Сложенице сакралног карактера оригиналних српскословенских дјела као спој духовности и језика
Review of: Nikitović, Zorica (2014), Složenice u originalnim srpskoslovenskim djelima sakralnog karaktera, Banja Luka: Faculty of Philology.
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Review of: Nikitović, Zorica (2014), Složenice u originalnim srpskoslovenskim djelima sakralnog karaktera, Banja Luka: Faculty of Philology.
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This article attempts at differentiating adjectivised phrasal verbs as word formation patterns from other adjectival derivatives patterns, as well as at defining general rules and accentuating the contrast.
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The work examines the relationship between the evolution of structures with participles as determiners object and the infinitive in the function of amendments and subordinate clauses at some examples of Dušan’s Code.
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Although differences between substantives within the proper name category and those belonging to the appellative group may seem subtle, they are rather significant in terms of morphology and syntax. Apart from the fact that a vast number of substantives belong to the common noun group, most of them are contextual in terms of their character, whereas the ones related to proper nouns have been fully lexicalised and are considered independent lexemes.
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The paper deals with the issues related to translating terms and concepts from Momo Kapor’s short stories. The special focus is placed on solving the problems of non-equivalence, that is, nonexistence of certain terms in the target language, having in mind the fact that most of those terms and concepts also contain a great deal of implied meaning. Consequently, one of the aims of the paper is also to raise the awareness of the complexity of the translator’s task.During the process of analysing the examples of terms for which there is no appropriate translation in the target language, two approaches to translation are contrasted: the text-focused and reader-focused translation. The text-focused translation requires introducing shifts, which contribute to the coherence of the text. Within this approach, the translator takes neither the context of the source text nor the needs of target text readers into account. Th is being the case, the translation is based purely on the linguistic rules.Conversely, in order to achieve the reader-focused translation, the translator introduces shifts that go beyond the surface of linguistic meaning and function of a term. In this case, many different factors participate in creating the same effect on the target text reader as on the source text reader, such as: the implied meaning of a term, target culture, source culture, time, space, etc. Through the analysis of various examples, it has been concluded that it is only this type of approach to translation that allows interpreting the term and then transferring its meaning into target language, thus achieving the aim of creating the associations with the same eff ect in the mind of a target-text reader as in the mind of a source-text reader.
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Besides spatial dynamics, Albahari’s literary poetics is to a great extent defined by his religious affiliation. The article aims to show how Albahari’s different personal reference points (Serbia, Canada, Jewishness) build up the image of Albahari as an author comfortable in the emerging multicentric cultural economy.
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The topic of this research is the semantic analysis of adjectives that denote divine features in “The Hagiography of St. Simeon” by Stefan Prvovenčani. The approach applied in the analysis of semantics is interdisciplinary, using both linguistic and theological aspects, thus opening the possibility of seeing God through the eyes of a medieval person and gaining insight into what was the centre of their attention.
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In the paper, the differences in meaning are discussed when it comes to usage of modal verbs trebati and sollen in Serbian and German respectively in both deontic and epistemic use. The starting point of the paper is the observation that there is not always the equivalence between the verbs trebati and sollen and that this is the reason why students of German often make mistakes when using these verbs. In the paper, by means of contrasting, we determine the similarities and differences when using the verbs trebati and sollen in different types of texts, that is, point out translation equivalents in the case of non-equivalence.
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This paper deals with ‘speech genres’ in Russian linguistics, as well as the sources and results of scientifi c research conducted within the concept. Thereby, most of the paper relies on the synthetic work of V. V. Dementiev. It concludes that the founder of this direction in research is M. Bakhtin and that most of the research efforts are focused on the transit period between the 20th and 21st centuries. Dementiev points out both the results of the work and certain inconsistencies that should be overcome. The greatest obstacle is observed in the incapacity to define the starting points of the theory and structural principle of the research corpus. At the end of the paper, there is an example of the ‘recipe’ style, through which it is shown how ‘genre’ could be defined from a linguistic point of view.
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This paper investigates modality by analysing examples where modal meanings are expressed through lexicalised linguistic means – modal adjectives and adverbs. Studies of lexicalised modality shift and broaden our perspective – they shed light on this phenomenon in such a way that studies which centered on modal verbs never could. We are able to discern potential directions for new or further investigation. Certain terminological sets and divisions of modality are questioned. Traditional notions of epistemic, deontic and dynamic modality are challenged and their meanings are approached or redefined from a different angle.
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The study of the grammatical categories of tense and aspect has shown that modal meaning is frequently involved in the semantics of these categories. Taking the findings of contemporary studies into consideration, it cannot be said that the traditional explanation of the grammatical categories of tense and aspect holds true. When analysing tense and aspect, modal meaning should be included as one of the starting points. This paper primarily examines the ways in which modality is expressed through the grammatical categories of tense and aspect. The first part of the paper deals with analysing the connection between modality and the future, present, past, and present perfect tense. The second part of the paper is focused on analysing the examples that show in which way modality is connected to the grammatical category of aspect. Traditional notions of tense and aspect are challenged and it is shown how modal meaning contributes to a more comprehensive understanding of these categories.
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Translated from Macedonian to Serbian by Biljana Babić.
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The last two decades in literary studies have been marked by increasing interest in evolutionary theories of art involving psychology, cognitive science, biology, neurology, etc., all somehow related to Darwinism. A common conclusion of various researches is that storytelling is an adaptation that has significantly contributed to human survival as a species, making man Homo Fictus rather than Homo Sapiens. A number of reasons are given as to why people tell stories and how stories make us human. In this article, I would like to argue that telling stories indeed has a high survival value, not only because Boyd (On the Origin of Stories 2009) claims art develops creativity and encourages cooperation, or because Gottschall (The Storytelling Animal 2012) believes we need to make sense of the world and satisfy our hunger for meaning by imposing patterns, but also because storytelling can be a survival technique. In this sense, the fi ctional Shahrazad offers an option to existentially threatened individuals. The possible survival value of telling stories will be illustrated by the characters from the novels of William Golding and Yann Martel who employ the same defensive mechanism of storytelling to different effect.
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A figure in which German romanticism unites the religious and philosophical cognition of the world is a poet. He who is the prophet, priest and the thinking being, converts his intuitive and sentimental cognition into a poetic creation, the only possible construction of the wholeness which, presenting the order of things within individual space, is the witness of the world order as it is. One of the most popular genres of Romanticism, the artistic ballad, being a reflective and self-reflective type of poetry, both demonstrates and artistically effectively presents the process of simultaneity of cognition and creation by using literary devices which create a distance between the topic and speech instance, that is, by means of simple narrative matrix and the tone of folk poetry, change of speech instances, by problematizing the status of the real or shifting of what is presented to fairytale spheres. This paper tends to show it by taking theoretical postulates of Romantic poetry by Friedrich Schlegel and perception of ballad by Hartmut Laufhite as starting points, and using the examples of representative ballads by Novalis, Tieck and Brentano with the topic of poet and his position in the world.
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This paper deals with the short story The Trip of Alija Đerzelez, in light of theories of humour by Mikhail Bakhtin, Luigi Pirandello and Aleksandar Bošković. The character of Alija Đerzelez stands out as a dominant literary structure plan through which a humorous effect is achieved in the story. There is a grotesque in his physical characterisation, and creating an atmosphere as the basis for building a character is marked by carnivalisation of liberated consciousness and dialogue communication that lead to the de-mythologising of the main character by subjecting him to the ambivalent carnival laughter first and then to a reflection on its causes.
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In the tradition of Mary Shelley’s Frankenstein (1818) and Aldous Huxley’s Brave New World (1932), Kazuo Ishiguro’s novel Never Let Me Go (2005) employs human cloning as a complex metaphor for personal identity and social relations. Unlike these classics of the literary dystopia, the novel’s anxieties are not generated by the relationship between the human being and biotechnology, more specifically, the possibility of the creation of post human life forms in the near future, which can easily be assumed from the centrality of the metaphor of cloning both in the novel and the contemporary socio/ cultural context. Its deepest anxieties concern eff ective ways of surveillance and social control by “a Leviathan”, which Darko Suvin associates with any kind of “collective, politico-economic and ideological hegemony” (Suvin 2009: 226), and the novel identifies with the contemporary age of biocapitalism and neoliberalism. The concept of biopolitics as deployed in the theories of Giorgio Agamben and Michael Foucault and Darko Suvin’s ideas about the hegemony of a “new Leviathan” are used as the framework within which the novel will be read as Ishiguro’s critique of utilitarianism and the rising instrumentalisation of life.
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The aim of our analysis is to explore the influence of Nietzsche’s aesthetic doctrine on Robert Graves (1895–1985), the famous English poet and novelist. The paradox we lay our emphasis on in the very beginning lies in the fact that Robert Graves used to speak about Nietzsche and his works in a rather deprecatory manner. However, it is too obvious that the views of both authors and their approach to certain key categories of modernism are strikingly similar. The aim of our comparative survey is to juxtapose Nietzsche’s and Graves’s views on history, poetry, the nature of poetic inspiration, and modernist myth- making and to prove that Graves as many other modernist writers, did not escape being influenced, directly or indirectly, by the ideas of the great German philosopher.
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Review of: Tatarenko, Ala (2013), Poetika forme u prozi srpskog postmodernizma, Beograd: Službeni glasnik.
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Review of: Damjanov, Sava (2012), Šta to beše srpska postmoderna?, Beograd: Službeni glasnik.
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The paper draws attention to the similarities between feminist pleas for “women’s visibility in the language” (the demand to consistently include gender indicators into professional names and titles) and a particular type of aphasia. This is namely the so-called “similarity disorder”, whose symptoms were analyzed and systematically described by Roman Jakobson. This type of disorder becomes manifest as a more or less impaired capacity for selection and substitution of linguistic signs, which on the one hand have equal values, while on the other, they are different. The tendency to consistently (nominally) differentiate by sex (“gender”) professional titles and names corresponds to a situation when an individual affected by aphasia lacks the capacity to use the word knife to designate various types of knives, but rather invents complex alternate names (e.g. pencil-sharpener, apple-parer) for every single item of a different shape and purpose. The difference is that an aphasic person has an impaired capacity of selection, whereas feminists strive to abolish the freedom of selection. The paper presents the mechanism of the motion of nouns in the Serbian language and demonstrates that unmotioned items have two different values: one is related to verbal logical reasoning (profesor – a role, person performing that role), whereas the other is related to what is apparent. That lower level of reasoning implies an ostensive and/or iconic reference, and, consequently, gender sensitivity (profesor – male professor, and profesorica – female professor).
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