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Irony as a strategy in the genre of dystopia
No full textDoktorski rad Ironija kao strategija u žanru distopije nastoji dokazati tezu da je ironija,
shvaćena kao (makro)struktura, jedna od osnovnih i konstitutivnih osobina žanra distopije.
Najprije se pristupa definiranju ironije kao strukture te se raspravlja o važnosti konteksta za
razumijevanje ironije, o teorijama koje ironiju povezuju s konceptom persone, o preklapanju
ironije s različitim žanrovima i načinima, kao i o metatekstualnoj funkciji ironije. Radi
istraživanja povijesti žanra distopije i ustanovljavanja njegove valjane i relevantne definicije,
rad se osvrće i na žanrove koji su s distopijom na neki način srodni ili povezani: utopiju i
znanstvenu fantastiku. Posebna pozornost posvećuje se definiranju specifičnog intertekstualnog
odnosa distopije prema utopiji. Valjanost teze doktorskog rada testira se analizama romana: Mi
Jevgenija Zamjatina, Vrli novi svijet Aldousa Huxleyja, Tisuću devetsto osamdeset i četvrta
Georgea Orwella, Fahrenheit 451 Raya Bradburyja, Paklena naranča Anthonyja Burgessa i
Sanjaju li androidi električne ovce? Philipa K. Dicka, te analizama filmova: Tisuću devetsto
osamdeset i četvrta Michaela Radforda, Brazil Terryja Gilliama, Fahrenheit 451 Françoisa
Truffauta, Paklena naranča Stanleyja Kubricka i Blade Runner Ridleyja Scotta. U analizama,
posebna pozornost posvećuje se ironijskim strukturama koje se očituju u pojavi raskoljenih
subjekata; u intertekstualnim vezama s djelima iz utopijske tradicije; te u satiričkom odnosu
prema elementima ekstrapoliranim iz autorove stvarnosti.The doctoral thesis Irony as a Strategy in the Genre of Dystopia consists of four parts:
"Introduction", "Theoretical introduction and discussion", "Analyses of the ironical structures
in selected dystopian novels and films" and "Conclusion". "Introduction" emphasizes the aim of the doctoral thesis, which is to prove that irony,
understood as (macro)structure, is one of the basic and constitutional elements of the genre of
dystopia. The assumption, which lies at the core of this doctoral thesis, is based on the notion
of a profound correspondence between the common definition of irony (as a statement which
implicitly criticizes a state of affairs by apparent but fake approval of them) and the usual way
in which stories unfold in dystopias (stressing the contrast between the declared ideal and the
reality which denounces that ideal as an illusion). In order to prove the thesis, the research
strives to examine irony as a narrative (macro)structure; to define the genre of dystopia and its
typical and essential characteristics and strategies; and to reveal the means which enable the
emergence of irony as a (macro)structure in literature and film. The doctoral thesis relies on the
methods of critical reading, comparison and comment on the relevant theory with the purpose
of establishing working definitions of irony and dystopia, to be employed in the analyses of the
selected novels and films.
The chapter "Theoretical introduction and discussion" consists of a number of
subchapters, aiming to gradually clarify the relevant critical terms and definitions, as well as to
emphasize the points where irony and dystopia connect. First of all, irony as a structure is
discussed, by means of consulting theories of scholars who have written extensively about the
subject. There is a discussion about irony as modus; the difference between stable and unstable
ironies; the importance of context for the understanding of irony; irony's typical "critical edge";
theories which employ the concept of persona in an endeavour to explain the way irony works;
proximity of irony to genres and modes like parody, satire and the grotesque; the metatextual
function of irony and the irony which results from intertextuality, etc. It is stressed that, from
the 19th century on, irony is not considered only a rhetorical figure any more, limited to the
meaning of a single sentence. On the contrary, it gets to be applied to whole texts and writers'
opera, to the point that in the 20th century some theorists consider it a "master trope". Special
attention is given to the notion of the double, inherent in the concepts of irony, language and
subjectivity, and also to pointing out the connections among them. The double, as a strategy of
destabilizing and problematizing the meaning, can manifest itself in a text in various ways. For the purpose of this doctoral thesis, the double which manifests itself as a split subjectivity of a
character or a narrator, and the one which manifests itself as a discourse composed of a manifest
(or literal) and a latent (or hidden) layer of meaning, are of the particular importance. Some
critics have stressed the interdependence of irony and genre (in general) or irony and the genre
of dystopia (in particular), and their contribution to the thesis of this dissertation has also been
noted.
After irony has been discussed, the doctoral thesis endeavours to define dystopia.
Dystopia has usually been studied in the context of science-fiction and utopian literature;
therefore, special attention is given to the theories which emphasize the links among these
genres. Dystopia is sometimes treated as a genre of its own, and sometimes as a subgenre of
utopia, while utopia itself is often treated as a subgenre of the genre of science-fiction. For that
reason, the doctoral thesis takes into account the history and strategies of science-fiction and
utopia, genres that are interrelated with dystopia in many ways. Nevertheless, it asserts a view
that dystopia should be treated as a genre of its own, backing this up with extensive
argumentation. It opposes the view, often found even in scholarly papers, that dystopia is, in
essence, "quite the same as utopia, only reversed", the view which leaves the identification of
the genre up to the individual and provisional estimation of a reader. It stresses the fact that
even in the historical sense, the terms utopia and dystopia do not coincide with each other; that
is, utopian and dystopian texts came into existence in different periods and in different contexts.
The doctoral thesis insists that utopia and dystopia as genres should be strictly distinguished
from utopia and dystopia understood in sociological terms. Special care has been taken to
explain the intertextual relations between dystopia and utopia, as well as to present arguments
for the claim that utopia in relation to dystopia is an architext, albeit one which has been
severely revised and transformed by dystopia. A view is asserted that dystopia as a genre is
based on the interference of various older genres and texts, their conventions and intentions,
but with the clear intention of establishing a distance from them, as well as a critical reevaluation. Considering the fact that the term dystopia is in use not only in relation to the literary
works but also in relation to the films, a subchapter is dedicated to the discussion of the status
and appropriateness of the term in the context of film, as well as to discussing the possibilities
of achieving the effects of irony in film.
In the chapter "Analyses of the ironical structures in selected dystopian novels and
films", the thesis is being tested on the examples usually considered – by professional readers,
i.e. critics, as well as by "ordinary" readers – as the typical representatives, or true paradigms,
of the genre of dystopia, and which for their significance and influence in the literary or filmic
fields could be claimed to be the classics of the genre.
Analysis of Yevgeny Zamyatin's novel We focuses on the split subjectivity of the
character D-503, a protagonist and a narrator, in whose diary the ironic conflict of two opposite
views on the story comes to the fore: the pro-regime and the subversive one. His public persona
identifies with the social values, but his poetic nature and his unconscious desires are in
opposition to them. The intimate split of his subject, which makes him incapable of choosing a
side, is also in the ironic conflict with his public role of the one who stands for integrity, as the
engineer or the builder of the Integral, a weapon of the State's imperialistic politics, which
strives to conquer all Others, and make them One with itself. The character I-330 is a latent
double of D-503, the incarnation of the denied part of his self. Their meeting symbolizes the
Faustian conflict of the protagonist. Rebelliousness and the values that I-330 stands for function
as the ironical counter-narrative in contrast to the official, utopian narrative of the State. It is
also ironical what becomes of the initial intentions with which D-503 started to write his diary:
instead of a tractate about the glory of the State, his writings become a novel telling a story
about a development of individuality, and indirectly denounce brutal methods of the repressive
State. Analysis of Zamyatin's novel also points out its intertextual links and the irony which
results from that; namely, comparisons with the biblical story of Adam and Eve and John
Milton's Paradise Lost, as well as with the story about "The Grand Inquisitor" from the novel
Brothers Karamazov by F. M. Dostoevsky.
Analysis of Aldous Huxley's novel Brave New World demonstrates that strategies of
irony have been used to satirize the capitalist system. It stresses the importance of the motif of
the control of language, present in the State's censorship of the arts and literature, as well as in
its falsification of historical facts and in its propensity for hypnopedia and trivial slogans. The
utopian narrative of the State endeavours to establish a dominant meaning and interpretation,
while history and the arts have the role of the alternative counter-narrative, denied by the State.
Huxley's novel is abundant with examples of dramatic irony, that is, instances when readers
have access to more information than the characters in the novel. Also, the readers are, in
contrast to the characters, aware of how much, and exactly in what way, the historical facts
have been altered by the State. Utopian discourse of happiness, plenty, stability and unlimited
access to hedonistic pleasures, proclaimed by the regime, is denounced by pointing out in detail
the existence of the unprivileged ones, who do not enjoy the same opportunities and social
benefits as the privileged ones. The three "rebel" characters (Bernard, Helmholz and John) are
evidence that the State has failed to satisfy all the needs of its citizens, and two of them (Bernard
and Helmholz) are rendered as split subjects – which is a typical dystopian strategy of irony.
Two "guided tours" in the novel (one undertaken for students by the Director of the Hatchery
and Conditioning Centre; another one organized for John Savage by Bernard) serve as an
intertextual subverting of a typical narrative strategy of the genre of utopia (guided tours for
visitors to Utopia). The analysis also emphasizes the intertextual links of Huxley's text with the
works of W. Shakespeare, H. G. Wells and F. M. Dostoevsky, and the metatextual irony which
results from it.
George Orwell's novel Nineteen Eighty-Four is typically considered a satire of
totalitarianism in general, or a satire of Stalinism in particular. The analysis emphasizes its
intertextual relations with the biblical story of Adam and Eve, as well as with John Milton's
Paradise Lost – that is, the possibility of interpreting it as an ironical inversion of the story of
Adam and Eve. It also points out other possible intertextual links: to Plato; Thomas More; W.
Shakespeare; F. M. Dostoevsky; H. G. Wells; Jack London and Y. Zamyatin; as well as the
influence it has exuded on the dystopian texts that were written later (namely, Fahrenheit 451
by Ray Bradbury and A Clockwork Orange by Anthony Burgess). The narrative of the regime
in Nineteen Eighty-Four is opposed by the counter-narrative of the characters Winston and
Julia, but even more so by the "Appendix" with which the novel ends, which functions as a sort
of an ironic epilogue. The character of Winston is devised as a split subject, whose intimate self
is alienated from his public persona. A typical ironical strategy of the turning of something (or
of someone) into its own opposite is also employed in several instances in the novel. The
experiential facts of Winston's life contradict the utopian narrative of happiness, progress and
plenty, broadcasted by the regime on telescreens, and therefore represent the counter-narrative
which ironically subverts the narrative. Winston's counter-narrative has a special relevance for
a reader because Winston, as an employee of the Ministry of Truth, is a witness and a participant
in the procedure of falsification of historical documents, which takes place there. Another
particularly dystopian and ironical motif of Orwell's novel is Newspeak, a project of new
language devised by the regime which endeavours, by gradually destroying words and reducing
language, to destroy every possibility of unorthodox thinking.
In Michael Radford's film Nineteen Eighty-Four, an adaptation of Orwell's novel, the
ironical conflict of the official narrative and the subversive counter-narrative is presented by
means of confronting the words and images of the propaganda material of the regime (broadcast
on telescreens) with the images of the (filmic) reality which are evidence of the falsity of the
official narrative. Winston's split subjectivity is stressed by a different style of directing for the
scenes that represent his inner world, from those that represent the outer world. Irony is also
present in the acting style of some of the actors.
Analysis of Terry Gilliam's film Brazil points out that, although Gilliam's film is not an
adaptation of Orwell's novel, it has many similarities to it, in regard to the theme, certain key
situations and relationships. The greatest difference is perhaps the presence of a specific, Monty
Python-style kind of humour, based on absurdity, parody and irony, often with surrealistic
elements. The film is abundant with scenes showing an ironic incongruity between the verbal
and the visual, that is, the incongruities between what the characters are saying and what the
images show at the same moment. A very special role is given to the strategy of ironical letting
down of the spectators' expectations. By numerous scenes showing acts of terrorism,
commercialism and State terror, the myth of Christmas (the events take place at Christmas time)
is denounced as a utopian concept. The protagonist, Sam Lowry, is a subject split between
belonging to and feeling alienated from the dominant system. His split personality is especially
accentuated in his dreams/fantasies, in which he combats his own self. The world is represented
as an absurd hell of advanced automatization, where the technology often breaks down and
becomes dysfunctional, and the monstrous bureaucracy prevents every possibility of efficiency.
Therefore, that whose function initially was to help in everyday life ironically becomes what
actively complicates life, and every effort for efficiency and justice is declared subversive. The
film achieves especially ironical effects by means of emotional contrast between terrible events
at the end of the film and the cheerful music which accompanies them, as well as by means of
blurring the distinction between reality and fantasy.
Analysis of Fahrenheit 451, Ray Bradbury's novel and François Truffaut's film
adaptation of it, emphasizes the fact that a typical example of a situational irony – an image of
the firemen starting fires – lies at the heart of both. There is a double alienation from the
common public persona: the "firemen" in the world of Fahrenheit 451 do quite the opposite of
what they are supposed to do in the world inhabited by the readers/spectators of Fahrenheit 451
(they burn books), and then again, one of them, Montag, does quite the opposite of what is
expected from him (he hides and reads forbidden books). Montag as a character is devised as a
typical dystopian split subject, that is, a member of the dominant regime, who gradually
alienates from his public persona and transforms into the very opposition of his former self.
Even his boss, Beatty, the very incarnation of the repressive regime, is ironically split at his
core: although he hates and persecutes books, his talk about the meaninglessness of books
reveals that he himself had read a lot. The analysis also stresses the importance of the motif of
the control of language by the dominant regime, as well as the opposition of the narrative of
the regime and the counter-narrative symbolised by the books and humanistic sciences
persecuted by the regime. In addition, Truffaut's film incorporates a sort of self-reflexive
meditation about the nature of its own medium, which makes it even more ironic than
Bradbury's novel.
Analysis of A Clockwork Orange, Anthony Burgess's novel and Stanley Kubrick's film
adaptation of it, singles out the strategy of the inversion of roles, or turning into one's own
opposite, as the main ironical strategy of both. A distinctively ironic narrator is also present in
both. The accent is on the retrospective narration of Alex, a protagonist and a narrator, and his
narcissistic split as the subject and at the same time the object of narration, which results with
his manipulation of his own image. Untypically for a dystopia, the protagonist does not
gradually alienate himself from his institutional, social role, but willingly adopts two different
identities, the "night" one of a criminal and the "day" one of an innocent child; the "day" one
obviously serving as a deceit. Both Burgess's novel and Kubrick's film abound with examples
of dramatic irony. In both there is also self-reflexive or metafictional questioning of its own
medium, which once again confirms the thesis about controlling language as one of the key
dystopian topoi. Kubrick's film employs the strategy of using a musical soundtrack as an ironic
comment on events, i.e., the ironical strategy based on the emotional counterpoint between the
sound and the picture. By revealing the true motives of the Minister – a self-proclaimed
"fighter" against crime and the initiator of the Ludovico technique of curing criminals of their
criminal impulses – in his act of co-opting criminal for the purpose of staying in power, A
Clockwork Orange denounces utopian projects in general.
Analysis of Philip K. Dick's novel Do Androids Dream of Electric Sheep? and of a film
adaptation of it, Ridley Scott's Blade Runner, emphasizes that both are thematically concerned
with the crises of knowledge and existence. The narrative could be described as "a quest, which
brings the hero in the end to his own self as the possible object of the quest"; therefore, its
structure is ironical par excellence. The protagonist, Rick Deckard, is a typical dystopian
ironically split subject, alienated from his public, institutional persona. The ironical split of his
subject is additionally complicated by the possibility that he himself is exactly that which it is
his duty to exterminate: an android, or a replicant. A schizoid split is also present in the concept
of the androids/replicants, who are expected at the same time to be similar to humans and
different from them, as the similarity does not ensure them to be treated in the same way as
humans. The analysis takes special care in stressing the ironical use of the motif of empathy.
Empathy for animals is declared a typical human characteristic, which distinguishes humans
from androids, while at the same time the world presented is devoid of animals, who have been
exterminated (obviously, by humans). Therefore, emphasizing empathy in such a context is an
ironical strategy of indirect condemnation of human cruelty.
The "Conclusion" points out that the doctoral thesis has found sufficient support both in
critical theory and in the analyses of the selected novels and films. A conviction is expressed
that dystopia indeed can be described as a genre dependent upon conflict between the narrative
(of the oppressive dominant regime) and the counter-narrative (of the alienated rebels); that it
is in a polemical intertextual relation to its archigenre, utopia, whose conventions it evokes and
criticizes; that it satirizes the empirical reality of its author, the elements of which are
extrapolated and denounced; and that all three mentioned strategies are essentially ironical
Brončanodobne igle s lokaliteta Gođevo 2
Full text linkTema ovog diplomskog rada su igle pronađene na arheološkom nalazištu Gođevo 2. Spomenute
igle datiramo u početak kasnog brončanog doba koje na ovom području predstavlja kultura
Barice-Gređani, koja se rasprostire na prostoru od Okučana na zapadu do Županje na istoku, te u
Bosanskoj Posavini. Kulturu Barice-Gređani datiramo u vrijeme Br D i Ha A1, istovremena je s
kulturom Belegiš II koja se rasprostire na području Bačke, Banata, Srijema i istočne Slavonije, te
s virovitičkom kulturom koja se rasprostire na području Podravine, Međimurja i dijela zapadne
Slavonije (Ložnjak Dizdar 2005, str. 40).
Tijekom istraživanja je pronađeno deset brončanih igala različitih tipova glavica. U ovom radu
ćemo pokušati kronološki datirati spomenute igle, te ih povezati s iglama pronađenim u
Karpatskoj kotlini i srednjoj Europi. Stilsko-tipološkom analizom je utvrđeno da je riječ o više
različitih tipova igala. Pronađene su dvije topuzaste igle, dvije igle s bikoničnom glavicom, četiri
igle s glavicom u obliku čavla, jedna igla s glavicom u obliku trube, te jedna igla bez glavice. Na
temelju analiza, bilo je moguće smjestiti AN 80 Gođevo 2 u vrijeme početka kasnog brončanog
doba. Različiti tipovi igala i ukrasa obrađenih u sklopu ovoga rada, uklapaju se i potvrđuju
poznatu sliku početka kasnog brončanog doba, dok pojedini netipični primjeri ukrašavanja
upotpunjuju naše poznavanje lokalne metalurške proizvodnje
Übersetzung aus dem Deutschen ins Kroatische. Übersetzung aus dem Kroatischen ins Deutsche
No full textPrijevod njemačkog teksta Maiwald, Manfred (2003): Recht und Macht. JuristenZeitung (JZ). 58/ Nr. 22. 1073-1080 na hrvatski.
Prijevod hrvatskog teksta Mučalo, Marina (1999): Novinarstvo u ratnim uvjetima. Politička misao. 36/ br. 2. 120-129 na njemački.Übersetzung des deutschen Textes Maiwald, Manfred (2003): Recht und Macht. JuristenZeitung (JZ). 58/ Nr. 22. 1073-1080 ins Kroatische.
Übersetzung des kroatischen Textes Mučalo, Marina (1999): Novinarstvo u ratnim uvjetima. Politička misao. 36/ br. 2. 120-129 ins Deutsche
Feminist Interventions in the Croatian Art After 2000: the Problematic and Critical Positions
Full text linkU diplomskom radu Feminističke intervencije u hrvatsku umjetnost nakon 2000.: Problematika i kritičke pozicije bavim se problematikom koja zahvaća teorijsko i disciplinarno polje iz rakursa feminističke kritike, analizirajući strategije koje umjetnice koriste kao odgovor ili reakciju na društveno-političku stvarnost. Anglo-saksonska i francuska feministička kritika uvele su u povijest umjetnosti novi set kritičko-analitičke aparature prema teorijskim uporištima iz srodnih znanosti, poput filozofije, književne teorije, sociologije i psihologije. Linda Nochlin među prvima je odgovorila na važno pitanje u svom poznatom eseju Zašto nema velikih umjetnica?. Uslijedile su potom mnoge teorijske diskusije u kojima su sudjelovale brojne kritičarke, međutim feministička misao ostala je marginalizirana unutar dominantne struje povijesti umjetnosti, kako na međunarodnoj razini, tako i u Hrvatskoj. Stoga su u prvom dijelu rada detaljno predstavljeni teorijski okvir i feminističke metodologije pomoću kojih su proučavane feminističke intervencije. U drugom su dijelu rada, kroz veće tematsko-problemske cjeline, analizirane studije slučaja feminističkih intervencija u hrvatsku umjetnost, koje ukazuju na njihove specifičnosti s obzirom na lokalni, društveni, povijesni, politički i osobni kontekst. Cilj ovog rada je donijeti novi pogled na postojeću situaciju i osvijetliti pozicije feminističke kritike u hrvatskoj umjetnosti te postaviti pitanja za daljnje promišljanje problematike koja je nedovoljno teorijski kontekstualizirana, a u akademskim kurikulumima marginalizirana ili u potpunosti nezastupljena.In my master’s thesis entitled Feminist Interventions in the Croatian Art after 2000: The Problematic and Critical Positions, I deal with problematics which covers the theoretical and disciplinary field from the point of view of feminist criticism, by analysing strategies used by women artists as a response or reaction to socio-political reality. Anglo-Saxon and French feminist criticism introduced into art history a new set of critical-analytical apparatus towards the theoretical bases of related sciences, such as philosophy, literary theory, sociology and psychology. Linda Nochlin was among the first who answered the important question in her famous essay Why Have There Been No Great Women Artists?. What followed were many theoretical discussions in which numerous women critics were engaged. However, feminist thought has remained marginalized within the dominant current in art history, both on the international level and in Croatia. Therefore, in the first part of the thesis I presented in detail the theoretical framework and feminist methodologies which helped in exploring feminist interventions. The second part of the thesis, through larger thematic units, contains analyses of case studies of feminist interventions in the Croatian art, which point to their specificities considering local, social, historical, political and personal context. The aim of this thesis is to bring new insights to the existing situation and illuminate the positions of feminist criticism in the Croatian art as well as raise questions for further reflection upon this problematics, which has been insufficiently contextualized in a theoretical sense and marginalized or completely unrepresented within academic curricula
Interferencija francuskog jezika s materinskim hrvatskim jezikom na različitim razinama učenja na primjeru glagolskih konstrukcija
Full text linkL'objectif de cette étude a été de déterminer à quel niveau d'apprentissage de la langue
française les constructions verbales produisent moins d'interférences chez les apprenants
croatophones. Notre recherche a été menée au niveau secondaire et au niveau universitaire.
Les phrases croates que nos participants devaient traduire en français contenaient sept verbes
dont la mode de construction du complément d'objet diffère en deux langues concernées. Les
résultats obtenus ont confirmé notre hypothèse que les étudiants en philologie française font
moins d’erreurs interférentielles que les lycéens grâce à l’enseignement explicite et déductif
de la grammaire française au niveau universitaire par opposition à l’enseignement implicite et
inductif au niveau secondaire. Nous avons conclu que les pratiques et démarches employées
au niveau universitaire pourraient être employées au niveau secondaire dans le but de faciliter
l’apprentissage des unités grammaticales qui produisent des interférences chez les
croatophones. Dans le cadre théorique nous avons présenté les différences entre la grammaire
explicite et la grammaire implicite, ainsi qu’entre la démarche inductive et la démarche
déductive. Nous avons donné les définitions de la transitivité en grammaire croate et en
grammaire française. De même, nous avons présenté les symétries et asymétries syntaxiques
des schémas de complémentation verbale en français et en croate.Cilj ovoga rada bio je utvrditi na kojoj se razini učenja francuskog jezika pojavljuje manje
interferencija s materinskim jezikom kada se radi o glagolskim konstrukcijama. Istraživanje
je provedeno na dvije razine: u srednjoj školi i na fakultetu. Sudionici u istraživanju trebali su
prevesti rečenice s hrvatskoga na francuski jezik. Rečenice su sadržavale sedam glagola koji
uvode različitu vrstu objektne dopune u hrvatskome, odnosno francuskome jeziku. Rezultati
istraživanja potvrdili su početnu hipotezu da se kod studenata francuskog jezika pojavljuje
manje interferencija nego kod učenika srednje škole zahvaljujući tome što se na sveučilišnoj
razini francuska gramatika poučava eksplicitno slijedeći deduktivni pristup, za razliku od
srednjoškolske razine na kojoj se francuska gramatika poučava implicitno slijedeći induktivni
pristup. Zaključeno je kako bi se način poučavanja francuske gramatike koji se koristi na
fakultetu mogao primijeniti u srednjoj školi pri poučavanju onih dijelova francuske gramatike
kod kojih su česte interferencije s materinskim jezikom. U teorijskom dijelu rada objašnjena
je razlika između eksplicitnog i implicitnog poučavanja gramatike, kao i između induktivnog
i deduktivnog pristupa. Osim toga, objašnjeno je kako je prijelaznost definirana u hrvatskim i
francuskim gramatika. Isto tako prikazano je podudaranje dopuna objektnog tipa u hrvatskom
i francuskom jeziku
Análisis comparativo de los valores del subjuntivo en las traducciones al croata y al español
Full text linkOvaj diplomski rad, pod naslovom „Usporedna analiza vrijednosti konjunktiva u prijevodima na hrvatski i španjolski jezik“, bavi se temom prevođenja konjunktiva. U svrhu analize u njemu su prikazani prijevodi triju različitih tekstova: dviju priča iz knjige Los relatos, 1 RITOS autora Julija Cortázara; dijela stručnog teksta „Enseñar a comprender textos científicos: retos y
estrategias“ autorice Maríje Terese Veige Díaz; te nekoliko poglavlja knjige na hrvatskom jeziku Vladimir i Matilda autorice Milane Vuković Runjić, odnosno analizirana je upotreba konjunktiva u prijevodima navedenih tekstova. Iz svakog teksta izdvojeno je deset primjera, tj.
deset rečenica u kojima se pojavljuje konjunktiv. Budući da u hrvatskom standardnom jeziku konjunktiv ne postoji, u ovom radu prikazano je nekoliko različitih mogućnosti prevođenja ovog glagolskog načina. Istovremeno je naglašeno da postoji više ispravnih prijevodnih rješenja, što je jedna od značajki prijevoda općenito. Kako bi se tema objasnila na najbolji mogući način, rad je podijeljen u pet dijelova. Prvi dio donosi uvod u sam postupak prevođenja
i objašnjenje što on predstavlja. U drugom dijelu prikazana su španjolska i hrvatska glagolska vremena.Treći dio sastoji se od spomenutih izvornih tekstova i njihovih prijevoda, dok je u četvrtome analizirana upotreba konjunktiva u prevedenim tekstovima. Na samom kraju donesen
je zaključak o cjelokupnom procesu prevođenja ovog rada. Očekivano je da svaki od tekstova imati neke specifične karakteristike, stoga su konjunktivi u njima prevedeni različitim glagolskim vremenima i načinima u cilju očuvanja vrijednosti značenja i stila.Esta tesina, bajo el título “Análisis comparativo de los valores del subjuntivo en las traducciones al croata y al español” aborda el tema de la traducción del subjuntivo. Con el propósito de su análisis, en este trabajo se han presentado traducciones de tres textos diferentes: dos cuentos del libro Los relatos, 1 RITOS, escrito por Julio Cortázar; una parte del texto científico “Enseñar
a comprender textos científicos: retos y estrategias”, escrito por María Teresa Veiga Díaz; y unos párrafos del libro en croata Vladimir i Matilda, escrito por Milana Vuković Runjić. Más específicamente, se ha analizado el uso del subjuntivo en la traducción de los citados textos. De
cada texto se han extraído diez ejemplos, es decir, se han analizado diez oraciones en las que aparece el modo subjuntivo. En la lengua croata estándar el modo subjuntivo no existe, así que en este trabajo se han presentado varias posibilidades para traducir este modo verbal que es
desconocido en el idioma. Al mismo tiempo, se ha enfocado en la posibilidad de varias soluciones traductológicas correctas, ya que esta es una de las características de la traducción. Con el fin de explicar el tema de la mejor manera posible, el trabajo ha sido dividido en cinco partes. En la primera parte se ha hecho una introducción acerca del procedimiento de la traducción y lo que esta representa. En la segunda parte se han presentado los tiempos verbales españoles y croatas. La tercera parte consiste de los textos originales anteriormente mencionados y sus traducciones. En la cuarta parte se han analizado el uso del modo subjuntivo en los tres textos traducidos. Para finalizar, se ha presentado una conclusión sobre el proceso traductor de este trabajo. Se ha esperado que cada traducción tenga sus características específicas, por ello el subjuntivo ha sido traducido con diferentes tiempos y modos verbales, con el fin de preservar la equivalencia en el sentido y estilo
Parent-offspring conflict in preferences for long-term mates
Full text linkCilj istraživanja bio je istražiti evolucijski inherentan konflikt roditelja i potomstva, specifično u kontekstu odabira poželjnih reproduktivnih partnera za potomke. Na temelju evolucijske istraživačke paradigme postavljene su hipoteze o različitom vrednovanju signala genetske kvalitete i signala kooperativnosti od strane roditelja i djece, o vezi relevantnosti pojedine osobine i stupnja konflikta te o
spolnim razlikama u izraženosti konflikta. Konačno, kroz konstrukt kolektivizma/individualizma i osobnu važnost vjere, ponuđen je moguć odgovor na uzrok evidentiranih međukulturalnih razlika u izraženosti konflikta. Istraživanje je provedeno putem interneta, na uzorku od 970 sudionika, a metodološki i tematski odgovora istraživanju Buunka, Parka i Dubbsa iz 2008, tj. predstavlja njegovu
replikaciju na uzorku iz RH. Rezultati su potvrdili izraženiju usmjerenost potomaka na signale genetske kvalitete, nasuprot usmjerenosti na signale kooperativnosti koji su važniji njihovim roditeljima te očekivano izraženiji konflikt roditelja s kćerima u odnosu na sinove, no za izostanak konflikta kod nekih relevantnih karakteristika, iako očekivan, se pokazalo da je metodološki artefakt.
Konačno, usporedba rezultata mjere konflikta s rezultatima dobivenim na inozemnim uzorcima,upućuje na nužnost uvažavanja utjecaja (za ljudsku vrstu specifičnog) socijalnog konteksta na reproduktivno ponašanje. U tom kontekstu značajnim se pokazao i utjecaj važnosti vjere.The aim of the research was to explore the evolutionary inherent parent-offspring conflict,
specifically in the context of selecting desirable mating partners for the offspring. On the basis of the
evolutionary research paradigm, hypotheses have been set about relative differences in subjective
preferences for signals of genetic quality and signals of high parental investment and cooperation,
between parents and offspring. Also, the research included the assessment of relevance for individual
traits, various degrees and gender differences in conflict expression, as well as other relevant variables.
Ultimately, through the construct of collectivism/individualism and personal importance of faith, a
partial answer was offered as to the cause of recorded inter-cultural differences. The research was
conducted via the Internet, on a sample of 970 respondents, and it corresponds with the Buunk, Park
and Dubbs' 2008 research both methodologically and thematically, i.e. it is its replication carried out
on a sample from the Republic of Croatia. The results confirmed a more prominent orientation of
offspring to genetic quality signals, as opposed to their parents' focus on cooperative signals, which
they deem more important. The research corroborated the expected stronger conflict between parents
and their daughters in relation to male offspring. The absence of the expected conflict with some
relevant characteristics has shown to be a methodological artifact. Finally, the comparison of results with foreign samples, as well as the recorded positive correlations between the conflict degree on the one hand, and collectivism on the other hand point to the necessity of appreciating the impact of a specific, social context of reproductive behaviour on the human species. In this context, the influence of importance of faith has also been shown as significant
The Relationship Between Mortality Salience and Intergroup Anger: The Role of Normative Influence
Full text linkCilj ovog istraživanja bilo je provjeriti hoće li manipulacija salijentnosti smrtnosti, norme međugrupne ljutnje i njihova interakcija dovesti do iskaza veće međugrupne ljutnje i negativnijeg stava prema pripadniku vanjske grupe koji derogira vlastitu grupu sudionika te hoće li kod sudionika s visokim socijalnim samopoštovanjem ovi efekti biti izraženiji. Prikupljanje podataka je provedeno papir-olovka metodom s 334 sudionika koji su bili podijeljeni u četiri eksperimentalne skupine gdje je polovica njih bila izložena manipulaciji salijentnosti smrtnosti, polovica neutralnoj situaciji te polovica manipulaciji norme međugrupne ljutnje, a polovica neutralnoj situaciji. Od njih je potom traženo da iskažu svoje emocije i stav prema pripadniku vanjske grupe. Salijentnost smrtnosti dovela je do uvjetno viših procjena ljutnje prema pripadniku vanjske grupe. Nadalje, kad je smrtnost bila salijentna istovremeno kad i norma međugrupne ljutnje kod sudionika s visokim socijalnim samopoštovanjem, došlo je do negativnijeg stava prema pripadniku vanjske grupe, a kad norma međugrupne ljutnje nije bila manipulirana, salijentnost smrtnosti dovela je do iskazivanja pozitivnijih stavova prema pripadniku vanjske grupe. U skupini s niskim socijalnim samopoštovanjem stav sudionika prema pripadniku vanjske grupe bio je pozitivan neovisno o tome jesu li salijentnost smrtnosti i norma međugrupne ljutnje bili manipulirani.The goal of this research was to ascertain if the manipulation of mortality salience, norm of intergroup anger and their interaction will lead to more intense expression of intergroup anger and more negative attitude towards an out-group member who is derogating the in-group of the research participants and to verify if these effects will be more pronounced in participants with high social self-esteem. The data was collected by the pencil-and-paper method on 334 participants divided into four experimental groups. First, half of them underwent the mortality salience manipulation while the other half did not, and then half of them underwent intergroup anger manipulation while the other half did not. They were then asked to express their emotions and attitude towards the out-group member. Mortality salience brought about a marginally stronger feeling of anger towards the out-group member. Furthermore, when both mortality salience and the norm of intergroup anger were manipulated, high social self-esteem participants expressed more anger towards the out-group member, and when the norm was not manipulated, mortality salience led to more positive attitude towards the out-group member. Low social self-esteem participants' attitude towards the out-group member was positive regardless of the mortality salience and norm of intergroup anger manipulations
Dabar - infrastruktura za otvorenost u znanosti i visokom obrazovanju
Full text linkProjekt „Dabar - digitalni akademski arhivi i repozitoriji“ pokrenut je 2015. godine kako bi se stvorilo sustavno rješenje za neke od važnih potreba hrvatskih akademskih ustanova i omogućila što veća otvorenost i vidljivost rezultata obrazovne i istraživačke djelatnosti koja se na njima provodi (prvenstveno: ocjenskih radova studenata, znanstvenih i stručnih publikacija, obrazovnih materijala i istraživačkih podataka). U izlaganju će se predstaviti najnovije funkcionalnosti i etape u izgradnji Dabra, prikazati trenutno stanje razvoja i aktivnosti radnih skupina, te analizirati prihvaćenost Dabra među akademskim ustanovama. Četiri godine nakon pokretanja Dabra, važno je ispitati na koji se način on kao komponenta znanstveno-obrazovne infrastrukture uklapa u cjelokupni infrastrukturni pejzaž i u kojoj mjeri ispunjava ciljeve s kojima je pokrenut. Pri tome je također važno uočiti i ukazati na one elemente u okruženju (zakonske, organizacijske, financijske i ostale) koji mogu predstavljati ili prepreku ili poticaj većoj prihvaćenosti akademskih repozitorija, a time i otvorenijoj, vidljivijoj i utjecajnijoj znanosti
Revizija srednjopaleolitičkih izrađevina iz istraživanja Mirka Maleza u špilji Veternici
Full text linkRevizija srednjopaleolitičkih nalaza iz špilje Veternice obuhvatila je analizu kamenih
izrađevina i koštanih obrađivača. Litičkom analizom tehnologije i tipologije veterničkih
nalaza nastojalo se rekonstruirati karakter nalazišta, a litičku industriju staviti u krono-kulturni
slijed srednjega paleolitika kontinentalne Hrvatske