REPFF - Repository of Faculty of Philology, University of Belgrade
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An interview as the journalistic type
No full textU sklopu proučavanja novinarskih vrsta intervju ne predstavlja temeljnu vrstu, ali može biti vrlo interesantan kako za posmatranje i analizu, tako isto i za čitanje ili slušanje u sklopu novinarske delatnosti i recepcije te delatnosti od strane publike. Autor1 je na jednom primeru pokušao pokazati osnovne odlike intervjua.An interview can be very interesting journalistic type for the analysis and, at the same time, interesting for reading and listening in the journalistic area and reception by the audience. In one example, we show the basic characteristics of the interview
Deverbativnye/dead''ektivnye konstrukcii so vremennym značeniem kak sredstvo zavisimogo taksisa (v russkom jazyke v sopostavlenii so serbskim)
No full textU radu se proučavaju deverbativne/deadjektivne konstrukcije sa vremenskim značenjem u kontekstu kategorije zavisnog taksisa, tj. kao sporedno sredstvo izražavanja vremenskih odnosa u prostoj rečenici. Poredi se upotreba datih sredstava u ruskom i srpskom jeziku.V nastojaščej rabote ukazyvaetsja na vozmožnost' issledovanija deverbativnyh/dead''ektivnyh konstrukcij so vremennym značeniem v ramkah kategorii zavisimogo taksisa, t.e. kak sredstva vyraženija vremennyh otnošenij v prostom predloženii. Issledovanie provoditsja v sopostavitel'nom russko-serbskom plane
Factual truth and truth of fiction: Dining at the Oblonskys' in Tolstoy's novel Anna Karenina
No full textU radu se preispituje odnos dokumentarnog i fikcionalnog u književnom delu. Aristotelovo razlikovanje činjenične istine istorije i univerzalne istine pesništva sagledano je iz savremene teorijske perspektive. Postmoderno ukidanje razlike između istorijskog i književnog diskursa predstavljeno je analizom teorijskih stavova Rolana Barta i Hejdena Vajta. Formalni pristup u analizi odlomka Dnevnika Sofije Tolstoj i dela teksta Ane Karenjine otkriva razliku između dokumentarnog i književnog diskursa. U dokumentarnom, istorijskom diskursu, kao što je dnevnik Sofije Tolstoj, dominantna je referencijalna funkcija jezika; u slučaju književnog diskursa, kao što je Tolstojev roman, dominantna je poetska funkcija jezika. Prema tome, postmoderna tendencija izjednačavanja različitih vrsta diskursa pokazuje se kao neopravdana.The paper examines the relationship between the documentary and the fictional in literary work. Aristotle's distinction between the factual truth of history and the universal truth of poetry is overviewed from a contemporary theoretical perspective. The postmodern abolishing of the differences between historical and literary discourse is presented through the analysis of the theoretical conceptions of Roland Barthes and Hayden White. The formal approach in the analysis of the section of the Diary of Sophia Tolstoy and part of the text of Anna Karenina reveals differences between the documentary and literary discourse. In the documentary, historical discourse, such as Sophia Tolstoy's diary, the dominant is the referential function of language; in case of literary discourse, such as Tolstoy's novel, the dominant is the poetic function of language. Therefore, the postmodern tendency of equalization of different types of discourse appears unjustified
Pynchon's Frictional Paradigm: The Force of Yoyodyne vs. the Counterforce of W.A.S.T.E.
No full textThe starting point of this paper can be found in the basic provisions of the 1946 US Employment Act, which are redolent of the utopian discourse stating that all the members of a particular society should be provided for. While the economy of California undoubtedly prospered in the decades after World War II and owed some of the success to federal investments in the weapons industry, the stupefying impact that large corporations had on the lives of their lower-level employees caused a subversive reaction in a group of technical staff at the giant Yoyodyne plant in The Crying of Lot 49. Their form of utopia did not venture beyond writing letters via a secret postal service within the company, and this harmless resistance served as a manner of rehumanization. Vineland presents a much more fundamental rebellion against state repression in the form of various movements on a larger scale, in an imaginary county - a film collective that shoots live documentaries on governmental repression, a martial arts sisterhood which lives in the hills, and a fierce body of students who even proclaim their own short-lived republic. The latter novel does not raise a polemic against the text of the Act so much as it portrays the practical implications of the corporate or state monopoly and the reactions to its excesses
Prepodobnyj Sergij v russkoj cerkovnoj poëzii do ieromonaha Pahomija Serba
No full textPrema našim istraživanjima, pre nastanka Službe prepodobnom Sergiju koja se pripisuje sveštenoinoku Pahomiju Srbinu postojala su dva tropara i kondaka, i tri 'ine' stihire Sergiju. Pojane su mu tada mogle biti još nekolike stihire pronađene u stihirarima i različite od stihira Službe. Pretpostavljamo da je jedan tropar i kondak i 'ine' stihire sastavio monah Epifanije Premudri. U radu se otkriva koji tropar i stihire su korišćeni pri sastavljanju jednog tropara i 'inih stihira' Svetom Sergiju i ustanovljuje poreklo pomenutih nekolikih stihira, možda nastalih pre Službe.V stat'e izlagajutsja rezul'taty issledovanija cerkovnoj poëzii, posvjaščennoj prepodobnomu Sergiju, voznikšej do ieromonaha Pahomija Serba, kotoromu pripisyvaetsja Služba ëtomu svjatomu. Do Služby byli sostavleny tropar' V'' čistotѣ žitjja istočnik'' slez'' tvoih'' (BAN 34. 8. 39, 186-186 ob.) i kondak Vzirajušči ti č'st'nago priležanjja groba (BAN 34. 8. 39, 186 ob.), tropar' t'' junosti v''sprjal'' esi hrista (TSL 345, 109) i kondak Jako besplot'nym'' ravnožitel' (TSL 345, 109 ob.), a takže tri 'iny stihiry', kotorye inogda sledujut za Služboj. Predpolagaem, čto pervyj tropar' i kondak i 'iny stihiry' napisal sobrat i učenikSergija monah Epifanij Premudryj. Do vozniknovenija Služby, predpoložitel'no, suščestvovali ešče tri stihiry Sergiju, obnaružennye v stihirarjah N. S. Sereginoj, - Oukrѣpl' oum' razoumom'' božestvenym' (TSL 409, 34-34 ob.), Na nebo tekuščee vošed'' (K/B 592/849, 240 ob.-241), Dobrodѣteli tvoihѡ prepodobene ѡteče (Sin. pevč. 123, pa ob.), a, možet byt', i stihira Eže na zemli aggela (TSL 116, 402). Ona že variant stihiry Služby posle 50 psalma. Avtoru stat'i udalos' ustanovit', čto tropar' V'' čistotѣ žitjja istočnik'' slez'' tvoih'' javljaetsja obrabotkoj troparja prepodobnomu Haritonu Ispovedniku, a 'iny stihiry' podražaniem stihiram mučenikam Sevastijskim. Ostal'nye upomjanutye stihiry voshodjat k drugim službam: prepodobnomu Evfimiju Velikomu, prepodobnomu Antoniju Velikomu i k Obščej službe svjatitelju edinomu. Soglasno rezul'tatam našego issledovanija, služby Sergiju do ieromonaha Pahomija ne bylo
Roman putovanja u mađarskoj književnosti XX veka (Đula Krudi, Friđeš Karinti, Antal Serb, Šandor Marai, Mikloš Meselj i Peter Esterhazi)
No full textFab(e)ricating Tales: On Homo Faber, a Novel by Max Frisch and a Movie by Volker Schlondorff
No full textThis article concentrates on the novel Homo Faber (1957) by Max Frisch (1911-91), and the movie Homo Faber, also entitled Voyager, filmed in 1990 by German director Volker Schlondorff (b. 1939). In spite of some considerable interventions in regard to the novel, the movie followed the text too closely and did not use the material in a playful, innovative way. This article goes back to the novel to show that such an error was inherent in the text, that is, that the critical distance of Frisch's reading of the archetype lies in the narrative technique he used. As this technique is either not fully applicable to the visual medium or creates a different effect on the screen, the movie missed the subversive potential of the novel
Simultaneity of two moments: About one type of temporal clauses
No full textSimultanost predikacija u složenom rečeničnom kompleksu u kome je supraordinirana rečenica temporalno determinisana jednom subordiniranom vremenskom rečenicom pojednostavljeno možemo definisati kao istovremeno realizovanje predikacija supraordinirane i vremenske rečenice u okviru istog odsečka na vremenskoj osi. Za izdvajanje odsečka na vremenskoj osi odgovorna je predikacija jedne od rečenica u kompleksu, a kako se taj odsečak poima kao period, nužno je da predikacija odgovorna za njegovo izdvajanje ima trajanje, odnosno nosi semantičko obeležje (+) durativnost. U rečeničnim kompleksima sa jednom subordiniranom vremenskom rečenicom nailazimo na brojne slučajeve u kojima su i predikacija supraordinirane rečenice i predikacija vremenske rečenice punktualne, odnosno takve da ih odlikuje semantičko obeležje (-) durativnost, te se postavlja pitanje da li i u ovim kompleksima možemo govoriti o simultanosti predikacija. Ovo pitanje često se dovodi u vezu sa pitanjem kauzalnog odnosa koji rečenice svojim smisaonim međuodnosom u kompleksu impliciraju, te je u radu dat osvrt kako na pitanje simultanosti punktualnih predikacija, tako i na pitanje uticaja datog kauzalnog odnosa na doživljavanje punktualnih predikacija kao (ne) simultanih.This article deals with complex sentences with embedded (when-)temporal clauses in which both the head clause-predicate and the temporal clause-predicate are punctual events. We investigate whether these two predicates can be regarded as simultaneous, as well as whether the (non-)simultaneity between the predicates is conditioned by an implicit causal reading between the temporal and the head clause
Тужна срећа последњих витезова: Андрићев Ћамил и кнез Мишкин Достојевског
No full textИзлагање пред читаоцем, на трагу истраживања започетих у књизи „Последњи витезови (Огледи из књижевности)“, стреми да доведе у везу два разнородна, али суштински блиска, јунака чувених романа Андрића и Достојевског, Ћамила и кнеза Мишкина. На том путу, поред испитивања међусобних сличности и разлика, поставља се и питање смисла трагедије у данашњем животу.This research draws attention to the distinct similarities between the protagonists of Andrić’s
short novel "The Damned Yard" and Dostoevsky’s novel "Idiot" in terms of physical and character traits of the characters, in terms of ideas, origin, then the narrator’s relationship to the hero of the novel, the hero’s attitude to his own surroundings and a common meaning of these works. The role of both protagonists arises out of a synthesis of Kierkegaard’s notion of ideal knighthood and its Don Quixotean role model, which places Ćamil and Myshkin in a broader perspective, a family of heroes, who could be deemed the last knights, relics of idealism in a vulgar, materialistic everyday life. The final outcome of this paper is the issue of tragic happiness as an idealistic question that signifies the deepest similarity between Efendi Ćamil and Prince Myshkin. This paper represents a continuation of the author’s speculations initiated in the book "The Last Knights (Essays on Literature)"
The philosophical background of 'Our reality', a journal for literature, science, art and all social and cultural issues (1936-1939)
No full textNaša stvarnost pripadala je grupi naprednih časopisa koji su svojom sadržinom i idejnim usmerenjem podržavali ideologiju radničkog pokreta. Saradnici časopisa Naša stvarnost išli su za marksističkim, teoretskim principom shvatanja literature, nastojeći da ostvare estetski kvalitet novog realizma. Istorijska baza poetike socijalne književnosti između dva rata bio je istorijski materijalizam. U ovom časopisu sarađuju mnogi autori, pristalice koncepta marksističke estetike u duhu teorije odraza Teodora Pavlova, koji su sebe nazivali 'inženjerima duša'. Uredništvo podvlači značaj poznavanja četiri osnovna pravila Dekartove metode, kojima se mora podvrgnuti ljudski duh da bi dospeo do istine, jer je to jedan od načina oslobađanja čoveka, prihvatanja jednakosti među ljudima, čovečnosti i ljubavi umesto mržnje i sukoba. U radu se, uvidom u kritičke i prevodne tekstove, otkriva filozofska pozadina Naše stvarnosti.This paper, by examining the critical texts and translation, reveals the philosophical background of 'Our reality', a journal which belonged to the progressive editions that supported the ideology of the labor movement. Associates of 'Our Reality', by following the Marxist theoretical principle of understanding literature, tried to achieve aesthetic quality of the new realism manifesting that the historical base of social poetics of literature between the wars was historical materialism. This journal was a result of cooperation of authors who supported the concept of Marxist aesthetics in the spirit of Pavlov's theory of reflection, who referred to themselves as 'engineers of souls'. The editorial board highlighted the importance of the four basic principles of Descartes' method to which the human spirit should be subjected in order to achieve the truth, because this was understood as the way of human liberation and affirmation of equality among people and love instead of hate and conflict