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The South Slavic literary tradition hitherto solely contained descriptions of the Battle of Kosovo from oral epic poetry composed by South Slavs. Stereotypical portrayal of the enemy constitutes one of the underlying features of those texts. In this paper, attention is paid to Ottoman poetry composed and recorded immediately following the described events, or soon thereafter. The texts of these poems are included in unique verse chronicles that describe the knightly early period of the Ottoman conquest of the Balkans. As the Battle of Kosovo has so far been described in numerous articles and books in South Slavic and other languages, the principal aim of this paper is to give some basic information about the method of stereotyping the enemy image in the Ottoman narrative of this battle, which took place in 1389. Signifiant overlapping of the narrative pattern in different recorded versions of the events in both South Slavic and Ottoman literary tradition apparently perplexes researchers, and prompts them to reflct upon the interweaving of fiction and reality in different existing versions of events. Conversely, the modes of this stereotyping shape the text of each poem separately and distinctively in terms of its imagology, casting it into a distinct form of imagologic identity, and uniting the various texts and their narrative of events. In order to depict the general mode of description of the enemy in Ottoman verse chronicles, I have included a description of the conquest of Bosnia in 1463; more precisely, the motif of King Stjepan Tomašević’s execution.
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Muhammad Ali Pasha (Muḥammad ʽAlī Bāšā) (1875-1954) is the author of a travelogue Summer Trip to Bosnia and Herzegovina (Riḥla al-ṣayf ̓ ilā bilād al-Busnah wa al-Harsak) that had been composed during his brief trip through Bosnia and Herzegovina in summer of 1900th year. This paper deals with the travelogue as natural narrative, primarily on the basis of the natural narrative and natural narratology as presented by Monika Fludernik, as wellas in light of other narratological views that prove spontaneous narrative in this travelogue, then its closeness and similarity to oral narrative and the like. Special attention is given to the analysis of mentioned travelogue as a narrative of personal experience and narrative of vicarious experience, as well as to the kind of expressed descriptions, the relationship between memory and perception and to the elements of institutionalized narrative.
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After the first printing press was founded in the Persian-speaking world in the mid-nineteenth century, the need for printed editions focused not just on contemporary works, but was extended to many of those texts which in the previous ten centuries were copied and distributed exclusively in the form of manuscripts. However, a closer look at the manuscripts which served assources for printed books showed them to be, for various reasons, and mostly related to the scribes who copied them, unreliable, and thus unusable. Under those conditions, it was necessary to prepare and publish variorum editions, in order to uncover the versions of the texts which were identical, or as similaras possible, to the versions originally written or dictated by their authors. This paper lays out four methods for the preparation of variorum editions of Persian texts, as they are defied in contemporary Iranian Studies, and whose application depends on the number of existing manuscripts and their characteristics. As an illustration, concrete examples are drawn from the variorum edition of Fawzi of Mostar’s Perivoj Slavuja (The Nightingale Garden – Bolbolestān), on which I am currently working.
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Among the oral novelettes recorded on the territory of Bosnia and Herzegovina, those from Omer-bey Sulejmanpašić Skopljak’s collection stand out due to their Oriental features. This collection was published in 1898 as a result of Sulejmanpašić’s story collection activities in the area of Bugojno. The aim of this paper is to identify echoes of the “Oriental repertoire” in this collection, as well as the narrator’s individual actions, which include narration in prose – a national oral tradition.
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PECINA, Martin: KNIHY A TYPOGRAFIE. Brno : Host, 2017. 344 s.
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On the Intermediality of Literature. An introduction to Philologia Esonica Tallinnensis 2 (2017).
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This paper presents interpretative systematization of inscriptions, known as tarih, on sacral objects of Bosnians. This is my humble contribution to the study of traditional literary values and their analysis related to the religious convictions they originate from. Beside thematic classification, we talk about messages and morals of tarihs, their importance and meaning, their inter-textual function, types and styles.
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The article explores evil as a medium, proceeding from Joachim Paech’s differentiation between the medium and its manifestations. In this light, evil is viewed as a phenomenon that can be expressed in only certain media forms and which therefore assumes different form-specific levels of meaning. Paying attention to different manifestations of evil makes it possible to analyse different intermedial aspects of works of art, making use of the notions of the overt and covert. The manifestation of evil in a perceptible and definable manner enables us to recognise, avoid or even overpower it. However, its covert and ambiguous manifestations are more powerful. Thus, the concealing of evil is characteristic of narratives that allow evil to manifest itself without direct reference to or overt representation of it. The visual representation of evil as an image, be it through mental description of images or physical images on the screen, reveals two contrastive regimes. One of them could, following Roland Barthes,be called obvious (obvie). Th is regime is characterised by the use of traditional rhetorical devices and its emphasis on symbolic expression.The second regime could be labelled obtuse (obtus). In this case, the focus is not on the meaning of the image, but its materiality. The article applies this theoretical apparatus to the analysis of two Estonian novels, The Misadventures of the New Satan (Põrgupõhja uusvanapagan) and Old Barny or November (Rehepapp ehk November) and their respective screen adaptation. It focuses on the image ofthe devil and, more broadly, the manifestations of evil. The analysis suggests that the first pair primarily displays the use of the obvious regime, accompanied by the obtuse; the second pair reverses the perspective. The aestheticisation of the obtuse emerges as the central feature of Old Barny or November as well as the visual design of its screen adaptation. The analysis also touches on the differences between the devil and the ogre (vanapagan in Estonian) and the more or less symbolic representations of the material elements associated with evil.
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The paper explores the existence of cognitive linguistics principles in translation of emotion-related metaphorical expressions. Cognitive linguists (Lakoff & Johnson, 1980; Lakoff, 1987) define metaphor as a mechanism used for understanding one conceptual domain, target domain, in terms of another conceptual domain, source domain, through sets of correspondences between these two domains. They also claim that metaphor is omnipresent in ordinary discourse. Cognitive linguists, however, also realized that certain metaphors can be recognized and identified in different languages and cultures whereas some are language- and culture-specific. This paper focuses on similarities and variations in metaphors which have recently become popular within the discipline of Translation Studies. Transferring and translating metaphors from one language to another can represent a challenge for translators due to a multi-faceted process of translation including both linguistic and non-linguistic elements. A number of methods and procedures have been developed to overcome potential difficulties in translating metaphorical expressions, with the most frequent ones being substitution, paraphrase, or deletion. The analysis shows the transformation of metaphorical expressions from one language into another and the procedures involving underlying conceptual metaphors, native speaker competence, and the influence of the source language.
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This paper aims to explore whether some rhetorical questions contain certain linguistic elements or forms which would differentiate them from answer-eliciting and action-eliciting questions, and thereby hint at their rhetorical nature even outside the context. Namely, despite the fact that the same questions can be rhetorical in one context, and answer-eliciting in another, some of them are more likely to be associated with rhetorical or non-rhetorical use. The analysis is based on extensive data (over 1200 examples of rhetorical questions taken from 30 plays by two British and two American writers), and the results are expected to give an insight into whether we can talk about rhetorical questions or just a rhetorical use of questions.
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Satire has not been given the humorologists’ attention to an extent that would do justice to the amount of humor satire actually holds. Therefore, the intention of this paper is to shed light on satire as humorous discourse, with an emphasis on counterfactuals. Interestingly enough, counterfactuals oppose the actual state of affairs; rhetorically however, they show potential to reveal the truth. Political satire is an area of conflict between truth and falsehood which is exactly why this type of satire is discussed in this paper. Tools from Cognitive Linguistics – framing and blending – are utilized to show to what extent counterfactuals are actually false and how they essentially contribute to satire. Examples of political satire are selected from Comedy Central’s The Daily Show.
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