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Fotografski aparat bez duše: percepcija italijanskog futurizma u ranoj kineskoj modernističkoj poeziji
No full textImajući u vidu određene sličnosti u kulturnim nastojanjima ranih
kineskih modernista i italijanskih futurista, na prvi pogled, začuđuje činjenica da
futurističke ideje nisu u većoj meri zaživele u kineskoj književnoj moderni. Od
samog početka, kineski književni modernizam bio je izuetno heterogen, ali
zajednički imenitelj svim ranim modernističkim pokretima u Kini bio je
radikalan antitradicionalizam sličan antipasatizmu (antipassatismo) italijanskih
futurista. Zbog važnosti poezije u društvenom ispoljavanju i životu pojedinca u
dinastičkoj Kini, revolucionarni duh kineskih modernista epitomizovan je u
poeziji nastaloj u prvom talasu kineskog modernizma. Stoga, ovaj rad na
primerima pojedinih kineskih modernističkih pesnika pokušava da osvetli
percepciju futurizma u ranoj kineskoj moderni. U radu ćemo nastojati da
utvrdimo razloge za opreznost koju kineski autori ispoljavaju prema idejama
italijanskog futurizma i pokušati da odgovorimo na pitanje da li je doživljaj
futurizma u kineskom modernističkom kontekstu uslovljen isključivo
specifičnim istorijskim okolnostima, kako u Kini tako i na Zapadu, ili su posredi
razlike između osnovnih književnih i estetskih načela kojima su se rukovodili
evropski i kineski modernisti. Analizom najilustrativnijih primera futurističke
poetike u delima kineskih modernističkih pesnika kao što su Guo Možuo (郭沫
若, 1892-1978) i Ou Vajou (鸥外鸥, 1911-1995), pokušaćemo da ukažemo na
činjenicu da su pojedine futurističke ideje ipak ostvarile značajan uticaj na razvoj
kineske poezije i uspostavljanje novih pesničkih vidova izražavanja. Guo je
reprezentativan primer eklektičnog pristupa u usvajanju zapadnih poetika i
uticaja, svojstvenog ranim kineskim modernistima, a Ouvaj Ou je manje poznat
pesnik koji je, uvođenjem određenih futurističkih elemenata u sopstvenu poeziju,
inicirao razvoj novih pesničkih žanrova i oblika.Considering the fact that there are certain similarities between the cultural endeavours of the early Chinese modernists and Italian futurists, at first glance, it seems strange that futurist ideas mostly failed to take root in Chinese literary modernism. From the outset, Chinese literary modernism was a heterogeneous movement, but the common denominator in these different movements in post-dynastic China was a radical antitraditionalism that bears similarities to the goals of Italian futurism that was often called the down-with-the-past movement (antipassatismo). Contemporary literary studies usually recognize three distinct waves of Chinese modernism: the first wave refers to the new literary scene in China's Republican era (1911-1949), but due to the eclecticism of early Chinese modernists who were deriving inspiration and ideas from a broad and diverse range of sources, this initial stage of Chinese modernism includes the authors whose work was inspired by the pre-modern Western movements such as romanticism, symbolism etc. The second wave of Chinese modernism emerged on Taiwan in the 1950s, and the final wave brought modernism back to mainland China at the end of the 1970s. This paper attempts to examine the reception of Italian futurism in early Chinese modernist literature, therefore our research is chronologically focused on the first wave of Chinese modernism. Due to the important role of poetry in the social mechanism, and the life of an individual in dynastic China, it can be argued that the revolutionary spirit of Chinese modernists is epitomized in new poetry models created in the first wave of Chinese modernism. During this formative period, Chinese modern poetry was revolutionized - the new poets replaced the classical Chinese with the vernacular language, and they adopted a distinctly anti-traditional stance, thus initiating a series of daring experiments with new poetic forms. The new Chinese poets were true iconoclasts, and their literary work was closely related to the introduction of new social ideas, democracy, science and freedoms promoted by the prominent intellectuals of the epoch. Therefore, in an attempt to shed a light on the perception of futurism in early Chinese modernism, this paper will use illustrative examples found in the work of Chinese modernist poets. In the Chinese modernist context, the transnational character of modernism was emphasized by the fact that most of the Chinese authors were educated abroad (Japan, USA, Europe), which not only explains their interest in foreign literary traditions that often served as a paradigm for establishing their own expression of modernity, but also determines their choice of foreign poetics and literary models applied in their work. Very often, the Chinese writers who returned to China after studying in other countries, took upon themselves the task of translating and interpreting the segments of the culture and literature they had encountered abroad. Naturally, they were also exposed to the complex political climate of their homeland that often forced them to rethink and reassess the cultural and artistic influences they brought back with them to China. Historically speaking, the turning points in the development of Chinese modernist literature were the student protests of May 4, 1919 in Beijing, that soon gave rise to a nationwide anti-imperialist, cultural, and political Fourth May Movement ((sic)), and the May Thirtieth Movement ((sic)) - an upsurge in the mass anti-imperialist struggle that was provoked by the events that had taken place in the International Settlement in Shanghai, on May 30, 1925, when British police opened fire on Chinese protesters, killing thirteen and wounding over fifty people. In many ways, these historical events define the attitude of Chinese early modernists towards Western literary tradition and modernist ideas, including futurism. On the other hand, from 1924, it was becoming evident that futurism in Italy had established strong links with the fascist movement. This historical landscape, with rising anti-imperialist sentiment in China on one side, and ideological links between futurism and fascism in Italy on the other, prevented the further promotion of futurist ideas in the Chinese literary scene. For many Chinese authors, futurism became a synonym for the Western imperial tendencies, at the time when the May Thirtieth Movement forced Chinese writers to re-examine their views on the interaction between literature and national identity, and to re-evaluate the suitability of different Western movements and poetics in their search for the political and cultural renewal. This paper aims to identify reasons for the cautionary attitude displayed by Chinese authors toward futurist ideas, and attempts to answer the following questions: was the perception of Italian futurism in early Chinese modernist context determined solely by the specific historical background, in both China and the West, or is it a consequence of differences in literary and aesthetic approach between Chinese and Western modernists? In the context of the development of Chinese modern poetry, did futurism leave any lasting legacy? Apart from the historical and political circumstances that hindered the spread of futurist ideas in Chinese literary circles, the ephemeral presence of futurism in the first wave of Chinese modernism was also rooted in certain culturally conditioned differences in approach to literature and poetry in China, and the West. By introducing vernacular poetry, thus breaking away from the centuries of classical poetic tradition, Chinese new poets were far more revolutionary than their counterparts in the West, since all the anti-traditional poetic movements in Western modernism could still be interpreted as another step in the development of Western poetry. On the other hand, despite the revolutionary linguistical and formal changes characteristic of Chinese modern poetry, Western modernist poets were far more radical in their struggle against traditional aesthetic principles. Numerous movements and authors in the West tend to question the whole system of values inherited from the past - in that aspect, the futurists represent one of the most extreme examples - whereas most of the Chinese modernist poets are still devoted to the traditional aesthetic postulates. The constant tension between teleology and (traditional) introspection in Chinese early poetic modernism also greatly influenced the Chinese perception of futurism. However, in order to prove that certain futurist ideas eventually managed to exert an important influence on the development of Chinese modern poetry, thus introducing new models of poetic expression, the paper will offer analysis of the futurist poetical elements in the work of Chinese modernist poets like Guo Moruo ((sic), 1892-1978) and Ouwai Ou ((sic), 1911-1995). As previously detailed, there are several reasons why the perception of futurism in Chinese early modernism will be illustrated by the selected examples found in the work of Chinese modernist poets. Namely, apart from the fact that the revolutionary modernist reforms in Chinese literature reached its climax in the new models of poetry, this paper will attempt to prove that poetry is the form of Chinese modernist literature on which futurism left a lasting impact. All the above-mentioned historical, political, and poetical factors that shaped the reception of futurism in China are very much evident in the work of the prominent modernist poet Guo Moruo. As a Chinese student in Japan, where futurist ideas had been introduced very early, Guo was well-acquainted with futurism, and upon his return to his homeland, he served as an important intermediary who presented futurist poetics to the Chinese public. Initially, it seemed that he adopted certain elements and strategies of futurism into his own poetry, but on closer inspection, it becomes clear that his true inspiration lies in European romanticism, and that he is actually using futurist techniques to express his criticism of the futurist obsession with the urban environment, material progress and technology. His early poem "Looking Afar from Fudetate Peak" ((sic), 1920) serves as an illustrative example of his ambivalent attitude to the futurist poetic concepts, and is therefore included in the paper. In the following years, Guo will publish several theoretical articles that fully revealed his disapproval of the goals and the poetic approach of Italian futurists. In Guo's view, which reflects his devotion to traditional aesthetic principles in poetry, futurism is, by its nature, opposed to the lyricism of true poetry, and it fails to offer an individual poetic voice. Therefore, Guo Moruo's perception of futurism represents a paradigmatic example of Chinese views on radical Western movements at the outset of their own modernity. A typical manifestation of these views is a double perspective on the Western modernist tendencies and achievements - occasionally, Chinese modernist writers pragmatically use new Western poetics as a mean to achieve their own goals and agendas, but at the same time, Western modernism is often their nemesis. In his theoretical texts dedicated to futurism, another famous Chinese modernist writer, Mao Dun (.., 1896-1981), expresses a certain admiration for the fearlessness and dynamism of Italian futurists, as well as caution over the destructive spirit of the Italian movement. His interpretations of futurism seem to clarify the difference between the antitraditional stance of Chinese modernists and antipassatismo of Italian futurists, since, in Mao Dun's opinion, futurism is just a temporary and superficial reaction to the glorification of the past, excessively focused on the advantages of mechanization and industrialization. Unlike Guo Moruo, who, in the context of our research, serves as a representative example of the eclectic approach in adopting Western literary poetics and influences displayed by early Chinese modernist writers, Ouwai Ou is a somewhat atypical poetic figure. He is a less known Chinese poet who applied certain elements of futurist poetics to his poetry, thus enabling the development of new poetic genres and models. Following in the footsteps of futurists who insisted on the idea of words in freedom (parole in liberta), both Guo Moruo and Ouwai Ou, as well as many other Chinese modernist poets, often use the Western alphabet and foreign (mostly English) words within the Chinese text. Although these poetic experiments are somewhat resemblant of the practice employed by some Western authors like Ezra Pound (1885-1972) or Paul Claudel (1868-1955) who used Chinese characters to either produce distancing effect or to emphasize the pictographic or ideographic value of the Chinese script, for Chinese poets, the foreign words are the synonyms for modernity. Inspired by the futurist typographic experiments, and Marinetti's (Filippo Tommaso Marinetti, 1876-1944) paroliberismo as a new means of poetic expression, Ouwai Ou starts to employ typographic manipulations in his poetry, thus creating new visual effects. By combining iconic and textual elements in his poems, Ouwai Ou established himself as one of the modernist pioneers of Chinese concrete poetry. As a typical example of his poetic experiments inspired by futurism, his poem "The Second Obituary for the World" (, 1937) is included in the paper. His work had long been forgotten, but in the contemporary critical revaluation of the poetic achievements of early Chinese modernism, many critics have finally recognized his significant contribution to the development of new poetic forms and concrete poetry in China. Due to the turbulent historical circumstances - the Japanese aggression and the following civil war, the first wave of Chinese modernism soon came to an abrupt end. Mao Zedong's (1893-1976) Talks at the Yan'an Conference on Literature and Art (, 1942) will dictate cultural and literary politics in mainland China for decades, but modernism will resurrect in Taiwan in the middle of the twentieth century, and eventually find its way back to China at the end of the 1970s. However, the echoes of the futurist ideas will haunt the Chinese social scene even during the time of the Cultural revolution. Although the futurist impulses in the first wave of Chinese literary modernism were rather short-lived, certain segments of futurist poetics are fragmentarily present in the work of some Chinese authors. Furthermore, it can be argued that there are some elements of futurist poetics that played a key role in the creation of new poetic forms in China, and served as a catalyst that helped transform poetic means of expression
Poetics of love-discourse: lyrical dialogue of eros and logos
No full textПредмет овог рада је поетика лирског песништва с љубавном тематиком у средишту. Први део рада даје панорамски преглед значајних схватања љубави и еротизма у распону од Андреаса Капелануса до савремених мислилаца као што су Дени де
Ружмон, Зигмунт Бауман или Михаил Епштејн. Ослањајући се на теоријска поимања
дискурса као сосировски схваћене parole, a такође и на Лаканово разумевање подручја несвесног као језички структурисаног, односно на Бахтинову ɡијалошку теорију и појам „говорних жанрова“, као и на Бартова запажања из Заɡовољства у тексту и Фрагмената љубавног говора, у другом делу рада аутор предлаже једну парадоксалну епистемологију субјекта љубавне жеље као дискурзивно трансгресивног
стецишта ероса и логоса. У имплементацији оваквог разумевања на српску књижевност посебна пажња поклоњена је просветитељско-рационалистичкој реторици суспензије, једнако као и романтичарској реторици експлицитности и интердискурзивности, које су на неки начин наговестиле поетичке стратегије модерне лирике.The main subject of this paper is poetics of lyric poetry which has love topics at its
core. First part gives panoramic overview of relevant understandings of love and eroticism,
ranging from Andreas Capellanus to contemporary thinkers such as Denis de Rougemont,
Zygmunt Bauman or Michael Epstein. Relying on the theoretical understanding of discourse
as Saussurean parole and also Jacques Lacan’s understanding of unconsiously as lingvistically structured, that is Bakhtin’s dialogical theory and notion of “speech genresˮ, as well
as on Barthe’s observations from Le plaisir du texte and Fragments d’un discours amoureux,
in the second part author of the paper proposes paradoxically epistemology of the subject of love desire as a discursive transgressive meeting place of eros and logos. In the implementation of this understanding on Serbian literature, special attention is given to the Enlightment rationalist rhetoric of suspension as well as to the romantic rhetoric of explicity
and interdiscirsivity, which in a way foreshadowed poetic strategies of modern lyric poetry
Women’s emancipation aspirations in the journal A Nő és a Társadalom (1907–1913)
No full textRad je posvećen analizi Ne eš taršadalom (A Nő és a Társadalom), zvanič-nog glasila Feminističkog udruženja (Feminista Egyesület) i Državnog udruženja mađarskih službenica (Nőtisztviselők Országos Egyesülete). Korpus periodičke građe obuvhata publikacije od pokretanja časopisa 1907. do njegovog gašenja 1913. godine, koje čine ogledalo ideoloških uverenja feminističkog pokreta u Mađarskoj. Časopis je izlazio u peri-odičnom rasporedu svakog meseca, razmatrao je položaj žene u dru-štveno-ekonomskom, političkom i obrazovnom kontekstu, te izveštavao o aktivnostima i rezultatima Feminističkog udruženja. Imao je veliku ulogu u podizanju svesti žena, preispitivanju društvenog poretka i zna-čajno uticao na društveno-politička kretanja. U radu koristim metodo-loški pristup usmeren na analizu sadržaja tekstova s ciljem utvrđivanja uloge časopisa Ne eš taršadalom u preoblikovanju ženskog iskustva u širem društvenoistorijskom kontekstu.The paper discusses the official journal of the Hungarian feminist movement, A Nő
és a Társadalom (Woman and Society), published between 1907 and 1913. It was
established as the official journal of the Feminists’ Association (Feministák Egyesülete)
and the National Organization of Female Clerks (Nőtisztviselők Országos Egyesülete).
The journal came out monthly, discussing women’s position in socio-economic, political
and educational context and reporting on the activities and results of the Feminists’
Association. It played a significant role in raising women’s awareness, re-examining
the social order and influencing socio-political movements. Textual analysis, used as a
methodological approach in this paper, serves to examine the content of texts in order
to determine the role of A Nő és a Társadalom in reshaping women’s experience in a
broader socio-historical context
The evolution of literacy and reading culture in Japan
No full textЈапанци за себе кажу да су „нација читалаца“. То и није нетачно ако се погледа историја читања у Јапану, која сеже до 5.
века, када је кинеско писмо стигло у ову земљу. Јапанци су то писмо постепено прилагођавали свом језику, што је довело
до правог процвата књижевности. И штампа је у Јапан стигла из Кине, а временом се од будистичких текстова прешло
на штампање књига најразличитијих жанрова. Путујући трговци и бројне књижаре у којима су се књиге и изнајмљивале,
настојали су да утоле читалачку глад свих друштвених сталежа. На таквим темељима почива и издавачка, али и развијена
библиотечка делатност савременог друштва. Упркос чињеници да напредак информационих технологија удаљава људе од
књига, чини се да јапанске библиотеке ипак одолевају овим притисцима. Развијена читалачка култура очитује се у броју
издатих књига, али и у постојаном расту броја библиотека, како јавних, тако и специјалних, као и библиотека у оквирима
образовног система у Јапану.The Japanese describe themselves as a "nation of readers". This is not incorrect if you look at the history of reading in Japan, which dates back to the 5th century, when the Chinese writing system arrived in this country. The Japanese gradually adapted it to their own language. The creation of the kana syllabic alphabet enabled the flourishing of literature, and thus the copying activities, especially at the Japanese imperial court. The monks in the temples were also engaged in copying Buddhist texts, but they were the first to accept printing with wooden blocks, which arrived from China. Over time, the printing of books of various genres began. Itinerant merchants and numerous bookstores where books were also rented, tried to satisfy the hunger for reading of all social classes. The book market grew more and more, and the real reading revolution came with the period of intensive modernization of the country in the second half of the 19th century, when Japan made all its efforts to reach and overtake Western models. Publishing, as well as the developed library activity of modern society, rest on such foundations. The reading culture of today's Japan is reflected in the number of published books, but also in the steady growth of the number of libraries, both public and special, as well as libraries within the educational system in Japan. Today, all segments that form that culture, such as education, printing, publishing and library activities, etc., adapt to the new era defined by globalization and digitalization progress. Although the impressive growth of the figures, which illustrate the size of the book and magazine market, has stopped in recent years, they still prove the fact that the Japanese are truly the "nation of readers". Libraries also manage to keep up with new trends, so digital libraries appear on the Internet, while all others have available digital catalogs and reading materials. If we look back at the centuries-old attachment of the Japanese to books and reading, and if we look at the technologies we are surrounded by, it is clear to us that librarians are constantly faced with new challenges. Just as the copyist at the Japanese court supplied court ladies with the latest readings, the traveling merchant did his best to make the book reach the most remote mountain villages, the modern librarian also does his best to overcome all obstacles and meet the expectations of increasingly demanding library users
The challenges of the Moroccan society – Muhammed Zigzag’s “drought” and Morocco today
No full textThis paper deals with some of the most acute challenges for the Moroccan society. It is based on a short story titled Drought, by the Moroccan author Muhammed Zefzaf (d. 2001), analyzed from today’s perspective. Zefzaf often wrote about social issues and the life in poor and marginalized strata of society, and this paper is the first result of a broader research in which his works are analyzed and put into today’s context. The author of this paper has performed five field trips to Morocco since 2015, interviewed numerous residents of this country, and the results of this research are combined with the analysis of Zefzaf’s work in order to present a picture of the development of certain segments of Moroccan society
Scientific journals and criteria for academic advancement in arts and humanities: A comparative overveiw of the current situation in Serbia and Hungary
No full textRad nastoji da pruži što pregledniji uporedni osvrt na hijerarhiju naučnih časopisa u oblasti društveno-humanističkih naučnih disciplina, s posebnim osvrtom na filologiju (i u okviru nje na nauku o književnosti) u dvema susednim zemljama, Srbiji i Mađarskoj. Ukazuje se na sličnosti i razlike u sprovođenju tzv. "bolonjskog reformskog procesa" na fakultetima na kojima se izučavaju (strani) jezici i književnosti, pri čemu se naglašava suštinska neodrživost prirodnonaučne logike "impakt-faktora" kad je reč o uticajnosti određenog časopisa. Ovo se posebno odnosi na nacionalne i tzv. "male" filologije. Kroz poređenje klasifikacije Matičnih naučnih odbora u Srbiji (a po kojoj se publikacije rangiraju na hijerarhijskoj lestvici od M10 do M60) sa međunarodnom hijerarhijskom nomenklaturom, zasnovanom na impakt-faktorima, a koja se određuje u rasponu od Q1 do Q4, autor nastoji da ukaže na suštinsku štetu koju "jurnjava" za bodovima ovog tipa nanosi naučnom razvoju mlađih istraživača u "manjim" filologijama, ali i razvoju pomenutih naučnih disciplina uopšte. Kao jedno od mogućih kratkoročnih rešenja ovog odista velikog problema, autor predlaže da komisije za izbore u akademska zvanja više vremena posvete suštinskom iščitavanju svakog rada pojedinih kandidata, umesto da robuju rang-listama i "fetišu internacionalizacije".A tanulmány célja az, hogy dióhéjban összehasonlítsa a szerbiai és a magyarországi egyetemi rendszert, különös tekintettel a humán szférára vonatkozó tudományos folyóiratokra. A szöveg bevezető részeiben a szerző azokkal a szerbiai felsőaktátást érintő negatív jelenségekkel foglalkozik, amelyeket az ún. "bolognai reformfolyamat" rigid implementációjának a következményeinek lehetne tekinteni. A szerző megkülönböztetett figyelmet szentel a humántudományok helyzetére, még konkrétabban az idegen nyelvek és irodalmak kutatásának helyzetére. Ennek a reformfolyamatnak az egyik legszemmelláthatóbb negatív következménye az, hogy a humánés bölcsésztudományok is kritikátlanul átvették a természettudományok logikáját, különösen a kutatók eredményeinek számszerű értékesítése terén. Ez erős és állandó publikációs kényszert idéz elő, szövegtúltermeléset eredményez. A tanulmány középső részében a szerző a fent említett tudományos folyóiratok szerbiai és magyarországi helyzetéről értekezik. Dacára mindazoknak a figyelemreméltó próbálkozásoknak, hogy megőrizzék a filológiai diszciplínákat a "nemzetköziesítés fétisétől" (Konrad Paul Liessmann kifejezése nyomán), mégis úgy tűnik, hogy az impakt faktorok modelje, amelyet a humán szféra közvetlenül és kritikátlanul átvett a természettudományokból és a technika világából, veszélyesen beszivárgott a humán tudományokra specializálódott folyóiratok értékesítésének logikájába is. Ez, különösen az ún. "kis" filológiák esetében (ebben az esetben a szerb és a magyar nyelv és irodalom kutatásának esetében) a kutatókat rosszabb kezdő pozícióba helyezi akkor, amikor saját egyetemi előmenetelük érdekében próbálnak lépni, rangos, nemzetközileg elismert folyóiratokban publikálva. Míg Magyarországon ebben a szférában egyetlen egy folyóirat érte csak el a Q1-es besorolást, Szerbiában mindeddig ez még egyetlen humán tudományokra specializálódó folyóiratnak sem sikerült. Ezt ellensúlyozandó, Szerbiának saját nemzeti tudományos folyóirat-besorolási rendszere (is) van. Ennek hátulütője azonban az, hogy ez a rendszer egyértelműen a viszonylag rövid folyóirat-publikációkat favorizálja a tudományos monográfiákkal (egész kötetekkel) szemben. Ugyanakkor e téren a magyarországi helyzet ennek éppen az ellenkezőjét mutatja: ott a könyveknek egyértelműen nagyobb értéke van. Mégis, a felsőoktatási rendszer reformjának általános következménye mindkét szomszédos országban az - a tanulmány utolsó része erre a problémára mutat rá - hogy a hírhedt publish or perish!-törvényszerűség elfogadására kényszeríti a kutatókat, ami nem garantálja sem az ilyetén létrejött tanulmányok minőségét, sem magának a tudományos területnek az előrelendítését. Ezt a nagy problémát talán úgy lehetne ha nem is megoldani, de legalább némileg enyhíteni, ha a publikálási kritériumokat inkább a minőség-, mintsem a mennyiségközpontúság felé mozdítanánk el.The aim of this paper is to provide a comparative overview of academic systems of Serbia and Hungary, with a special emphasis on scientific journals in the fields of arts and humanities in both countries. In the opening paragraphs, the author of the article discusses some negative consequences that the rigid implementation of the so called "Bologna reform process" has had on Serbian higher education, with the special emphasis on the fields of arts and humanities, and even more specifically, on the fields of (foreign) language and literature studies. One of the most obvious negative consequences of this reform process is the uncritical mimicking of the logic of natural sciences in arts and humanities, especially concerning the quantification and valorization of researchers' results. This leads to a hyperproduction of papers in a field which's mere logic is opposed to hyperproduction. In the central paragraphs of the article, the author discusses the status of scientific journals in the aforementioned fields in Serbia and Hungary. Despite all the efforts to preserve philological disciplines from the "fetish of internationalization" (as Konrad Paul Liessmann puts it), it seems that the "impact factor" model, imported directly and uncritically from natural and technical sciences, has dangerously infiltrated into the arts and humanities journals, as well. This, in the particular case of the so called "small" philologies (in this case, in Serbia and Hungary) puts researchers into an unfair starting position when trying to reach their academic advancement goals. While in Hungary there is currently only one journal that holds the prestigious Q1 ranking, Serbia has had no such journals to offer so far. In spite of this, Serbia has its own national journal and scientific paper quantification system, in which shorter individual papers are valued more than complete scientific monographs (in the form of sometimes rather extensive books), while in Hungary, the situation seems to be quite the opposite. However, the common consequence of the higher education system reform in both of these neighbouring countries - and this is the problem the final chapters of this article tries to deal with - is putting researchers under strong pressure to obey to the publish or perish! rule, which does not guarantee neither the quality of such papers nor the progress of the scientific field itself. One possible solution for resolving or at least mitigating this major problem could be to insist on qualitative, rather than quantitative paper-writing and publishing criteria
,,Реченица непрекидног тока“ у наративном дискурсу кинеског језика
No full textУ овом раду представља се тзв. „реченица непрекидног тока“ (liu shui ju), једна од често коришћених језичких структура кинеског језика у наративном тексту. У раду се примерима анализира ова специфична структура, као и начини како се овим језичким средствима остварује померање средишта опажања читаоца у различитој временско-просторној димензији наратива. Такође су дати кратки описи о важним дискурсним функцијама три модела ове структуре, тј. глаголски, именски и релацијски димензиониране „реченице непрекидног тока“
Jelena J. Dimitrijević as a Contemporary of Gandhi and Tagore
No full textУ овом раду је реч о односу Јелене Ј. Димитријевић (1862–1945), књижевнице, феминисткиње и светске путнице, према Индији из доба Гандија и Тагора. Јелена Ј. Димитријевић је дубоко свесна Гандијевих идеја, али исто тако и блажих реформистичких идеја песника Тагора, што се све прелама кроз њено виђење приликом посете Индији 1927. године. Ауторкина антиколонијална и феминистичка свест, као и поглед светске путнице из Србије, дају посебну перспективу овом путопису. У раду су коришћени путописи Јелене Ј. Димитријевић, од којих је прва књига објављена 1940, а потом 2016, док је друга књига, Седам мора и три океана, тек 2020. у целини транскрибована из рукописа чуваног у Народној библиотеци Србије и објављена. Коришћене су и песме, такође из рукописa у овој библиотеци. Текст приказује антиколонијални став ове ауторке и подударности с Гандијевом пацифистичком мишљу и делањем, као и њено разумевање Тагоровог ангажмана, везу између ослободилачке борбе у Србији и Индији, те везу с последицама колонијализма у Египту о којем пише у првом делу наведеног путописа. Посебно место заузима питање положаја жене.This paper is about the attitude of Jelena J. Dimitrijević (1862–1945), a Serbian woman writer,
feminist and world traveler, to the India of Gandhi and Tagore’s time. Jelena J. Dimitrijević is deeply
aware of Gandhi’s ideas and also of the reformist ideas of the poet Tagore, which both influence her
view of India in 1927. The author’s stance against colonialism and her perspective of a world traveler
from Serbia are important aspects of her understanding of this country. Тhe paper is based on both
books of her travelogue Seven Seas and Three Oceans from her journey around the world – namely,
Book One, which was published in 1940 and republished in 2016, and Book Two, which was completely transcribed from a manuscript held at the National Library of Serbia and published for the first
time in 2020. Also used are certain poems of Dimitrijević’s that are still in a manuscript at the National
Library. The paper reveals Dimitrijević’s anti-colonial attitude, similarities with Gandhi’s pacifism and
his actions, and her understanding of Tagore’s engagement in reforms. Comparisons between the struggles for liberation in Serbia and India and the effects of colonialism in Egypt and India are also presented. Jelena J. Dimitrijević had always had a special interest in women’s social position, and her
views on the status of women in India were similar to both Gandhi’s and Tagore’s – that is, that the
time for a radical change had come. The text presents her thoughts on early marriage and the lives of
widows. In both her travelogue and her poem, she pointed to those who were responsible for the ill fate
of women and demanded the change of laws in order to make women’s lives bearable
Qualitative bibliometric indicators of scientific papers in the institutional repository of the Faculty of Chemistry
No full textРепозиторијум Хемијског факултета Универзитета у Београду и Иновационог центра Cherry представља добро
организовану дигиталну библиотеку научних резултата који се у оквиру тих институција реализују. За потребе овог
рада истражена је промена броја цитата научних радова садржаних у репозиторијуму на основу екстерне апликације
Аутори, пројекти, публикације у којој су интегрисани параметри за преглед броја цитата из индексних база Scopus
и Web of Science. У раду се такође посматра и промена броја цитата код радова из репозиторијума који се појављују
на платформи за алтернативну метрику Altmetric. Представљена су два метода истраживања, у првом се разматра
промена броја цитата за све унете и цитиране записе радова у репозиторијуму, док се у оквиру другог промена
броја цитата проучава на нивоу свих записа радова одређеног аутора. Онај чији су радови изабрани за други метод
овог истраживања је у извештају Хемијског факултета за 2021. годину проглашен најцитиранијим аутором. Код оба
метода се посматрају три врсте записа са различитим степеном доступности: трајно закључани, доступни након
ембарго периода (зелени отворени приступ) и они који су потпуно у отвореном приступу (златни отворени приступ).
Метаподаци свих врста записа радова у репозиторијуму Cherry су јавно доступни уз строгу контролу библиотекара
– администратора репозиторијума. Овим истраживањем се запажа разлика која настаје у броју цитита појединачних
радова у септембру 2021. године и годину дана касније, у септембру 2022. Циљ рада је да се представи начин на који
би могла да се успостави корелација између нивоа доступности радова и њихове цитираности, са посебним освртом
на радове у зеленом отвореном приступу, што је полазна тачка за посматрање сврсисходности репозиторијума како
за Хемијски факултет и Иновациони центар, тако и за друге институције које су део развијене мреже репозиторијума у
Србији.The repository of the Faculty of Chemistry, University of Belgrade, and the Innovation Center - Cherry presents a well-organized digital library of the institution's scientific outputs. For the purpose of this paper a research was done on the change in the number of citations contained in the repository, based on data from the external application Authors, projects, publications. The application has integrated parameters for examining the number of citations from Scopus and Web of Science databases. In this paper the change in number of citations from publications which appear in Altmetric - a platform for alternative metric were also used. Two methods of research were applied: the first method examines the change in number of citations for all deposited records of publications in the repository, and the second method enables to examine the change in number of citations on the level of all records of a specific author. The author whose publications were examined for the research via the second method was pronounced the most cited author in the yearly report for 2021 of the Faculty of Chemistry. Both methods examine three types of records with varying levels of accessibility: permanetly restricted, available after an embargo period (green open access) and permanent open access (gold open access). The metadata of all three kinds of publications recorded in the Cherry repository are accessible to the public with strict control of the librarian - repository manager. The research subject of this paper notes the difference that arises in the number of citations of individual records in September 2021 and a year later, in September 2022. The aim of the paper is to present a possible method to establish a correlation between the accessibility of publications and their citation count. There is a special regard to publications in the green open access, which form the basis for monitoring the relevance of the repository to the Faculty of Chemistry, University of Belgrade, and the Innovation Center as well as to other institutions which are parts of the established infrastructure of repositories in Serbia
Prispevek kontrastivne analize k razvoju jezikovnih zmožnosti in zavesti srbskih študentov španščine
No full textEn el trabajo se parte de la utilidad de la lingüística contrastiva y la conciencia lingüística para el desarrollo de la competencia y la conciencia (meta)lingüística en español, a
nivel universitario, en el ejemplo de estudiantes universitarios serbios. Se presenta brevemente el concepto de conciencia lingüística, a partir de los trabajos de Schmidt 1990,
Hawkins 1999, Rieder 2000, Bailini 2009, De Villa 2018, entre otros. Esta se entiende
doblemente: por un lado, como actividad cognitiva o capacidad de reflexión metalingüística y, por otro, como enfoque en el aprendizaje de lenguas extranjeras (a medio
camino entre el enfoque estructuralista y el enfoque comunicativo), que permite que
los estudiantes se conviertan en «autodidactas altamente motivados», que como tales
«gozan de un mayor poder de adaptación a nivel cultural por el uso de la reflexión crítica» (De Villa 2018: 163, 172). Por tanto, abogamos por el acercamiento cognitivo a las
lenguas en las clases de lingüística contrastiva y por concienciar a los alumnos sobre el
uso de su propia lengua, así como de la lengua extranjera (española, en este caso). Con
el fin de comprobar nuestra hipótesis, hemos realizado una encuesta anónima entre los
estudiantes sobre el enfoque y la utilidad de la asignatura «Introducción al análisis contrastivo español-serbio» que se imparte en la Universidad de Belgrado. Los resultados
muestran una muy alta satisfacción de los alumnos con el método de trabajar en clase.The paper is based on the idea of the usefulness of contrastive linguistics and linguistic awareness for the development of competence and (meta)linguistic awareness in
Spanish at university level, in the case of Serbian university students. The concept of
linguistic awareness is briefly presented, based on the works of Schmidt 1990, Hawkins
1999, Rieder 2000, Bailini 2009, De Villa 2018 among others. The term is understood
as a cognitive activity or a capacity for metalinguistic reflection, on the one hand, and,
on the other, as an approach to foreign language learning (halfway between a structuralist and a communicative approach), which allows students to become “highly motivated self-taught” individuals who as such “enjoy a greater power of adaptation at the
cultural level through the use of critical reflection” (De Villa 2018: 163, 172). Therefore, we advocate a cognitive approach to languages in contrastive linguistics classes to
raise students’ awareness concerning the use of their own language as well as a foreign
language (in this case Spanish). In order to test our hypothesis, we conducted an anonymous survey among students on the approach and usefulness of the course “Introduction to Spanish-Serbian Contrastive Analysis” taught at the University of Belgrade. The
results show a very high satisfaction with the method used in class.Članek želi na osnovi raziskave med srbskimi študenti španščine pokazati na uporabnost konstrastivnega jezioslovja in na pomen jezikovne zavesti v španščini na univerzitetni ravni. Na kratko predstavimo koncept jezikovne zavesti, in sicer na osnovi del
avtorjev, kot so Schmidt (1990), Hawkins (1999), Rieder (2000), Bailini (2009) in
De Villa (2018). Pojem lahko razumemo na dva načina: po eni strani kot kognitivno
aktivnost ali sposobnost metajezikovnega razmišljanja, po drugi kot pristop pri učenju
tujih jezikov (na pol poti med strukturalističnim in komunikacijskim pristopom), ki
študentom omogoča, da postanejo »visoko motivirani samouki« in se kot takšni »zaradi
rabe kritičnega mišljenja na kulturni ravni laže prilagajajo« (De Villa 2018: 163, 172).
Zato zagovarjamo kognitivni pristop k jezikom na urah kontrastivnega jezikoslovja in
osveščanje študentov o rabi tako lastnega kot tujega jezika (v tem primeru španščine).
Za preveritev teze smo med študenti izvedli anonimno anketo o izbranem pristopu
in uporabnosti predmeta »Uvod v kontrastivno analizo med španščino in srbščino« (Introducción al análisis contrastivo español-serbio), ki se izvaja na Univerzi v Beogradu. Rezultati kažejo visoko zadovoljstvo študentov z načinom dela v predavalnici