Digitalni arhiv Filozofskog fakulteta u Zagrebu
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The Croatian Question in the Political Language of British Liberals (1908-1920)
No full textTema ovog rada izabrana je sa željom da se hrvatskom pitanju u navedenom razdoblju
pristupi iz inovativne i originalne perspektive, kao i da se valorizira uloga britanskih
imperijalnih interesa u stvaranju državne zajednice Južnih Slavena. Kao što će ovaj rad
pokazati, hrvatsko pitanje u političkom jeziku britanskih liberala reflektira, ali i razotkriva
brojne izazove unutrašnje i vanjske politike Ujedinjenog Kraljevstva toga doba.This thesis attempts to outline the most relevant commonplaces and rethorical strategies used
in the political languages of the British Liberals in the aforementioned period. Using the
Norman Fairclough's threedimensional framework, this work initially examines political and
discursive practices and afterwards it introduces the analysis of the discourse itself. In that
respect, the discourse is presented by four most relevant commonplaces: „Subject/Oppressed
nationality“, „Guardians of the Gate“, „Drang nach Osten“ and „Integral victory“.
Simultaneously, each of the commonplaces is attached to the several rethorical strategies
which are used to legitimise it but which also reveal the stances, assumptions and goals that
British Liberals had while arguing for the Yugoslav unification and the Croatian position
within the new state.
Finally, following the language analysis, the author argues that there are considerable
discrepancies and problems in the relationship between the discourse (production) and the
political practice of the same historical actors. The 3 key problems outlined in that context are
the secret diplomacy, the critique of German imperalism whilst non-reflecting on the British
and the engagement regarding the Croatian Question during the unification and peace
settlement. The overall conclusion of this thesis is that the language of British Liberals in that
period reveals that they were consciously producing a discourse about the urgent and ethical
need for Britain to help the realisation of Yugoslav unification. In doing so, they established
imperial authority by monopolising knowledge production on the peoples and lands relevant
for their interests combining it with the discourse about Britain's role in the history of the
world
Star Trek as the final frontier: overcoming the neoliberal paradigm
No full textDespite the vast research on the American science-fiction series Star Trek, the economic aspect of the series is still under-analyzed. The purpose of this study is to offer a perspective on our limited present as a way to imagine a limitless future by relating the narrative and episodes of Star Trek and its premise of economic abundance to our present. The problems researched are unsustainable socio-economic inequality, environmental issues and the demise of politics symptomatic of the current global economic sphere, which are a result of neoliberal policies for free movement of capital, goods and services across countries. A perspective on issues is given by putting neoliberal capitalism in the historical context of technological and scientific innovation and growth under capitalism and considering that the current trends in these fields point out to the fact that the world may be at the beginning stage of a post-scarcity economy. Star Trek’s vision of society presents the possibilities which economic abundance offers for the development of the society and political innovation. Being technologically, scientifically and politically grounded in our present and a reflection of the political thought of the United States as a product of abundant resources, Star Trek presents a positive model to build our globalized society upon. Considering the research, advances and innovation in the field of clean and unlimited energy, economic abundance seems to be a plausible near future. On the other hand, global issues are asking for political innovation on a global scale, such as the World Government. These trends point out to the probability of Star Trek’s model of global society based on democracy, egalitarianism, justice, solidary and individualism, which reflects the politics of the United States and presents them as the leader of this speculative new world order of the future
Strategic Construal of Down in English Particle Verbs (PV) Constructions: Pictorial and Textual Representations
No full textThe main focus of this thesis is the strategic construal of English particle verb (PV) constructions with down as the particle. More specifically, we were interested in the strategies Croatian students used to analyse PVs with down. Since the students analysed the PVs through two modes of expression – textual and pictorial, we wished to investigate the strategies they used in their written answers and drawings. Furthermore, we focused on finding out whether their analysis of PVs with down would differ in the two modes. Lastly, the study aimed to explore the possible relationship between the textual and pictorial representations that the participants produced. The results showed that textual answers of PVs with down were generally topological and compositional, while pictorial answers were primarily visual paraphrases. Consequently, it was concluded that the participants did not use the same strategies in constructing meaning textually and pictorially. Lastly, the analysis of the relationship between textual and pictorial representations showed that the pictorial and textual representations were usually created in relation to one another and the relationship was most often that of relay.Ovo se istraživanje prvenstveno bavi strateškim konstruiranjem značenja engleskih fraznih glagola sa satelitom down. Točnije, zanimale su nas strategije hrvatskih studenata za strateško konstruiranje značenja fraznih glagola. Studenti su analizirali dane glagole kroz dva načina izražaja – tekstom i slikovnim prikazom. Jednostavnije rečeno, istraživale su se strategije u njihovim pismenim i slikovnim odgovorima. Nadalje, važan je dio istraživanja činilo pitanje o mogućim razlikama u strategijama koje su korištene u tekstu i onima u slikovnim prikazima. Također, promatrala se moguća veza između teksta i slikovnih prikaza. Istraživanje je pokazalo da je tekstualni prikaz uglavnom bio topološki i kompozicijski određen, dok se u crtežima većinom radilo o parafraziranju. Stoga, zaključeno je da su se strategije koje su studenti koristili u tekstu razlikovale od onih korištenih u slikovnim prikazima. Analizom veze između teksta i slika došli smo do zaključka da su sudionici većinom uspostavili vezu između ova dva načina izražaja, a da se odnos teksta i crteža u istraživanju uglavnom može objasniti relejnom funkcijom
Vision Quest
No full textVizijsko putovanje u užem specijaliziranom značenju predstavlja ritual prijelaza prisutan u kulturama američkih domorodačkih naroda. Istovremeno u širem kontekstu označava i šamanističku ekstatičku tehniku prisutnu u brojnim kulturama s šamanističkim obilježjima. Da bi se razjasnila razlika između šamanističkog ekstatičkog obreda i društvenog obreda prijelaza, te potom objasnio društveni i povijesni kontekst vizijskih putovanja potrebno je uspostaviti i analizirati terminologiju i fenomenologiju šamanizma. Opširnije su opisani rituali i tehnike svjetskih šamanističkih tradicija u svrhu lakšeg razumijevanja centralne teme i uloge šamana u duhovnom životu, te razjašnjeni pojmovi rituala, transa i društveni značaj snova i vizija. Završno se obrađuje i analizira traganje za vizijom u kontekstu sjevernoameričkih domorodaca kod kojih dominira praksa potrage za vizijom u fazi prelaska iz djetinstva u odraslu dob. Pri tome se detaljno predstavlja tradicija u kulturama naroda Dane-zaa, Nez Percé i Lakota Sioux. Sagledavaju se sličnosti i razlike ovog fenomena kroz predaje ovih naroda, značenje vizijskog putovanja za pojedinca i zajednicu te utjecaj vizijskog putovanja na ulogu pojedinca u društvenom poretku i stvaranju zajedničkog duhovnog narativa.Vision quest understood sensu stricto represents a rite of passage widely present among the native peoples of North America. Simultaneously taken broadly it also signifies a shamanic ecstatic technique found in significant number of cultures with shamanic religious elements. To elucidate on the difference between vision quest as a shamanic ecstatic rite and a social rite of passage to further clarify the social and historical context of the vision quest, it is necessary to establish and analise the terminology and phenomenology of shamanism. The rituals and techniques of shamanic traditions are described in detail for the purpose of better understanding of the central theme and the role of the shaman in the spiritual life, while the concepts of the ritual, trance and the social importance of the dreams and visions are further elaborated upon. Lastly the search for a vision as found among Native Americans is examined, where it represents the juncture between childhood and adulthood. Furthermore, the traditions of Dane-zaa, Nez Percé and Lakota Sioux cultures are comprehensively presented. The instances of this phenomenon are evaluated for similarities and differences through the comparison of cultural accounts, meaning of the rituals on an individual, group and societal levels, and the importance of the ritual for determining social roles and creation of the common spiritual narratives.La quête de la vision comprise sensu stricto représente un rite de passage largement présent chez les peuples autochtones d'Amérique du Nord. Dans le même temps, il s'agit d'une technique chamanique extatique que l'on trouve dans un grand nombre de cultures avec des éléments religieux chamaniques. Pour élucider la différence entre la quête de vision en tant que rite chamanique extatique et un rite de passage social afin de clarifier davantage le contexte social et historique de la quête de vision, il est nécessaire d'établir et d'analyser la terminologie et la phénoménologie du chamanisme. Les rituels et techniques des traditions chamaniques sont décrits en détail afin de mieux comprendre le thème central et le rôle du chaman dans la vie spirituelle, tandis que les concepts du rituel, de la transe et de l'importance sociale des rêves et des visions sont développés davantage. Enfin, la recherche d'une vision telle qu'on la trouve chez les Amérindiens d'Amérique est examinée, où elle représente la jonction entre l'enfance et l'âge adulte. De plus, les traditions des cultures Dane-zaa, Nez Percé et Sioux Lakota sont présentées de façon exhaustive. Les instances de ce phénomène sont évaluées pour leurs similitudes et leurs différences par la comparaison des récits culturels, de la signification des rituels aux niveaux individuel, collectif et sociétal, et de l'importance du rituel pour déterminer les rôles sociaux et la création des récits spirituels communs
Tranzitivizacija u mađarskom jeziku
No full textDiplomamunkám célja az volt, hogy megviszgáljam a tranzitivizálodás szerepét a mai magyar nyelvben. A tranzitívizálodas fogalma azok a nyelvi folyamatok számít bele, amelyen keresztül az intranzitív ige tranzitív igévé válik. Három ilyen folyamatot ismerünk: a szóképzést, az igekötozést és az igei argumentumstruktura bővítését.
Ennek érdekében kétnyelvu korpuszt hoztunk létre magyar tranzitív igékbol és ennek az igéknek megfelelo horvát változatokból. Az egyik legfontosabb kriterium az volt, hogy a korpuszban mai magyar nyelv szerepel. Ezért kutatóanyagunkként Kiss Gy. Csaba Budapest - Zágráb oda-vissza irodalmi esszé gyujteményét választuk ki.
Az igéket eloször az eredeti magyar szövegbol szedtük ki, és utána a horvát változatokkal összehasonlították. Figyelembe vettük a morfológiai és szintaktikai különbségeket a magyar és a horvát igék között, valamint a hasonlóságokat is.
A diplomamunkám két részbol áll: az elso az elméleti bevezetés az igei morfoszintaxisba és a kortárs kutatásokba arról a témáról. A második pedig a korpusz bemutatása és vizsgálata.
A magyar igéket néhány kritérium szerint megoszthatjuk és megvizsgáljuk több kiegeszítő szempontból: 1. az igenemek (aktív igék, mediális igék, műveltető igék, visszaható igék, szenvedő igék), 2. a tranzitívitás (tárgyas/tárgyatlan igék), 3. az ige vonzata.
Több magyar és külföldi nyelvész munkájára hivatkoztunk. Azok közül a legfontosabb Szili Katalin (aki viszont erősen hivatkozott Hopper és Thompson munkájára), Baboss R. Ernő és Bene Annamária.
A korpusz 117 példányt (angolul token-t) tartalmaz. Figyelembe vettünk minden aktív igét és az igéből létrehozott szófajat (főnévi igenév, határozószó, melléknévi igenevek). Ezeket a szavakat négy csoportra osztottuk, eszerint, melyik tranzitivizálodási folyamat köszönhetően létrejöttek.
Kiderült, hogy az igék legjelentősebb része szóképzésen keresztül jött létre. Ebben a csoportban összesen 60 példány van. Kilenc különböző képzőt említettünk. Ezekből négy nem produktívak a mai magyar nyelvben (−ál, −det, −ol, −oz). A leggyakrabban kitűnő képzők ebben a csoportban az –ít és a –tat/−tet képzők.
A második csoportban (az igekötözésen keresztül alkotott igék) összesen 18 példány van . Nem vártunk el, hogy annyira jellegzetes a különbség ez a két csoport között. A harmadik (az argumentumstruktura bővítésén keresztül létrehozott igék) és a negyedik (a többi ige) csoportban olyan igealakok vannak, amelyek nem tudtunk egyértelmű kritériumok szerint csoportosítani. Ezért az itt megtalált eredmények talán a legérdekesebb.
Az argumentumstruktura bővítésén keresztül létrehozott igékre jelentős az, hogy sok esetben a maga visszaható névmás az, ami tárgyassá teszi az igét, vagy még többen megerősíti a tárgy szerepét (olyan esetekben, amikor az ige már tranzitív).
A negyedik csoportban olyan igék kerülnek elő, amelynek nincs igekötő nélküli formájuk
Sculptoral works by Antonio Michelazzi and Sebastiano Petruzzi in Zagreb
No full textZagrebačka katedrala je tokom XVIII. stoljeća opremana mramornim oltarima, a među njima se nalaze i oni čiji su autori bili dvojica kipara iz Rijeke – Antonio Michelazzi i Sebastiano Petruzzi. Michelazzijev ugovor za izgradnju kapele i oltara sv. Jurja u zagrebačkoj katedrali označava početak suradnje između kaptolskih naručitelja i riječkih majstora. Njegova je radionica zaslužna za prenošenje suvremenih venecijanskih altarističkih rješenja na naše prostore. Obnova katedrale koja je uslijedila nakon potresa 1880. godine značila je i premještaj oltara u Župnu crkvu bl. Augustina Kažotića u Lupoglav kraj Dugog Sela gdje se i danas nalazi. Nakon Michelazzijeve smrti, Sebastiano Petruzzi sa svojom radionicom nastavlja suradnju sa zagrebačkim naručiteljima pa je tako izradio oltar sv. Jeronima, oltar sv. Franje Serafijskoga, oltar sv. Ivana Nepomuka, oltar Marije Pomoćnice, a pripisuje mu se i kip anđela na propovjedaonici u crkvi sv. Marije na Dolcu. Svaki od tih oltara izrađen je od kombinacije raznobojnih mramora, a Petruzzijev je stil karakteriziran kombinacijom baroknih, klasicističkih i rokoko elemenata
Castles of the Pazin County: problems of preservation and presentation
No full textProučavanjem literature, povijesnih izvora i istraživanjem na terenu ovaj diplomski rad donosi uvid u srednjovjekovnu fortifikacijsku arhitekturu na području kontinentalne Istre pod vlašću Habsburgovaca te prati njihovu povijest i odnos prema njima kroz srednji i rani novi vijek. U prvom
dijelu rada su posredstvom odgovarajućih primjera prikazani elementi fortifikacijske arhitekture koji se pojavljuju na području istarskog poluotoka. Prvi dio donosi uvod u političke i povijesne prilike kontinentalne Istre, tzv. Pazinske knežije čime se razjašnjavaju okolnosti u kojima je nastala arhitektura kaštela. Drugi dio rada obrađuje kaštele na području središnje Istre s posebnim naglaskom na njihovu tipologiju, urbanu strukturu i odnose s okolnim naseljima i podgrađima. Primjerima ukazuje na neke konkretne posebnosti nastale zbog različitih okolonosti, ali i na
dosljednosti u praćenju fortifikacijske arhitekture u drugim dijelovima kontinetalne Hrvatske. Posljednji, treći dio rada, istražuje probleme u očuvanju kaštela u Istri. Osim tijeka njihova propadanja propitkuju se i razlozi zbog kojih je došlo do njihove ruševnosti. Rad se dotiče i zaštite
kaštela kao graditeljske baštine za koju u 20. i 21. stoljeću dolazi do pojačanog zanimanja lokalne
zajednice iz čega su proizašli poticaji za konzervatorsko-restauratorskim intervencijama na njima.By studying literature, historical sources and doing field research this master’s thesis introduces the medieval fortification architecture in the area of inner Istria under the rule of the Habsburgs and follows their (castles) history through the Medieval and Early modern period . In the first part of the work, through the corresponding examples, the elements of fortification architecture which appears in the area of the Istrian peninsula are shown. The first part brings an introduction to the political
and historical circumstances of continental Istria, the so-called Pazin County, which clarifies the
circumstances in which the castle architecture was created. The second part deals with castles of central Istria with special emphasis on their typology, urban structure and relations with surrounding settlements and suburbs. The examples point to some specific peculiarities due to the different surroundings but also to the consistency in the monitoring of the fortification architecture in other parts of continental Croatia. The last, third part of the paper, explores the problems in the preservation of the castles in Istria. The work is concerned with the protection of the castles as an architectural heritage for which the local community has gained a strong interest in the 20th and
21st centuries, resulting in incentives for conservation and restoration interventions on them
Critical regionalism in the works of architect Julije De Luca
No full textPrimarna ideja ovoga rada nije prolaziti kroz cjelokupni opus arhitekta Julija de Luce, u smislu pukog nabrajanja, niti sortirati njegova realizirana arhitektonska djela u određene skupine i klasifikacije; to je već učinjeno. Glavni fokus i bit ovog istraživanja djela su spomenutog arhitekta koja su nastala u duhu takozvanog „kritičkog regionalizma“, kao i samo preispitivanje i razmatranje toga pojma. Koje su to odrednice koje jedan prostorni entitet treba ispuniti da bi pripadao u kategoriju kritičkog regionalizma? Predstavlja li kritički regionalizam jedan novi aspekt po pitanju stila, naslijeđeni izričaj ili možda revolt i negaciju internacionalne pomame za geometrijskom pravilnošću koja je dominirala tijekom 50-ih i 60-ih godina 20. stoljeća? Pitanja poput ovih samo su početak istraživanja misli koja je i na području istočne Jadranske obale ostvarila svoju prisutnost. Također treba napomenuti da se u literaturi pojavljuje i pojam „ novi regionalizam“, što dovodi do pitanja u kakvom su odnosu navedena dva regionalizma. Jesu li oni u međusobnoj suprotnosti i negiraju se ili su jednostavno dva različita naziva koji stoje iza istog razmišljanja? Rasprava o značenju pojma „kritički regionalizam“ i njegovim postulatima kreće od temelja koje je postavio britanski arhitekt i kritičar Kenneth Frampton u svojoj knjizi Moderna arhitektura: Kritička povijest te se u nastavku nadopunjuje i nadovezuje razmišljanjima hrvatskog povjesničara umjetnosti Milana Preloga i kritičarke Antoanete Pasinović. Ovo troje istraživača i njihova razmatranja čine bazu od koje se polazi u daljnje razmatranje i moguću nadgradnju onoga što se smatra pojmom kritičkog regionalizma. Nakon definiranja pojma i njegova odnosa prema internacionalnom modernističkom stilu, kreće se s traženjem potrebnih elemenata koji potvrdno odgovaraju zahtjevima spomenutog umjetničkog izraza. Upravo iz tog razloga, obujam djela o kojima će biti govora u ovome radu smanjen je, odnosno sažet, na određeni broj sukladnih primjera. Osim već spomenutih ciljeva, poseban je fokus stavljen i na povijesni, ekonomski i geografski kontekst koji paralelno prati i vrši utjecaj na samo formiranje kako stvaralačke ideje tako i samog arhitekta.
Turistički procvat koji je zahvatio Jadransku obalu tijekom 60-ih i 70-ih godina 20. stoljeća pokrenuo je proces masovne izgradnje duž cijele istočne obale Jadrana. Regionalni planovi koji su uključivali modernizaciju zapuštenih i prometno slabo povezanih dijelova obale, poput Plana Južni Jadran, stvorili su nužne preduvjete za daljnje planiranje turističke arhitekture. Dok je arhitektonska struka pružala najbolje moguće odgovore na tražene norme i pokušavala zadovoljiti apetit turističke izgradnje, kritički se regionalizam suptilno pojavio i smjestio među mnogobrojnim primjerima gigantske hotelske arhitekture.
Realizacije poput hotela Neptun pokraj Poreča ili hotela International na otoku Rabu predstavljaju interpolacije moderne arhitekture koje neprimjetno popunjavaju vizure starih gradova. One su duh modernizma i nove gradnje, ali istovremeno nastavljaju i održavaju kontinuitet određene sredine. U primjeru iz Vinkovaca, u poslovno-trgovačkom centru, De Luca pokazuje kako se kritički regionalizam drugačije manifestira u prostoru. Za razliku od ostalih spomenutih primjera, koji se nalaze na obali istočnoga Jadrana ili otocima, ovaj se primjer gradi na slavonskoj ravnici u nešto drugačijem scenariju.The primary idea of this work is not to go through the overall work of the architect Julius de Luca in terms of mere enumeration, nor sorting his executed architectural works into certain groups and classifications; this has already been done. The main focus and essence of this research is related to the works of the aforementioned architect which have arisen in the spirit of the so-called "critical regionalism", as well as the review and consideration of this same concept. What are the determinants that one spatial entity should fulfill to fall into the category of critical regionalism? Does critical regionalism present a new aspect in terms of style, legacy, or perhaps a revolt and negation of the international craze for geometrical rule that dominated during the 50’s and 60’s of the 20th century? Questions such as these are just the beginning of a research of thought which has also made its presence in the eastern Adriatic coast. Furthermore, it should be noted that literature also mentions the term "new regionalism", which leads to the question of relationship between the two regionalisms. Are they in mutual opposition and negation, or are they simply two different terms that stand behind the same thinking? The discussion about the notion of critical regionalism and its postulates begins from the basic foundations laid out by the British architect Kenneth Frampton in his book Modern Architecture: Critical History, and is further complemented by the thoughts of the Croatian art historian Milán Prelog and critic Antoaneta Pasinovic. These three researchers and their premises make up the basis for my further consideration and possible upgrading of what is regarded under the concept of critical regionalism. After defining the concept and its relationship to an international modernist style, we start to look for the necessary elements that are in line with the requirements of the mentioned artistic expression. For this very reason, the volume of works that are mentioned in this paper is reduced, or rather summarized to a certain number of conforming examples. In addition to the above-mentioned goals, a special focus has been placed on the historical, economic and geographic context that parallels and influences the formation of both the creative ideas and the architect himself. The touristic flourishing of the Adriatic coast during the 60’s and 70’s of the 20th century has initiated a process of mass construction along the entire eastern Adriatic coast. Regional plans involving the modernization of neglected and poorly-connected coastal parts, such as the South Adriatic Plan, have provided the necessary preconditions for further planning of tourism architecture. While the architectural profession provided the best possible answers to the required norms and tried to satisfy the appetite of tourist constructions, critical regionalism, subtly, appeared and settled among the many examples of gigantic hotel architecture. Realizations like the hotel Neptun near Poreč or Hotel International on the island of Rab represent interpolations of modern architecture, which subtly fill out the old cities. They represent the spirit of modernism and new construction, but at the same time continue and maintain the continuity of a certain ambience. In the example from Vinkovci, a business and shopping center, De Luca displays how critical regionalism manifests itself differently in space. Unlike other examples mentioned on the coast of the eastern Adriatic or Isles, this example is built on the Slavonian plain in a somewhat different scenario
Semantic analysis of spatial prepositions in standard Italian
No full textU ovom se radu istražuje prostorno značenje onih članova prijedložnog sustava u
standardnom talijanskom koji svoja primarna značenja ostvaruju upravo u domeni prostora.
Istraživanje je provedeno unutar kognitivnolingvističkog teorijskog okvira, pri čemu je
Vandeloiseov (1986, 1991) funkcionalni pristup prostornim prijedlozima u francuskom jeziku
korišten kao osnova za teorijsko-metodološki model kojim je provedena semantička analiza
talijanskih prostornih prijedloga.
U radu su kritički razmotreni pristupi prostornim prijedlozima općenito, a njihova je
ukupnost podijeljena u dvije stupnjevito ustrojene kategorije: (i) 'dominantno prostorne' i
(ii) 'funkcionalno-prostorne'. Kritički su prikazane i najvažnije semantičke studije posvećene
talijanskim (prostornim) prijedlozima kako bi se stekao uvid u dosadašnja postignuća na
ovom području (Devoto 1940, Parisi i Castelfranchi 1970, Crisari 1971, Weinrich 1978a,
Pennacchietti 2006). Osim spomenutih semantičkih studija, proučen je doprinos talijanske
gramatikografije (1951.-2016.) ovom području te su podjelom svih analiziranih izdanja po
kriteriju obrade kategorije prijedloga (tradicionalistički, sintaktički i Schwarzeov smjer
talijanske gramatikografije) izvedeni zaključci o načinima definiranja članova ove kategorije,
njihovim klasifikacijama i načinima značenjske raščlambe.
Spoznaje do kojih se došlo kritičkim razmatranjem međunarodne i talijanske
literature relevantne za predmet ovoga rada iskorištene su u razradi teorijsko-metodološkog
modela. Pokusnom primjenom radikalno polisemijskog pristupa na jedan dio
prostornoznačenjske strukture prijedloga su potvrđena je potreba za uspostavom jasnih
kriterija kojima se mogu međusobno razgraničiti različita prostorna značenja istog prijedloga i
definirati ono primarno. Kao kriterij za utvrđivanje odjelitog prostornog značenja prihvaćen je
kriterij različitog prostornog odnosa između trajektora i orijentira prema 'modelu dosljedne
polisemije' (Tyler i Evans 2003). Međutim, bilo je nužno jasno definirati što se može odrediti
kao razlika u prostornom odnosu, pa su s tim ciljem teorijski razmotreni i međusobno
razgraničeni pojmovi 'prostornoga' i 'funkcionalnog' u značenju prijedloga. Sagledani su
čimbenici dinamike sila i naposljetku je izdvojen raspored trajektora i orijentira u odnosu na
osi trodimenzijskog koordinatnog sustava kao pokazatelj različitog prostornog odnosa. Kao
kriterij za definiranje primarnog značenja određen je stupanj kompleksnosti pojma koji ga
određuje. Nadalje, izrađen je prijedlog simboličkog prikaza (kompleksnih) pojmova koji
određuju prostorna značenja prijedloga i on je primijenjen na konkretne elemente obuhvaćene
analizom. Teorijski su sagledani paradigmatski odnosi među prijedlozima, a posebna je pozornost posvećena problemu prijedložne antonimije. Zaključak da se primjenom
Pennacchiettijeve (2006) varijable '(retro)aplikativnosti' može utvrditi prijedložna antonimija
omogućio je utvrđivanje homonimije u slučaju oblika da.
Provedeno istraživanje je uporabno utemeljeno, a korišten je korpus pisanog
talijanskog jezika CORIS/CODIS Sveučilišta u Bologni. Korpusna je analiza u ovom radu
kvalitativnog karaktera, pri čemu je važnu ulogu imala sustavna introspekcija istraživača
poduprta sudovima izvornih govornika.
Istraživanjem je obuhvaćeno ukupno dvadeset i dva prijedloga i prijedložna izraza:
su, sopra, sotto, al di sopra, al di sotto, davanti (a), dietro (a/di), di fronte a, alle spalle di,
dirimpetto a, a destra di, a sinistra di, di/a fianco a/di, vicino a, lontano da, accanto a, in,
dentro (a/di), fuori (di/da), a, da1
i da2
. Za sve su navedene prijedloge i prijedložne izraze
izrađena uporabna pravila koja su u nekim slučajevima popraćena ograničenjima izbora, a
svakom je uporabnom pravilu pridružen simbolički prikaz složene strukture pojma koji
određuje prostorno značenje. Svaka značenjska varijanta se prikazuje analognim simboličkim
prikazom, čime se ukazuje na nepostojanje stvarnog dispariteta između pojmovne i leksičke
polisemije.
Kompleksna struktura pojmova koji određuju prostorna značenja prijedloga
obuhvaća funkcionalne i prostorne značenjske odrednice. Njihova je struktura posljedica
čovjekovog utjelovljenog iskustva i enciklopedijskog znanja (Žic Fuchs 1991, 2009), a
holistički karakter takvih snopova različitih osobina ustrojenih prema načelu obiteljskih
sličnosti omogućuje govornicima korištenje istog oblika za kodiranje izazito širokog raspona
srodnih, ali ne potpuno jednakih prostornih odnosa.The main objective of this dissertation is to provide a cognitively plausible and
usage-based semantic analysis of spatial prepositions in standard Italian. This study of
prepositions was carried out within the cognitive linguistic framework.
In order to find the most convenient theoretical and methodological model to be
employed in this research it was necessary to take into consideration various approaches to
spatial prepositions in general, beyond the realm of Italian semantic literature, which is
comparatively scarce in terms of systematic research on prepositional meaning. Therefore,
various approaches to the semantics of spatial prepositions at the international level were
critically appraised and as a consequence a thorough critical account of their main features,
advantages and disadvantages was provided. Namely, chapter 2 is dedicated to a brief
historical overview of the development of semantic research on prepositions, including some
recent contribution to this field. The totality of all approaches was divided into two main
categories: (i) 'dominantly spatial' (geometrical and logical) approaches and (ii) 'functionalspatial'
(functional) approaches. Within the first category, apart from radically spatial
approaches, special attention was given to Annette Herskovits and her semantic analysis of
English prepositions (1986) as well as to the further elaboration of her model by Di Tomaso
(1996). On the other hand, Claude Vandeloise was recognised as a true founder and the main
representative of 'functional-spatial' approaches in general. His approach to the semantics of
French spatial prepositions (1986) was estimated as the most suitable model for the analysis
of spatial prepositions. At the heart of Vandeloise’s approach is his refusal to acknowledge
the validity of geometry and logic as the disciplines to rely on when describing the spatial
relations as they are conceptualised by speakers and consequently encoded. Vandeloise opted
for an anthropocentric view that hinges on the encyclopaedic knowledge and embodied
experience of the speaker. The usage rules Vandeloise (1986, 1991) proposed for the French
prepositions are based on the predominantly (but not exclusively) functional concepts:
localization, concepts of naive physics such as the vertical axis, the bearer / burden relation,
container / contained relation, physical accessibility and accessibility to perception, potential
encounter, and general and lateral orientation.
Chapter 3 is entirely devoted to five semantic studies of Italian prepositions that were
evaluated as having the greatest impact on the field’s advancement (Devoto 1940, Parisi and
Castelfranchi 1970, Crisari 1971, Weinrich 1978a and Pennacchietti 2006). Through a critical appraisal of their methodologies, some language-specific notions related to the Italian
prepositional system were gathered. The most valuable contribution to the theoretical and
methodological model of this study is Pennacchietti's distinction of applicative and
retroapplicative prepositions. This variable was subsequently used as a tool to establish
prepositional antonymy in this research, which made it possible to distinguish polysemy from
homonymy.
Chapter 4 deals with the category of prepositions in Italian grammar books. In point
of fact, the influence of semantic analyses proposed by grammarians is extremely strong, and
due to the lack of extensive semantic literature on prepositions these accounts of the category
in question represent very valuable sources for the semantic research of prepositional
meanings. Sixteen Italian grammar books are encompassed by this analysis: Battaglia i
Pernicone (1977 [1951]), Regula i Jernej (1975 [1965]), Lepschy i Lepschy (1981), Dardano i
Trifone (1985 [1983]), Rizzi (1988), Castelvecchi (Serianni) (1988), Sensini (1997), Andorno
(2003), Salvi i Vanelli (2004), Patota (2006), Trifone i Palermo (2007), Schwarze (2009) and
Ferrari i Zampese (2016). According to the criterion of the approach to prepositions three
main directions within Italian grammaticography were identified: (i) ‘traditionalist’, (ii)
‘syntactic’ and (iii) ‘Schwarze’s approach’. The main patterns of classification and semantic
analysis of prepositions were viewed and assessed. Christoph Schwarze's dual (both formal
and functional) classification was evaluated as the most original and valuable of all due to the
German author's independence from the Italian traditionalist patterns of classifying
prepositions. It is the first attempt to provide a classification of Italian prepositions based on
the semantic (not only formal) criteria and to incorporate relevant notions generated within
the cognitive linguistic framework in the semantic description of Italian prepositions.
In terms of theory and methodology the crucial part of the dissertation is chapter 5.
In this part Vandeloise's model was re-examined and a number of theoretical questions were
answered. With the aim of verifying what kind of approach to prepositional polysemy should
be adopted – ‘lumping’ or ‘splitting’ in Taylor’s terminology (2012), an experimental radical
polysemy analysis was conducted on one segment of the semantic structure of the preposition
su. Consequently, a need for establishing principled criteria for discerning distinct spatial
meanings for each preposition under investigation emerged. For this reason, the criteria
proposed by Tyler and Evans (2003) within their ‘Principled Polysemy Model’ were adopted.
However, the notion of ‘a spatial configuration holding between the trajector and the
landmark which is distinct from the other senses conventionally associated with that
preposition’ required further clarification. As a result of the ensuing discussion on the ‘spatial’ and the ‘functional’ in the meaning of spatial prepositions, in which the factors of
force dynamics were regarded, a different position of the trajector and the landmark with
respect to the axes of the three-dimensional system was defined as the criterion for
establishing a distinct sense within the domain of space. Furthermore, the question of defining
the primary meaning was considered. The criterion of the converging linguistic evidence as
proposed by Tyler and Evans (2003) was tested on two Italian prepositions (su and sopra) and
was judged as not fully viable. Therefore, the criterion for determining the primary sense of
spatial prepositions was found in the level of complexity of the concepts that are used as
primitives in the formulation of usage rules for each preposition.
In this chapter, a method of symbolic representation of the (complex) concepts was
developed and proposed. The figure of an octopus was chosen to represent the complexity of
prepositional meaning, and its tentacles as symbols of active or non-active features pertaining
to the concept. In this way the attribution of cognitive value to the graphic representation,
which often occurs with network models, is supposed to be avoided.
In the last part of chapter 5, paradigmatic relations between prepositions were
considered, with special attention to the problem of prepositional antonymy. The very concept
of antonymy in general was discussed, as well as specifically prepositional antonymy (from
both the structuralist and post-structuralist perspective). The implementation of
Pennacchietti’s variable of (retro)applicativity was advocated and proposed instead of a
corpus-based methodology.
In chapters 6-12 the theoretical and methodological model that resulted from the
theoretical discussion and empirical verification in chapter 5 was put into practise and used
for the purpose of analysing the spatial meanings of the following prepositions: su, sopra,
sotto, al di sopra, al di sotto (Chapter 6), davanti (a), dietro (a/di), di fronte a, alle spalle di,
dirimpetto a (Chapter 7), a destra di, a sinistra di, di/a fianco a/di (Chapter 8), vicino a,
lontano da, accanto a (Chapter 9), in, dentro (a/di), fuori (di/da) (Chapter 10), a (Chapter 11)
and da1
and da2
(Chapter 12). As it can be deduced, the chapters are organised in terms of the
semantic criteria, namely the (complex) concepts that determine the spatial meanings of the
prepositions. For all prepositions usage rules were proposed (with or without selection
restrictions). The usage rules and selection restrictions were formulated with a view of
covering all the prepositional uses verified in the examples taken from the University of
Bologna’s corpus of written Italian CORIS/CODIS. The analysis showed that su and sopra
are double near-synonyms as they are bisemic in the same way in the domain of space. The prepositional hyperonymy-hyponymy relationship was recognized for some pairs of nearsynonyms,
e.g. davanti a – di fronte a; dietro (a/di) – alle spalle di, in – dentro (a/di). The
only case where homonymy instead of polysemy was proved was in the case of da (da1
and
da2
).
The main conclusion of the empirical analysis and the overall theoretical research
boils down to the idea that the only way to account for prepositional meanings that often
diversify even within the domain of space is by postulating complex concepts that consist of
functional and spatial components that are organised according to Wittgenstein’s principle of
family resemblances. The pre-linguistic and holistic nature of these concepts allows speakers
to use prepositions for encoding a wide array of spatial relations. The structure of the concept
that determines the meaning is available as a whole even in situations where not all
components are activated. It is presumed that the functional nature (which implies
inclusiveness based on associative links between individual features) of most of the
components allows them to be arranged in clusters and exist in the speaker’s mental lexicon
as wholes and not as individual distinct meanings. It is pragmatics, i.e. the speakers’
knowledge of the world and space (Žic Fuchs 1991, 1991/1992, 1997, 2009), that makes the
use of such a limited group of lexemes an effective means for encoding the immense
complexity of spatial relations
E-učenje likovne umjetnosti: analiza alata za učenje likovne umjetnosti i moguća primjena tih alata u nastavi informatike
No full textRazvoj tehnologije i njena široka uporaba je doprinijela i razvoju alata za elektroničko učenje koji se danas primjenjuju u raznim područjima, a njihova količina i kvaliteta svakih danom sve više rastu. Kako likovna umjetnost može biti izazov za učenje jer sadrži mnogo imena, godina i razdoblja poput povijesti, cilj ovog rada je dati pregled web stranica, mobilnih aplikacija i igara koje nam olakšavaju učenje likovne umjetnosti. U analizi alata za učenje će biti naglasak na temama i područjima koja su obuhvaćena, dizajnu sučelja, uporabi multimedija, interaktivnosti i učinkovitosti. Nadalje, u kontekstu nastave informatike, često postoji korelacija s likovnom umjetnošću, no uglavnom u nastavnim jedinicama koje su direktno vezane uz određeni aspekt likovnog izražavanja, primjerice Paint. Iz tog razloga, analizirat će se mogu li se ti alati za učenje likovne umjetnosti primijeniti u nastavi informatike te predložiti na koji način