Digitalni arhiv Filozofskog fakulteta u Zagrebu
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Education on language of the albanian minority: a case study of one elementary school in Zagreb
No full textNacionalne manjine u Republici Hrvatskoj prema zakonu imaju pravo na odgoj i obrazovanje na vlastitu jeziku i pismu. Tema ovoga rada je obrazovanje na jeziku i pismu albanske nacionalne manjine, po veličini pete nacionalne manjine u Republici Hrvatskoj. U teorijskom dijelu rada najprije je predstavljen model kritičkoga interkulturnoga obrazovanja kao teorijski okvir za analizu studije slučaja, a potom i rezultati analize Izvješća o provođenju Ustavnoga zakona o pravima nacionalnih manjina (kojeg je Vlada Republike Hrvatska dužna jednom godišnje podnositi Hrvatskome saboru) te analize dostupnih kurikuluma i planova i programa škola u kojima se provodi odgoj i obrazovanje albanske nacionalne manjine. Cilj analize izvješća, kurikuluma te planova i programa bila je kontekstualizacija odabranoga slučaja, odnosno utvrđivanje načina na koji se odgoj i obrazovanje na jeziku i pismu albanske nacionalne manjine realizira u hrvatskom društvu i školama. U empirijskome dijelu predstavljeni su rezultati studije slučaja jedne zagrebačke osnovne škole u kojoj se pripadnici albanske nacionalne manjine obrazuju po modelu C. Kroz polustrukturirane intervjue ispitivali su se stavovi i mišljenja pedagoginje i nastavnice albanskoga jezika i kulture, a kroz analizu mrežnih stranica škole prikupljali su se svi podaci koji se tiču odgoja i obrazovanja pripadnika albanske nacionalne manjine u odabranoj osnovnoj školi. Na temelju interpretiranih rezultata može se reći kako se pristup odgoju i obrazovanju na jeziku i pismu albanske nacionalne manjine svodi isključivo i samo na osnovno učenje albanskoga jezika i kulture te da takav pristup ne odgovara istinskom interkulturnom obrazovanju.Under the laws of Republic of Croatia, national minorities have a right to education in their native language. The theme of this graduate thesis is education of the Albanian minority group, the fifth largest minority in the Republic of Croatia, on their native tongue. In the theoretical part of the thesis, the critical model of intercultural education is first presented as a theoretical framework for the case study analysis. Secondly, in the theoretical part are also presented the results of the analysis of „Izvješća o provođenju Ustavnoga zakona o pravima nacionalnih manjina“ (Report on regulation and enforcement of the Croatian constitutional law minding national minorities rights, which is required to be presented in the Croatian parliament once a year), as well as the analysis of all available curriculums, school plans and programs regarding schools that provides children with the possibility of education on their native language. The empirical part of the thesis presents the results of a case study one of Zagreb’s Elementary School where members of the Albanian national minority are educated on model C. Semi-structured interviews were used to examine attitudes and opinions of school pedagogue and Albanian language teacher. Analysis of the school web pages was choosen as a second method: all the data that concerned information of education on the Albanian language was collected and analysed. The goal of all this analysis was to determinate how is education in the Albanian language realized in Croatian society and school(s). Based on the interpreted results it can be said that access to education in the language of the Albanian minority is focused only on basic learning of Albanian language and culture, and this kind of approach does not equal to the truthful intercultural education
Diminutivo em português e seus equivalentes em inglês
No full textThis thesis presents the semantic properties of diminutives in Portuguese by comparing them to their translation equivalents in English. It displays the polysemy of Portuguese diminutives and diminutives in general, and categorizes them according to their meaning. The data used for the analysis were taken from two contemporary Portuguese novels and their English translations. The exemplified diminutives are divided into categories according to their meaning; primary meaning – smallness, affectionate, pejorative, intensifiers, attenuation and pragmatic use.Esta tese tem como objetivo mostrar a natureza polissémica dos diminutivos em português, demonstrando isso através de exemplos de diminutivos de romances portugueses e das suas traduções para o inglês. Os dados do corpus serão baseados nos diminutivos extraídos de dois romances portugueses contemporâneos, ambos escritos por José Saramago, “Ensaio sobre a cegueira”, traduzido para o inglês por Giovanni Pontiero como “Blindness” e “A Caverna”, traduzido por Margaret Jull Costa como "The Cave". Primeiramente, discutiremos os múltiplos significados dos diminutivos. Os diminutivos são palavras habitualmente usadas para expressar pequenez, no entanto, este é apenas o seu significado principal. São também usados em muitas linguas para expressar afeição, significado pejorativo, desconsideração, servindo igualmente como intensificadores, etc. (Jurafsky 1996:535, Taylor 2003:173) Iniciamos com umaa parte teórica sobre os significados mais usados, como pequenez, afeição, depreciação, intensificação, atenuação, aproximação e o uso pragmático
Glagolski vid u hrvatskom jeziku: terminološki rad
No full textLa première partie du travail consiste en une présentation des notions théoriques fondamentales, nécessaires pour la rédaction d’un travail terminologique. Ici figurent la définition de la terminologie, un bref aperçu historique sur la discipline, l’explication des notions fondamentales, parmi lesquelles le terme et le concept, une considération du rapport entre la terminologie et les disciplines proches et la définition de la langue de spécialité et de la
monosémie. La partie suivante où nous présenterons chaque étape de l’analyse est consacrée à la méthodologie et donne les détails de notre démarche, accompagnés des définitions pour chacune des parties essentielles d’une recherche terminographique. Ce sont le domaine, le corpus, le
glossaire, la fiche terminologique et l’arborescence. Dans la suite se trouve la partie pratique, qui comprend la traduction du chapitre “Définitions et terminologie”, le glossaire, la liste des termes non retenus et les fiches terminologiques. Finalement, nous proposerons une conclusion sur le travail accompli qui contient un récapitulatif du plan et une synthèse des résultats de l’étude. La conclusion est suivie par la bibliographie et la sitographie, où figurent les ressources dont nous nous sommes servie au cours de notre travail, y compris notre corpus.U ovom se diplomskom radu terminološkom analizom obrađuje područje glagolskog vida. Polazišni tekst je poglavlje „Definicije i terminologija” doktorskog rada dr. sc. Evaine Le Calvé Ivičević, Glagolski vid u suvremenom hrvatskom–aspektna značenja infinitiva(2015.). Osim prijevoda spomenutog teksta, praktični dio istraživanja sadrži glosar pojmova,pojednostavljene terminološke kartice s pojmovima koje smatramo pertinentnima za potpuni opis glagolskog vida
u hrvatskome,te popis pojmova koji nisu zadržani, s pripadajućim objašnjenjima. Praktičnom dijelu prethodi teorijski okvir i metodologija rada. Ovaj je rad terminogra
fska analiza proučavanog područja, ali istovremeno i novi pokušaj usustavljenja terminologije glagolskog vida u hrvatskome, temeljen na prevedenom tekstu
Revizija srednjopaleolitičkih izrađevina iz istraživanja Mirka Maleza u špilji Veternici
No full textRevizija 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
The role of distractor strength in visual working memory
No full textU posljednjih desetak godina, spoznaje o funkcioniranju vidnog radnog pamćenja (VRP) iz temelja su promijenjene pojavom modela resursa VRP-a. Pretpostavka ove skupine modela jest kako je VRP ograničen skup resursa koji se kontinuirano dijeli između svih podražaja koji se pamte, bez pretpostavke o postojanju limita u broju podražaja na koje se resursi mogu podijeliti. Porastom broja podražaja koji se pamti smanjuje se količina resursa pridana svakom podražaju, a samim time i reprezentacijska snaga svakog podražaja. Ova pretpostavka potvrđena je nalazima kako preciznost dosjećanja kontinuirano pada s porastom broja podražaja koji se pamti. Premda modeli resursa imaju jasne pretpostavke o ulozi količine resursa kojom je neki podražaj kodiran u preciznosti dosjećanja, otpornost snažnijih reprezentacija na perceptivne distraktore gotovo je neistraženo pitanje. Intuitivno, mogućnost zadržavanja zapamćenih informacija uslijed distraktora ovisi o snazi reprezentacija tih informacija, pri čemu će snažnije reprezentacije u manjoj mjeri biti narušene distraktorima. Druga važna odrednica otpornosti reprezentacija VRP-a na perceptivne distraktore je snaga samih distraktora. U ovom istraživanju željeli smo sustavno ispitati ulogu ova dva čimbenika - snage distraktora i snage reprezentacija u VRP-u - na preciznost dosjećanja u zadatku kontinuirane procjene u VRP-u. U eksperimentu 1 snaga reprezentacije manipulirana je variranjem broja podražaja koji se pamtio i dostupnim vremenom kodiranja. U eksperimentu 2a nakon kodiranja podražaja jednom je podražaju dan prioritet za dosjećanje. U eksperimentu 2b tijekom faze zadržavanja pažnja je privremeno usmjerena na jedan od zapamćenih podražaja s ciljem osvježavanja njegove reprezentacije. U posljednjem, eksperimentu 3, distraktori su prikazivani tijekom različitih faza obrade podražaja (kodiranja, zadržavanja, dosjećanja) uz pretpostavku kako je snaga reprezentacije najslabija prije no što kodiranje završi. Snaga perceptivnih distraktora u svim eksperimentima manipulirana je kao vrijeme prikaza distraktora i to na tri razine (bez distraktora, slabi distraktor, snažni distraktor). Rezultati su pokazali kako snaga reprezentacije ima važnu ulogu u zaštiti reprezentacije od distraktora. Dosjećanje podražaja kojima je pridano više resursa uslijed pamćenja manjeg broja podražaja i dužeg vremena kodiranja (eksperiment 1), koji su označeni kao prioritetni za dosjećanje (eksperiment 2a), koji su osvježeni tijekom faze zadržavanja (eksperiment 2b), te kojima faza kodiranja nije ometena (eksperiment 3), bilo je preciznije i uslijed prikaza distraktora. Uloga snage distraktora je potvrđena, no bila je kompleksna i ovisila je o na cinu na koji su reprezentacije osvježene. Model mješovitih distribucija koji pretpostavlja kako se dosjećanje može opisati točnim dosjećanjima, pogreškama zamjene, intruzijama i pogađanjem, dobro je pristajao podacima. Najkonzistentnije promjene uočene su u vjerojatnosti točnog dosjećanja. Važno, intruzije su se pokazale sastavnom vrstom pogrešaka u svim eksperimentima.Introduction
Our environment is overloaded with visual information, with only a fraction of them necessary
for an ongoing task. What determines the success of performing everyday tasks in such an
environment? Visual working memory (VWM) is considered a vital component of most complex behaviours, but previous studies provided evidence of its susceptibility to irrelevant visual
information, i.e. distractors. When is VWM impervious to distractors? VWM is best described as a highly limited resource that is flexibly shared among items in a visual scene. As the
number of items increases, the amount of resources allocated to each item decreases, leading to
a decline in strength (i.e. quality) of memory representations, and consequently to less precise
recall of each item. This finding is consistent with a resource model of VWM and has been
highlighted as a hallmark observation in VWM studies. An alternative view is provided by the
influential "slot" model of VWM which claims that VWM is limited with a fixed maximum
number of items that can be held in memory at one time. Moreover, according to this model, an
item is either represented in its entirety in a memory slot or not stored at all. Strength of memory representation is therefore almost completely neglected in this type of model. However,
investigation of the role of representation strength, besides the well known set size effect, has
been limited even in studies motivated by the resource model. It is an intuitive prediction that
memorandum strength should influence task performance. For example, our ability to maintain
relevant information in the presence of distracting visual input should depend on the strength of
memoranda, with stronger representations suffering less from irrelevant visual input. Here we
thoroughly investigated the roles of strength of representations in VWM and distractor strength.
Method
To this end, we conducted four experiments (N = 64) in which we systematically manipulated
the strength of VWM representations and the strength of distractors. We employed a delayedestimation task with continuous report, wherein subjects memorized colour stimuli. We manipulated strength of representation by: manipulating set size and encoding time (experiment
1), prioritizing one item for recall (experiment 2a), refreshing a representation of a single item
during maintenance (experiment 2b), or interrupting memory phases before and after a stable
representation was formed (experiment 3). After showing a memory array but before recalling
one of the memorized items, irrelevant visual stimuli were shown. Simultaneously with memoranda strength, we manipulated distractor strength (no distractors, weak distractors, strong distractors).
Results
In all experiments we consistently found evidence that strength of memoranda serves a protective role against visual distractors. Regardless of the method used to manipulate memoranda strength, recall of stronger memoranda was less vulnerable to distractors. On the other hand, the effect of distractor strength showed a complex pattern which differed between experiments and depended on the manipulation of VWM representation strength. Next, we fit the data with a
mixture model which assumes that the recall error distribution is a mixture of target recall, swap
errors, intrusions, and guesses. This model captured the data well and showed better fit than the
alternative normal + uniform model. When analyzing parameters of this model the most consistent manipulation dependent changes were observed on the target recall parameter. Intrusions were observed in all experiments. Interestingly, they depended more on VWM representation strength than on distractor strength.
Conclusion
This study revealed that strength of memoranda in VWM serves a protective role against visual
distractors, making any addition of mechanisms of memoranda protection or distractor inhibition unnecessary. However, we showed that distractors, regardless of their strength, are able to penetrate VWM and lead to a decrease in recall precision. These findings are consistent with a resource conceptualisation of VWM where representational strength (i.e. the amount of allocated resources) plays a crucial role in ability to perform a task
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
Übersetzung aus dem Deutschen ins Kroatische ; Übersetzung aus dem Kroatischen ins Deutsche
No full textRehabilitation of vowels in children after cochlear implantation
No full textSluh i slušanje sastavni su dio čovjekova razvoja i djelovanja od samog rođenja. Oni su ključni za uspješno usvajanje govora i jezika. Slušna oštećenja mogu spriječiti ili otežati uredan razvoj govora i stoga ih je važno dijagnosticirati rano, kako bi rehabilitacija mogla početi što je prije moguće zbog toga što su rane godine djetinjstva važne za razvoj ne samo govora i jezika nego za opći kognitivni razvoj i društvene vještine. Umjetna pužnica moderno je slušno pomagalo koje sve više zamjenjuje tradicionalna pomagala i daje bolje rezultate.
Cilj ovog istraživanja bio je provjeriti kako djeca s umjetnom pužnicom tijekom rehabilitacije usvajaju govor, naročito samoglasnike/vokale. Također se htjelo ispitati ima li razlika u percepciji njihova govora između uvježbanih stručnjaka – fonetičara i laika.
Pripremljena su dva kompleta sličica – jedan za dvoje djece starije od 5 godina i jedan za sedmero djece u dobi od 3 do 5 godina. Djeca su trebala reći koji su predmeti na svakoj slici i to je snimano. Snimke su potom prezentirane slušateljima fonetičarima i nefonetičarima, koji su tijekom slušanja trebali odgovoriti na nekoliko pitanja o djeci i njiovu govoru.
Na temelju njihovih odgovora i akustičke analize vokala moglo se zaključiti da rehabilitacija daje zadovoljavajuće rezultate, naročito kad se radi o vokalima. Također se pokazalo da su fonetičari vještiji u zapažanju detalja i finih razlika među djecom i njihova općeg verbalnog ponašanja, ali da i nefonetičari mogu prepoznati i procijenit slušne i artikulacijske sposobnosti djece.Hearing and listening are integral parts of human development and fuctioning from the very beginning. They are crucial in speech and language acquisition. Hearing impairments can prevent typical speech development and it is therefore crucial that they be diagnosed early so that rehabilitation can start as soon as possible, because early years are important for the development of speech and language, cognitive abilities in general and social skills. Cochlear implants are modern hearing aids that increasingly replace conventional ones and have been shown to yield much better results.
The aim of this study was to investigate how well children with cochlear implants acquire speech, particularly vowels, in the course of their rehabilitation. Another question was how is their speech perceived by listeners, trained phoneticians, on the one hand, and lay listeners.
Two sets of pictures were compiled for this purpose, one for two children over the age 5, and one for 7 younger children aged between 3 and 5 years. After they had been recorded naming the presented pictures, two groups of listeners (trained phoneticians – university students of phonetics and university students of other programs) were asked to listen to the recordings and answer several questions about the children and their speech.
Based on listeners’ responses and acoustic analyses it can be concluded that rehabilitation outcomes are satisfactory, particularly with respect to vowels. It was also found that trained phoneticians are more attentive to details in children’s speech and overall verbal behavior but that untrained listeners are also capable of dealing with children’s auditory and articulatory abilities
Emotional Intelligence, Linguistic Intelligence and Linguistic Performance
No full textThe aim of this paper is to investigate the relationship between emotional intelligence, linguistic intelligence and linguistic performance among proficient Croatian students of English. Other research goals are to determine which of these predicts linguistic performance better. Furthermore, elements of emotional intelligence based on research done by Saklofske, Austin, and Miniski (2003) and Salovey and Mayer (1989-1990) are put to the test with the purpose of determining which (if any) contribute significantly to linguistic performance. Finally, the research aims to investigate differences in tests between men and women, as well as students enrolled in four graduate programs (Literature and Culture, Linguistics, Teaching, Translation) . In order to achieve this, three questionnaires were used: Schutte Self Report Emotional Intelligence (SSREI) (Schutte, et al. 1998), a linguistic intelligence test which was a part of Nail’s multiple intelligence questionnaire (Douglas 2002), and a questionnaire designed to test linguistic performance. All data was statistically analyzed. The results show that there is a positive correlation between the three elements, and that linguistic performance is better predicted by emotional intelligence than it is by linguistic intelligence. Moreover, two elements based on the views of Saklofske, Austin, and Miniski (2003) and Salovey and Mayer (1989-1990) were found to impact the overall linguistic performance, Optimism/ mood regulation and ERS (Emotional Regulation of the Self). Women obtained better scores in most areas, except linguistic performance where men performed better. Regarding graduate programs, student majoring in Literature and Culture had higher scores than students majoring in Teaching while students majoring in Translation scored higher than any other group; however, all the differences between men and women as well as the study groups were found to be statistically insignificant
Komunikacijski deficit Europske unije: analiza stavova i praksi studenata Sveučilišta u Zagrebu i Sveučilišta u Ljubljani
No full textU ovom radu istražuju se prakse mladih, tj. redovitih studenata Sveučilišta u Zagrebu i Sveučilišta u Ljubljani, prilikom informiranja o europskim pitanjima te njihovim stavovima o demokratskom, tj. komunikacijskom deficitu Unije. Točnije, analizirani su stavovi ispitanika s obzirom na izvještavanje europskih pitanja u medijima, načinu komunikacije Unije s njenim građanima te ima li on utjecaj na percepciju Unije kao demokratski deficitne institucije. Online anketom ispitano je 202 ispitanika (100 redovitih studenata Sveučilišta u Zagrebu te 102 redovita studenta Sveučilišta u Ljubljani). Rezultati istraživanja pokazuju kako se većina mladih smatra nedovoljno informiranima o europskim pitanjima. Prilikom informiranja o aktualnim europskim zbivanjima ponajviše koriste online izvore, točnije društvene mreže i službene web stranice institucija EU-a. Analizom stavova pokazano je kako većina nema izraženo mišljenje o načinu izvještavanja europskih pitanja u medijima kao i načinu komunikacije Unije s građanima. No, skoro većina njih slaže se kako bi kvalitetnija komunikacija Unije s građanima umanjila privid demokratskog deficita Unije u javnosti.This paper examines informing habits of youth, that is regular students of University of Zagreb and University of Ljubljana, on issues of the European Union. Namely, it examines how they inform themselves on the EU issues as well as how informed do they consider themselves to be. Furthermore, this research examines attitudes of youth towards reporting EU issues in the media as well as ways of communication between EU and its citizens. Used data was gathered through an online questionnaire. In total, 202 students participated in this research (100 students from University of Zagreb and 102 students from University of Ljubljana). Data analysis shows that students mostly feel ill-informed on the EU issues. They mostly use online sources of information when
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informing on mentioned issues, that is social networks and official websites of the EU institutions. Most of the respondents do not have an opinion on how are the EU issues reported in the media and how well does the EU communicate with its citizens. On the other hand, almost half of the respondents feel that better communication between EU and its citizens would reduce the appearance of EU's democratic deficit