REPFF - Repository of Faculty of Philology, University of Belgrade
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Oльга Буренина-Петрова, Анархизм и искусство авангарда. Санкт-Петербург: Издательский дом: Петрополис, 2021, 296 стр.+8 с.: цв. ил.
No full textFeminism and Libraries in the Modern Islamic Countries: examples of Iran, Saudi Arabia and Azerbaijan
No full textBearing in mind the importance of the libraries not only in
education but in enlightenment in general, this paper has the aim to show
the different standards in usage of the libraries in the modern Islamic
word. As the example have been chosen three countries with majority
of the Muslim population, but with completely different attitude
toward women and usage, as well the management of the libraries.
The usage of the libraries could be used as paradigm for the position
of women in these countries
Femininativi u slovenačkom jeziku Tjaša Markežič, Irena Stramljič Breznik: Feminativi v slovenskem jeziku. Maribor: Univerzitetna založba Univerze v Mariboru (Zora, 143), 2021. 232 str.
No full textThe pluperfect in modern Ukrainian
No full textУ статті розглянуто функції плюсквамперфекта (давноминулого/передминулого часу)
в українській мові з аспекту граматичної семантики. Виявленo та вперше проаналізовано такі функції цієї часової форми в сучасній українській мові: (1) таксисна функція;
(2) позначення результату в минулому; (3) вираження незавершеної минулої ситуації;
(4) позначення результату минулої ситуації, який є неактуальним у момент мовлення
через іншу подію в минулому, що скасувала результат ситуації, вираженої плюсквамперфектом; (5) ретроспективна актуалізація; (6) позначення початку нового тематичного блоку; (7) введення дигресії; (8) контрфактична функція.
Буде показано, що плюсквамперфект у сучасній українській мові все ще виконує
таксисну функцію (вказує на часову орієнтацію однієї ситуації стосовно іншої). Однак
ця відносна часова форма також служить для позначення результату, що був актуальним у минулому, але втратив актуальність на момент мовлення, а також має функцію
розмежування часової зони, позначеної плюсквамперфектом, від моменту мовлення.
Плюсквамперфект виконує в українській мові певні функції і на рівні тексту – вказує
на нову тему та вводить дигресію. Ці дві функції ми розглядаємо в контексті «ретроспективної актуалізації».
Особливу увагу буде приділено функції українського плюсквамперфекта, яку в лінгвотипології визначено як контрфактичну.In this article the functions of pluperfect (PQP) in the Ukrainian language are considered
from the perspective of grammatical semantics. The following functions of the PQP in modern Ukrainian have been discovered and for the first time analyzed in full: (1) taxis function; (2) designation of a result in the past; (3) indication of unfinished past situation; (4) designation of the result of a past action, which isn’t relevant at the time of speech due to another
past action, which canceled the result of the situation expressed by the PQP; (5) retrospective actualization; (6) marking the beginning of a new thematic block; (7) introduction of
digression; (8) counterfactual function.
It will be shown that the PQP in modern Ukrainian still performs a taxis (temporal orientation) function. However, this relative tense also serves to indicate the result, which was
relevant in the past, but lost its significance at the time of speech, as well as functions of
delimitation of the temporal zone marked by the PQP from the moment of speech. The PQP
performs in Ukrainian certain functions at the text level, indicating a new topic and introducing a digression. These two functions we call “retrospective actualization”.
Particular attention will be paid to the function of the Ukrainian PQP, which is defined in
linguistic typology as counterfactual
Словенска научна фантастика код Срба. Дејан Ајдачић (ур.). Словенска научна фантастика коɡ Срба. Београд: Алма, 2021, 323 стр.
No full textShaman, Intruder, Parasite: subversive Figures of the South Korean Identity Narratives (Bong Joon-Hoo's Parasite and Kim Tong-Ni's Ulhwa, the Shaman)
No full textKada se negdje početkom druge polovice
Parazita (2019) Bonga Joon-hoa u komornoj scenografiji iz podrumske polutame i plijesni pojavi
neznanac u liku dugo skrivanog supruga Moongwang, bivše služavke u luksuznoj kući porodice
Park, ovo Oscarima i Zlatnom palmom ovjenčano
filmsko ostvarenje dobiva neočekivan, bitno drugačiji tijek. Do tada pretežno komična priča o infiltraciji siromašne, „šarlatanske obitelji“ Kim – kako
je u filmu imenovana – u dom imućnih građana
najednom prerasta u obuhvatniju i ozbiljniju priču o
socijalnom jazu suvremene Južne Koreje. Za razliku
od statusnog komfora i materijalne raskoši u kojima
dane provode Parkovi, stan Kimovih nalazi se,
naime, u neuglednom i smradnom suterenu predgrađa pa postaje jasno da je društvena pozicija nižih
slojeva prostorno dosljedno oslikana tim donjim,
podzemnim položajem iz kojega se izlazi teško ili
nikako, osim izuzetno, kao u slučaju služavkinog
muža...Starting from a narratological point of view implying common ground of different cultural forms which have a narrative basis, this paper primarily deals with two exemplary works of South Korean art in recent decades - Kim Tong-ni's novel Ulhwa the Shaman (1978) and Bong Joon-ho's famous Parasite movie (2019). Although belonging to different periods and different media, these important works share common features which testify to the significant phenomena of Korean social life. Generally speaking both of them show the collision of the old and the new, the traditional and the modern, eastern and western conceptions of life, beliefs of animism and consumerism, faith in the ethical values of ancestors and today's pragmatic trust in technical progress, and solid material and financial status. The main narrative plot in both works is thereby set within family circles - in the Kim Tong-ni's novel as a conflict between the parents' and their descendants' generations, and in the Bong Joon-ho's film as a class confrontation of two families from different social strata. As the main characters in the centre of these fictional and filmic narratives appear typical personalities of shaman, domestic intruder and social parasite, which embody conflicted attitudes towards life choices. Being particularly artistically shaped, they actually represent subversive figures that question the perpetuated identity conceptions of individuals and collectives. Despite ending differently - tragically or tragicomically - both works show that the conflict of values permanently determines the Korean social reality and selfconceptions of the modern and the contemporary age
But, here comes Ljutica Bogdan: History and tradition in interpretations of a biography
No full textМеђу песмама из Вукових старијих епских времена Љутица Богдан је најпознатији као противник Краљевића Марка. Иако његову поетску биографију чини
више лирско-епских обрада интернационалних мотива, старије генерације проучавалаца српског усменог песништва настојале су да препознају историјску подлогу
из које се зачињу певања и казивања о Љутици. Након осврта на такве приступе
у српској фолклористици, овом приликом је размотрена грађа (старији и Вукови
записи, корпус штампан током XIX века). Указано је на слојевитост српске традиције и типове карактеризација, повезане са жанровским законитостима.Among the songs from Vuk's collections, Ljutica Bogdan is best known as an opponent of Kraljević Marko. However, multiple lyrical-epic adaptations of international motives are connected to his name and family relations. In addition, older generations of scholars of Serbian oral poetry have sought to recognize the historical background from which Bogdan's character developed. On this occasion, a review of such approaches was presented. After the literary-historical synthesis, poems about Ljutica Bogdan were analyzed (older records, Vuk's corpus, material printed during the 19th century). The types of characterizations, conditioned by the poetics of the genre and the archaic layers of the Serbian tradition, which could give impulses for the construction of this poetic biography, are pointed out in this paper
Conjunction dok and its serbian equivalents: a corpus-based approach
No full textУ раду се испитују временске клаузе у српском у поређењу с француским, с посебним освртом на клаузе уведене везником док и његовим француским еквивалентима,
везницима pendant que, quand, jusqu’à ce que, tant que. Тежиште анализе је на темпоралним и аспекатским својствима предиката временске клаузе у српском и француском, као
и корелацији тих предикатских својстава с употребљеним везницима. Истраживање се
заснива на примерима из паралелног српско-француског електронског корпуса ParCoLab.The article tackles the question of Serbian temporal clauses introduced by the conjunction dok
and the way the correlate to their French equivalents, clauses introduced by conjunctions such as
pendant que, quand, jusqu’à ce que, tant que and thier synonyms. The analysis focuses on the temporal and aspectual properties of the predicates of both temporal and main clauses, and the way these
properties relate to the conjunctions used. The relations of simultaneity and posteriority between the
eventualities expressed by the main and temporal clause are also explored. The research is based on the parallel Serbian-French corpus ParCoLab
Intertextuality in the advertising discourse
No full textThis research paper is aimed at the analysis of the most frequent types of intertextual references in the advertising discourse. The analysis is based on the intertextual theory. The authors analysed TV commercials broadcast on TV channels: TV Prva, RTS 1, TV B92 / 02 and TV Pink from March 2016 to October 2021 as well as advertising messages on billboards and news websites collected from Ocober 2020 to October 2022. The results of the analysis show that the advertising discourse abounds with intertextual references. The most common ones found in the analysed corpus are: the use of typical features of another discourse (political, medical, military, tourism, literary, media or scientific), allusions to film or book genres, popular comic book heroes or holidays, numerous clichés which make a hypogram, popular tunes used with or without modification, either played as background music or as a jingle, ludic paraphrases of famous sayings, lyrics, book or film titles or advertising slogans. Music is often used in commercials to arouse a particular feeling. In commercials for medicines a large number of technicisms, i.e. technical terms, are used. Advertisers use them to make advertisements sound plausible, as if being recommended by doctors or pharmacists. Some commercials include paraphrases of well-known advertising slogans broadcast in the past, which indicates omnipresence and popularity of commercials and advertisements nowadays. The analysed advertising messages contain different types of citationality: intrasemiotic (both the subtext and the text of an advertising message belong to the same type of non-art, i.e. another advertising message), intersemiotic (the subtext and the text of an advertising message belong to different types of non-art) and transsemiotic (the subtext of an advertising message belongs to art and its text belongs to non-art) as well as illustrative (citational motivation goes from the subtext to the text of an advertising message and the meaning of a quotation does not change) and illuminative (citational motivation goes from the text to the subtext of an advertising message and the meaning of a quotation changes). Our research shows that intertextual references are primarily found in TV commercials
Teorijsko-metodološke osnove kreiranja udžbenika ruskog jezika za odrasle početnike u srpskoj govornoj i sociokulturnoj sredini
No full textKreiranje udžbenika stranog (ruskog) jezika za odrasle predstavlja svojevrstan izazov, kako u pogledu odabira metoda, tako i u pogledu odabira elemenata njegove makrostrukture, u prvom redu tekstova kao osnovnog elementa makrostrukture udžbenika, preko sistema vežbanja, ali i odabira i kreiranja ilustrativnog materijala, kao izuzetno važnog elementa za uspešnost udžbenika. Koncepcija udžbenika stranog jezika za odrasle trebalo bi da bude zasnovana na komunikativnom pristupu, koji podrazumeva podjednako ovladavanje svim oblicima funkcionalno-pragmatičke kompetencije (razumevanjem govora, pisanog teksta, pisanim i usmenim izražavanjem i medijacijom), kao i lingvističkom kompetencijom. Teme koje se obrađuju već su unapred predviđene Zajedničkim evropskim okvirom za žive jezike za svaki nivo ponaosob, ali njihovu prezentaciju treba prilagoditi uzrasnoj ciljnoj grupi, koja je, kada se radi o udžbeniku za odrasle, vrlo široka - od studenata do treće dobi. Posebnu pažnju u udžbeniku, međutim, treba posvetiti odabiru i prezentaciji lingvokulturoloških elemenata, čiji minimum nije unapred određen i koji je neophodno definisati, uz nužno, skriveno ili otvoreno, poređenje kultura. U radu će biti predstavljena teorijsko-metodološka polazišta udžbenika za početno učenje ruskog jezika, kao i primena neophodnih metoda i postupaka u okviru mogućih konstrukcijskih rešenja za prevazilaženje teškoća prilikom kreiranja jednog ovakvog udžbenika.The design of a foreign (Russian) language textbook for adult beginners presents a challenge, both in terms of method selection and the selection of elements within its macrostructure, primarily the texts, as well as exercises and the choice and design of illustrative materials, which are crucial for the textbook efficacy. The concept of a foreign language textbook for adults should be based on the communicative approach, which involves equal mastery of all manifestations of functional, pragmatic, and linguistic competences. The topics covered in the textbooks are specified by the Common European Framework of Reference for Languages for each level individually, but their presentation should be adapted to the age of the target learners, which is rather broad - from students to senior citizens. Special attention should be paid to the selection and presentation of linguistic-cultural features, whose minimum is not predetermined and which needs to be defined along with the necessary comparison of cultures, either overt or covert. Therefore, along with the aforementioned definition of the linguistic-cultural minimum for A1 level, the paper will also present the theoretical and methodological premises, as well as the application of necessary methods and procedures within the possible structural solutions for overcoming difficulties in creating such a textbook