented as a basic of their humanism.
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The play of life by Salko Ćorkan which, both on paper and in space, takes up an existential, artistic and metaphysical notion, is comparable to the (seemingly circus-like) play of life by Eduard Sam. Both characters are carried away by their play where their feet would never take them. Play transforms, it crashes all fences, opens up spaces of freedom, it exalts, while life becomes light, skilful, respectable and meaningful. Ćorkan’s ascent and dance on the icy stone fence of the bridge, the great danger and the gaping abyss on the verge of which he found himself, almost on a wire, will mean victory over life which he was destined to live on Earth, a detachment from solid ground, a take-off by light and on a desired path along which one should travel in life. Ivo Andrić and Danilo Kiš, and their unusual, free-thinking characters living a life lacking respect (though worthy of the highest respect) tell us a story (perform a play) on the meaning of life – the master and his apprentice.
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The subject of this paper is the interpretation of individual and collective sources of tragedy in the novels written by Ivo Andric The Damned Yard and Bosnian Chronicle. All the characters depicted in the novels belong to the chronotopos of Bosnia, and that affiliation is twofold - some protagonists belong to truly nationalized Bosnian offspring, by birth and a faith, and some are foreigners who, due to socio-historical circumstances, find themselves in the Bosnian cultural limbo. The belonging to a country which is not used neitherto the economicprogress, nor social changes, predisposes the collective tragicity of the characters, Bosnian inhabitants. Resistance to canons and various conditions of behavior and life creates individual confidential lines in their lives. Such a concept of life complicates the tragic situation in which they are tragic and those with Bosnian and non-Bosnian origin, both of them and others in a wider sense, are strangers in a specific chronotope of alienation.
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Enclosure of the space and its demoniac materialisation, as contrary to the timelessness of spiritualization and humanization, are strongly reflected both on the frame and on the semantic layers of the central story. At the same time it suggests a free and an open reading process, which denies temporal definition of the story told and, at the same time, projects the space’s relative and flexible incorporation in the story. At this level, which is an important basis for contemporary critical perspective, we can talk about reactualization of certain contents and meanings of Andrić’s poetics and aesthetics, all the more for the fact that, naturally, they resist any attempt at a complete scientific decoding (as all the great accomplishment of human mind, principally, do).
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In recent Bosnia and Herzegovina literature, Musa Ćazim Ćatić is positioned as the first Bosniak poet of modern literature. His poetry diachronically belongs to three periods, first of which includes poems dominantly influences by folk poetry. Second period involves poems which combine rules of poetry of romanticism and modern literature and the third is modern poetry in the true sense of the word. His poems are uncritically described as religious, Sufi poetry, which should not be surprising because the poet is a successor of Bosniak literary heritage of Ottoman period, Ottoman Divan poetry. The paper tries to prove that there is a unique poetic principle of the poet’s work exclusive of the period when he was writing and if religious motives are present in his poems or not. The poetic principle is called a paradigm of Sufi symbolism, which sustainability can be found in similarity in ideological and philosophical outcome of Sufism and symbolism and in stylistic procedures in both poetries.
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Subject of this text are metafictional elements in novels Nišan (2007) by Blaže Minevski and Knjiga o Tari (2004) by Zdenko Lešić. Starting from theoretical models of metafiction (Linda Hutcheon, Patricia Waugh, Mark Currie), our comparative interpretation of the novels will be conducted on three levels: 1. Review of metafictional topics and techniques in the novels: explicit thematisation and demonstrations of relations literature – reality, art – life, fact – fiction; the tech niques of an “overt diegetic narcissism” (self-consciousnarrator, auto-thematisation of writing). 2. Мetatextual levels in the novels: variants ofauto – referential rethinking of his own narrative identity and metatextual variantsof commentary relations to other texts, to literary tradition and to literary codes and conventions. 3. Ontological implications of metafiction in the novels: function of metafiction in indicating of destabilized ontologicalstatus of literature; function of metafiction regarding creation of ontological implosion: self-conscious problematizations and levelling of boundaries between worlds (literature – reality, fact – fiction) and between texts (literary – nonliterary texts, original–plagiarism).
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The paper Border as a Specific Modelative Space in the Novels of Zuvdija Hodžić and Husein Bašić concerns itself with presenting some of the manifestations of the border phenomenon in the novels of Husein Bašić and Zuvdija Hodžić. The border is one of the main motifs and modelative principles in the novels of these authors and one of the specifics of the literature of the Sandžak cultural-historical space. The author aims to show that this phenomenon is manifested in the works of the aforementioned writers through several forms of meaning-making, which are certainly not the only ones, but they encompass a certain range of meanings that can be found in the novels in question.
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This text consists of three parts. The first part of the text deals with comical means in The Government Inspector by Nikolai Vasilievich Gogol, the play which is the first to promote laughter through tears. Comical means in The Government Inspector are treated through influential theory of comical/laughter of Henri Bergson. However, it is also revealed how – in relation to the type of comedy based on human society and emotional distance – The Government Inspector displays certain surplus. The second part of this text examines two examples from Bosnian-Herzegovinian drama – plays Childhood Disease: When Father Was Away on Business by Abdulah Sidran and Grow in Width by Dževad Karahasan. Starting from reflection on stylistic tendencies introduced by Volker Klotz in his book on closed and open forms of drama, this text shows that Sidran’s play is written entirely in accordance with the rules of open form of drama, while Karahasan’s play is written in accordance with the rules of closed form. Finally, in the third part, this text shows that, despite the difference in style, these two plays demonstrate certain resemblance with the tradition of laughter through tears which was introduced by Gogol in his The Government Inspector. This leads to conclusion that this type of comical/laughter is broader than the notion of style and that it could be described as a genre in the European dramatic tradition.
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Hasanaginica (1909) by Milan Ogrizović, the two homonymous plays by Alija Isaković (1981) and Nijaz Alispahić (1999), as well as the play Hasanaga (1990) by Tomislav Bakarić are four examples of twentieth-century theatrical texts whereby the authors consider the difference in interpretation and transposition of the folk ballad Hasanaginica.
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Irfan Horozović, as an example of a writer who has been writing out of territorial, linguistic, ideological and existential framework of the home environment, has become a spotlight of the recent theoretical considerations which emphasizes his identity / diversity. This paper takes a different approach aimed to see Horozović not as “two-literature writer” but Croatian and Bosnian literatures as a kind of intercultural literatures. The question is why it was written about Horozović in critical papers and studies of Croatian fantasists (B. Donat, V. Visković and J. Pavičić) while we can found him in all Bosnian Herzegovinian literature books and while Horozović himself chooses to be a BosnianHerzegovinian writer. This paper attempted to answer these questions and confirm the thesis that “intercultural history of literature can be useful in many ways and help Croatian studies not taking away anything from their socio-cultural, patriotic-enlightenment functions or of their national and social importance, so that they can, in a more relaxed way, understand their particular differentiation, literature of their diaspora, and then their intercultural specificity in the context of South Slavic / Slavic culture” (Z. Kovač). The ultimate goal of this paper is also to show, in the case of Irfan Horozović, that specific feature of Bosnian-Herzegovinian literature to share its writers with other literatures is, in fact, not a disadvantage but an advantage, the more so because it gets in this way diversity and interculturalism, openness and specifics, which are all important characteristics of modern literature.
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The novel Frost and Ashes by Jasna Šamić is marginalized and critically under-treated as the most of novels written by women, so it might be said it has been neglected. This is why this paper deals with detailed reading of the novel and interpretation of its meanings, especially interpretation of the novel’s three main characters, more precisely interpretation of various identities represented in the novel, interpretatation of their struggle to realize their own identity, for their effort to be what they really are in culture which dictates and prescribes norms of behavior of both the collective and each particular individual within that society. Of course, the paper didn’t intend to gather and interpret all aspects of the novel, which are numerous, but to bring the novel to readers and encourage its future interpretations.
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Article departs from the pre-condition of Alpine and Pannonian space that have differed already in ancient literal patterns of Slovenian language and have independently developed all the time: in Alpine space, besides Latin-German tradition, central Slovenian literal language developed and witnessed a strong dialectic differentiation after Brižinski spomeniki; in Pannonian space, besides Greek-Old Church Slavic tradition, archaic East Slovenian literal system developed that preserved an original “old Slovenian” syntax image still at the change between 18th and 19th century. The project brings new cognitions from history of Slovenian language. Two important questions shall be opened: (1) divided development of Slovenian language in Alpine and Pannonian language space and (2) question of unification of Slovenian literal norms in the middle of 19th century. In the set frame, we shall try to successfully answer both questions and show a row of new cognitions, and at the same time direct the path for further research on history of Slovenian language.
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