1,720,975 research outputs found
Stylistic analysis of the infantile narrator in children's and young adults fiction
No full textU ovom diplomskome radu analiziraju se tri romana suvremene hrvatske književnosti za mlade, odnosno: Zagrebačka priča Blanke Dovjak-Matković, Smogovci Hrvoja Hitreca i Mrvice iz dnevnog boravka Sanje Pilić. Teorijski dio rada pobliže objašnjava pojam pripovjedača, njegovu ulogu i značaj u narativnoj strukturi. Prvi dio rada temelji se na teorijskom okviru koji uključuje analize pripovjedača i narativnih tehnika, s posebnim naglaskom na različite vrste monologa i dijaloga. Analiza se temelji na proučavanju kako se pripovjedački glas i stil koriste za oblikovanje priče i karakterizaciju likova, kao i na istraživanju specifičnih narativnih tehnika koje autori koriste kako bi stvorili kompleksne i dinamične narative. Infantilni pripovjedači često odstupaju od gramatičkih normi, koriste kolokvijalne izraze te se oslanjaju na fantastične elemente i maštovitost, čime dodatno ističu dječju percepciju stvarnosti. Ovi romani, kroz svoju narativnu strukturu i stil, odražavaju socijalne, kulturne i psihološke aspekte života u Hrvatskoj 20. stoljeća, dok istovremeno zadržavaju univerzalnost tema koje govore o odrastanju, obiteljskim odnosima i društvenim izazovima. Kroz analizu ovih romana, cilj je bio oslikati kako različite narativne strategije utječu na prikazivanje tema, likova i odnosa u književnosti za mlade.In this thesis, three novels of contemporary Croatian children's and young adults literature are analyzed: Zagrebačka priča by Blanka Dovjak-Matković, Smogovci by Hrvoje Hitrec, and Mrvice iz dnevnog boravka by Sanja Pilić. The theoretical part of the work provides a detailed explanation of the narrator, their role, and significance in the narrative structure. The first part of the thesis is based on a theoretical framework that includes analyses of narrators and narrative techniques, with a particular focus on different types of monologues and dialogues. The analysis examines how the narrative voice and style are used to shape the story and characterize the characters, as well as exploring specific narrative techniques employed by the authors to create complex and dynamic narratives. Infantile narrators often deviate from grammatical norms, use colloquial expressions, and rely on fantastical elements and imagination, which further highlight the child’s perception of reality. These novels, through their narrative structure and style, reflect the social, cultural, and psychological aspects of life in 20th-century Croatia, while simultaneously addressing universal themes of growing up, family relationships, and societal challenges. Through the analysis of these novels, the aim is to depict how various narrative strategies influence the portrayal of themes, characters, and relationships in children's and young adults literature
Linguostylistic and rhetorical analysis of the poetry collection "Suhozidina" by Petar Gudelj
No full textU radu se proučava pjesništvo Petra Gudelja, hrvatskog pjesnika koji je u više od pedeset godina umjetničkog djelovanja stvorio jedinstven opus izuzetno prepoznatljiva stila i autentična izričaja kojemu u suvremenom akademskom okruženju dosad nije pridana zaslužena pažnja. Proučavanjem korpusa pjesničkih tekstova sadržanih u zbirci „Suhozidina“ (1974), koja je odabrana jer predstavlja vrhunac pjesnikova Gudeljeva rada na pjesničkom jeziku, a kojoj se u radu pristupa iz perspektive lingvističke stilistike i teorije stilskih figura, nastoje se identificirati, naznačiti i opisati jezični i stilski postupci kojima autor lapidarnim, izrazito ritmičnim izrazom tvori živopisan prikaz surovog sredozemnog prostora u jednakoj mjeri stvarnog i mitskog, kao i čovjeka bačenog u njega, prepuštenog na milost ili nemilost prirodi, vječno obilježenog pečatom predaka, ali i determiniranog teretom potomstva. Osvjetljavajući jezične i izvanjezične uvjete proizvodnje književnoga jezika, stilističkom metodom razotkriva se modus komunikacije teksta s čitateljem i učinak koji se njime u čitatelja postiže. Takav pristup naročito je prikladan za rad na poeziji Petra Gudelja, koja obiluje igrama riječi, elipsama, metaforama, apostrofama i drugim postupcima kojima je svrha privlačenje pažnje i poticanje na što veći čitateljski angažman.This paper analyzes the works of Croatian poet Petar Gudelj, who has, in a career spanning over five decades, developed a unique, distinctive style and authentic mode of expression that has not yet been the subject of considerable study in contemporary academic research. By examining the corpus of poetic writings gathered in the book "Suhozidina" (1974) — in which the author's lyrical language reaches its zenith — through the lens of linguistic stylistics and the theory of figures of speech, we aim to identify, indicate, and describe the linguistic and stylistic techniques with which Gudelj tersely and rhythmically depicts a cruel Mediterranean space in equal measure real and mythical. We also examine how he positions mankind cast into such a world, left at the mercy of nature, forever branded with the mark of ancestry and determined by the burden of posterity. By shedding light on the linguistic and extralinguistic conditions of the production of literary language, the stylistic method reveals how the text communicates with the reader and to which effect. Such an approach is especially suited for the poetry of Petar Gudelj, which abounds in wordplay, ellipsis, metaphor, apostrophe, and other figures of speech that draw attention to themselves and stimulate reader engagement
Istrian Identity at the End of the World War II: Analysis and Interpretation of Milan Rakovac's Novel "'Riva i druži ili, caco su nassa dizza"
No full textU radu se analizira i interpretira roman 'Riva i druži ili, caco su nassa dizza Milana Rakovca iz perspektive diskurzne stilistike. Problem konstrukcije identiteta uzima se kao središnji problem romana kojem se pristupa kroz koncepte polja diskurza, interdiskurzivnosti, citatnosti, dokumentarnosti te postmoderne teorije konstruiranja identiteta i odnosa zbilje i fikcije. U radu se pokazuje kako se u romanu destruiraju ideje binarno konstruiranih kolektivnih identiteta i konstruira fluidni identitet postmodernog subjekta romana kroz razne diskurzivne prakse.The paper analyzes and interprets the novel "'Riva i druži ili, caco su nassa dizza" by Milan Rakovac from the perspective of discourse stylistics. The problem of identity construction is taken as the central problem of the novel, which is approached through the concepts of the field of discourse, interdiscursivity, citation, documentary practices and postmodern theories of identity construction and the relationship between reality and fiction. The paper shows how the ideas of binary constructed collective identities are destroyed in the novel and the fluid identity of the postmodern subject of the novel is constructed through various discursive practices
Function of Phonostylistic Procedures in the Recent Croatian Poetry
No full textU ovom će se radu analizirati fonostilistički aspekti nekolicine izabranih pjesama autora novije hrvatske književnosti. Započet će se objašnjavanjem pojma "fonostilistika" i pojašnjavanjem važnosti odnosa zvuka i značenja na kojemu se zasniva te će se ponuditi pregled povijesti te tematike, od Platona do de Saussurea i Ballyja. U sljedećem dijelu podrobnije će se opisati fonostilistički elementi (asonanca, aliteracija, paralelizam, onomatopeja) ključni u fonostilističkim istraživanjima raznih autora. Navest će se hipoteze i rezultati istraživanja te uvesti pojam glasovnog simbolizma, odnosno, njegove postavke i eksperimentalno područje koje otvara. Prethodni je dio ujedno i uvod u središnji, fonostilističku analizu odabranih pjesama Anke Žagar, Josipa Severa i Ivana Rogića Nehajeva te autora najmlađe generacije — Anteja Jelenića, Neve Lukić i Petre Rosandić. Cilj je pokazati da se fonostilistika u pjesmama pretače i u najnovije doba i da su fonostilistički elementi prisutni u poeziji raznih autora s naglaskom na razdoblje od postmodernizma do današnjice. Analiza će se oslanjati na poetičke postupke glasovnog ponavljanja, paralelizma, eufonije i onomatopeje prisutne u navedenim pjesmama uz naglasak na važnosti fonostilističkih elemenata za tumačenje određene pjesme. Raznovrsnost primjera poslužit će za zaključke koji će se izvesti o fonostilističkim načelima koja su najprimjetnija upravo u poeziji te o fonostilistici navedenih hrvatskih pjesnika iz 20. i 21. stoljeća.This paper will analyze the phonostylistic aspects of several selected poems by recent and contemporary Croatian authors. It will begin by explaining the concept of phonostylistics and clarifying the importance of the relationship between sound and meaning, on which it is based, and will offer an overview of the history of the subject, from Plato to de Saussure and Bally. The next section will describe in detail the phonostylistic elements (assonance, alliteration, parallelism, onomatopoeia) crucial in the phonostylistic research of various authors. Hypotheses and research results will be presented, and the notion of sound symbolism will be introduced, that is, its settings and the experimental area it opens up. The previous part is also an introduction to the main part, the phonostylistic analysis of selected poems by Anka Žagar, Josip Sever and Ivan Rogić Nehajev and the authors of the youngest generation — Antej Jelenić, Neva Lukić and Petra Rosandić. The aim is to show that phonostylistics in poems is translated into recent times and that phonostylistic elements are present in the poetry of various authors with the emphasis on the period from postmodernism to the present. The analysis will rely on the poetic procedures of repetition of sounds, parallelism, euphony and onomatopoeia present in these poems with the emphasis on the importance of phonostylistic elements for the interpretation of a particular poem. The variety of examples will serve for the conclusions that will be drawn on the phonostylistic principles that are most noticeable in poetry and about the phonostylistics of the listed Croatian poets from the 20th and 21st century
Rythmicality as a Factor of Musicality in the Novel Ivan Galeb's Springs by Vladan Desnica
No full textRitmičnost kao glazbena odrednica romana Proljeća Ivana Galeba naslov je i teza ovoga rada. Služeći se lingvostilističkom pristupom, u radu se na različitim razinama teksta nastoji uočiti provođenje ritmičnosti teksta te ustanoviti koji su rezultati takva oblikovanja. Navode se i još neki postupci koji pridonose ritmizaciji te učvršćuju ono što je cijelim tekstom želi postići. U radu se dakle nastoji ustanoviti gdje se može prepoznati ono Desničino razumijevanje glazbe koje je, kako kaže, utjecalo na oblikovanje njegova romana.172 Budući da je sam Desnica naglasio kako mu je glazba bitna, u radu se roman nastoji promatrati kao rezultat nekog tipa intermedijalnog odnosa. Proučavajući principe oblikovanja svojstvene glazbi, nastoji se prepoznati kako se to očituje u tekstu, može li čitatelj prepoznati principe koji nisu svojstveni književnosti te koji su učinci takvoga teksta na čitatelja. Kroz cijelu analizu ponavlja se termin ritmičnosti, koji je shvaćen prvenstveno kao glazbena odrednica
The Adaptation of Novel Dark Mother Earth (Črna mati zemla)
No full textKomparativnom analizom propitivali smo odnos literarnog teksta i teksta adaptacije, odnosno načine transformacije romanesknog u dramski diskurz. Pritom smo na umu imali polazišnu tezu da su i roman i predstava narativni oblici te oba imaju mogućnost prenošenja, posredovanja priče, ali na drugačiji način s obzirom na različite medijske specifičnosti. Priča ili narativ tako se pokazala kao ona „izvanmedijska“ struktura, koja se prenosi u druge žanrove. Adaptacija iz literarnih u kazališne znakove događa se putem dramatizacije, koja uključuje jezične znakove (prenošenje pripovjednih dijelova u verbalne znakove, tj. govor likova, dijalogizacija onih dijelova koje u narativnom tekstu posreduje pripovjedač), glumce i pripadajuće kinezičke znakove (mimički, gestički, proksemički znakovi), (ra)stvaranje fikcionalnog svijeta znakovima prostora (scenografija, rekviziti, kostim). Iako se adaptaciju često kritizira kao manje vrijednu, kao „izdaju originala“, tekst adaptacije uvijek treba promatrati kao novi tekst, s vlastitim integritetom. U takvu obliku prijevoda mogući su i određeni gubici, koji se najviše odnose na prostorno-vremenske ograničenosti unutar kazališta i kraćenja fabule. Na sve to gledatelj mora pristati kazališne konvencije i percepcije radi, dok je u dijegezi čitateljeva imaginacija daleko slobodnija.This paper explores the relationship between literary texts and adaptation texts through a comparative analysis. More specifically, it studies how the novel can be transformed into a dramatic discourse. This paper is based on the postulate that both the novel and stage performance are narrative forms, and that they both convey a story – but in a different way, according to their differing media specificities. The basis for both, the „story“ (narrative), stands as an 'off-media' or 'transmedia' structure which can be translated across genres. The paper explores how the adaptation from literary to theatrical signs occurs. It looks at how it occurs through a dramatization involving linguistic signs (i.e. through the transfer of narrative parts into verbal signs: the speech of characters and turning the parts the narrator mediates in a narrative text into a dialogue), through actors and associated kinesic signs (mimic, gestural, and proxemic), and through the (re)creation of a fictional world with spatial signals (set design, props, and costumes). This paper also argues that, although adaptations are often criticized as less valuable and secondary, a certain „betrayal of the original“, adaptation texts should always be considered as an autonomous work and a new text with its own integrity. In this form of media-text translation, certain elements can be changed and lost. This is mostly associated with fabula reducing and space-time constraints within the theater. While the audience must conform to the theatrical conventions and perceptions, the reader's imagination is much more independent
Narrative models of Daša Drndić's prose
No full textPredmet ovog rada je prozni opus Daše Drndić, odnosno opis njegovih prepoznatljivih pripovjednih strategija. Prateći razvoj autorskog rukopisa od njegove najranije faze, preko zapaženijih romana devedesetih pa sve do znamenitih dvijetisućitih, nastojimo istaknuti značajke koje bi se mogle smatrati reprezentativnima za cjelokupni korpus. Polazišta su nam pri ocrtavanju komplementarnih tendencija pritom dokumentarno-autobiografska svojstva, izrazita formalna rješenja i sadržajna težišta. Ispitivanjem nadležnosti pripovjednih subjekata upućujemo na propusnost raznovrsnim tipovima izlaganja, a uzorke prepoznajemo u razmjernom jačanju dokumentarnih ambicija kojima historiografske obrasce podvrgavaju metafikcijskoj obradi. Kako bismo pokazali da je za pismo Daše Drndić nosivi princip diskontinuitet, posebnu pozornost posvećujemo unutartekstualnim i izvantekstualnim šavovima želeći pritom ukazati na njihove pojedinačne i ulančane učinke. Upućujemo stoga na mjesta kontinuiteta, obilate intertekstualne relacije te nastojimo skicirati složen metatekstualni lanac koji se uspostavlja među pripovjednim subjektima. Iz navedenih se aspekata nadamo locirati provodne niti njezinih romana, a na temelju njihova presijecanja i prepoznatljivih klizišta pokazati kako je riječ o dosljednome i relativno stabilnom romanesknom modelu.This paper focuses on the prose of Daša Drndić, more specifically on distinctive narrative strategies implemented throughout her body of work. By outlining the development of her writing, starting from its earliest stages, extending into better-known novels of the 1990s and finishing with her most notable works, those of the 2000s, we aim to highlight features that can be considered representative of her entire oeuvre. Our starting points for demonstrating these complementary narrative tendencies include documentary and autobiographical properties of the novels in question, their distinct formal solutions and preferred thematic focal points. From there, we expand into the question of narrative authority and point to a certain „permeability“ to various discourse types, identifying a proportional increase in documentary ambitions, usually by means of an extensive metafictional aggregate. In order to clearly underline discontinuity as a central principle of Drndić's writing, special attention is paid both to intratextual and extratextual seams, underlining both their individual interpretative impact and broader implications for the corpus. Additionally, we draw attention to moments of continuity and abundant intertextual contacts while aiming to trace the complex metatextual relationship of Drndić's narrators. With these insights, we hope to pinpoint typical narrative techniques, while convergence points and recognizable shifts will help reveal a consistent and relatively stable narrative model
Narrative models of Daša Drndić's prose
No full textPredmet ovog rada je prozni opus Daše Drndić, odnosno opis njegovih prepoznatljivih pripovjednih strategija. Prateći razvoj autorskog rukopisa od njegove najranije faze, preko zapaženijih romana devedesetih pa sve do znamenitih dvijetisućitih, nastojimo istaknuti značajke koje bi se mogle smatrati reprezentativnima za cjelokupni korpus. Polazišta su nam pri ocrtavanju komplementarnih tendencija pritom dokumentarno-autobiografska svojstva, izrazita formalna rješenja i sadržajna težišta. Ispitivanjem nadležnosti pripovjednih subjekata upućujemo na propusnost raznovrsnim tipovima izlaganja, a uzorke prepoznajemo u razmjernom jačanju dokumentarnih ambicija kojima historiografske obrasce podvrgavaju metafikcijskoj obradi. Kako bismo pokazali da je za pismo Daše Drndić nosivi princip diskontinuitet, posebnu pozornost posvećujemo unutartekstualnim i izvantekstualnim šavovima želeći pritom ukazati na njihove pojedinačne i ulančane učinke. Upućujemo stoga na mjesta kontinuiteta, obilate intertekstualne relacije te nastojimo skicirati složen metatekstualni lanac koji se uspostavlja među pripovjednim subjektima. Iz navedenih se aspekata nadamo locirati provodne niti njezinih romana, a na temelju njihova presijecanja i prepoznatljivih klizišta pokazati kako je riječ o dosljednome i relativno stabilnom romanesknom modelu.This paper focuses on the prose of Daša Drndić, more specifically on distinctive narrative strategies implemented throughout her body of work. By outlining the development of her writing, starting from its earliest stages, extending into better-known novels of the 1990s and finishing with her most notable works, those of the 2000s, we aim to highlight features that can be considered representative of her entire oeuvre. Our starting points for demonstrating these complementary narrative tendencies include documentary and autobiographical properties of the novels in question, their distinct formal solutions and preferred thematic focal points. From there, we expand into the question of narrative authority and point to a certain „permeability“ to various discourse types, identifying a proportional increase in documentary ambitions, usually by means of an extensive metafictional aggregate. In order to clearly underline discontinuity as a central principle of Drndić's writing, special attention is paid both to intratextual and extratextual seams, underlining both their individual interpretative impact and broader implications for the corpus. Additionally, we draw attention to moments of continuity and abundant intertextual contacts while aiming to trace the complex metatextual relationship of Drndić's narrators. With these insights, we hope to pinpoint typical narrative techniques, while convergence points and recognizable shifts will help reveal a consistent and relatively stable narrative model
A comparative analysis of swearing as an idiomatic phenomenon in Croatian and English
No full textGlavni fokus ovoga rada bit će odnos između dvaju jedinstvenih lingvističkih fenomena – psovanja i idiomatičnosti. Iako se njihova određenja mogu smatrati jednostavnima i samorazumljivima, bilo bi ih pogrešno shvatiti na taj način želimo li uspostaviti sustav u kojem ćemo ih nastojati kritički usporediti. Da bismo ih razumjeli bolje, pokušat ćemo redefinirati osnove principe na kojima navedeni fenomeni počivaju te izdvojiti ključne značajke, što će nam u konačnici omogućiti da uspostavimo glavni teorijski okvir. Kao što smo već natuknuli, najvažniji element metodologije ovoga rada bit će svakako komparativna analiza, koja će uzeti u obzir idiomatske karakteristike psovanja u hrvatskom i u engleskom. Taj komparativni pristup omogućit će nam da proniknemo u individualne razlike u konceptualizaciji i ostvarivanju psovki u navedena dva jezika. Nadalje, najvažniji cilj ovoga rada bit će konstruiranje teorijskog sistema koji će nam dati uvid u fenomen psovanja na univerzalnoj razini, unatoč tome što polazna točka istraživanja proizlazi iz konkretnih primjera u danim jezicima.The main focus of this paper is the relation between two unique linguistic phenomena – swearing and idiomaticity. Even though their respective definitions may seem simple and transparent, it would be a mistake to take them for granted if we want to establish a system in which we could be able to critically compare those two phenomena. In order to understand them better, we shall try to redefine their basic principles and extract the key characteristics, which will ultimately help us in the construction of the main theoretical framework. As we have already hinted, the most important element of our methodology will be the comparative analysis, which will primarily take into account the idiomatic characteristics in swearing in both English and Croatian. This comparative angle will mainly enable us to delve into the individual differences in the conceptualization and externalization of swearwords in the two afore-mentioned languages. However, the most important goal will be the formulation of a theoretical system which will allow us to understand swearing on a universal level, despite the fact that our starting point may be rooted in specific examples. One of the key theoretical tools in this paper will be the theory of lexical fields and its subsequent modifications. The
65
afore-mentioned theory is crucial as it introduces, among many other significant ideas, the distinction between lexical fields and conceptual fields. The former concept will be especially important, as it will allow us to delve deeper into the relation between single-word units and idioms. In this sense, discoveries regarding that relation will be applied to the study of swearwords as well. Another relevant linguistic theory that shall be examined in relation to swearwords is going to be Jakobson’s theory on the functions of language. The understanding of this issue is also connected to another major subject of our study – translation. In other words, the way swearwords are conceptualized is directly manifested in the discrepancy that can be observed in the translation of those words. This is the main reason why it is necessary to look further into the conceptualization, as it will help explain significant translation differences in English and Croatian when it comes to swearwords. Furthermore, this analysis also has practical use, as it is closely intertwined with new possibilities which aim to improve already existing methods in the translation of swearwords. Other than that, the paper will also try to situate the phenomenon of swearwords in terms of its linguistic position. That is, we shall try to utilise certain linguistic theories in order to see how the afore-mentioned phenomenon relates to them, especially when it comes the theory of speech act, since it is crucial to understand how swearwords impact the extralinguistic world. To do so, it is necessary to study mechanisms behind swearwords and their connection to idiomaticity as well as societal factors, such as norms and cultural peculiarities. These societal factors bring us to another important point in our discussion which is the impact that swearwords have when used, primarily their emotive potentials. Emotiveness and expressivity are key features when it comes to understanding swearwords, as they are often seen as the most prominent. The relation between those two traits of swearwords shall be re-examined and put into the theoretical frame of this paper. Moreover, these two features will also be the basis for yet another significant matter that will be discussed here – stylistics. The stylistics of swearwords is a complex and interesting topic as it covers a plethora of issues, ranging from the most common metaphor to the very unique occurrences specific to a particular language. The stylistic potential of swearing is also manifested in its private and public use, so a section of the paper shall extensively deal with swearwords as a rhetoric tool in order to show their effectiveness, as well as provide some appropriate examples. Finally, all these steps will allow us to reconsider swearwords in a new light and hopefully take a better look at their true nature
Prepjevi izabranih soneta Tottelova zbornika na hrvatski jezik
Full text linkTemeljni je cilj ovoga rada ponuditi vlastite prepjevne primjere dvaju soneta Tottelova zbornika – prve engleske pjesničke antologije izdane 1557. godine pod tada vrlo etabliranim imenom izdavača Richarda Tottela (1528–1593). U radu prepjevani soneti originalni su rukopisi dvojice engleskih renesansnih pjesnika – Henryja Howarda, grofa od Surreyja, te sir Thomasa Wyatta. Obojica pišu onime što će se kasnije zvati Elizabetinim, odnosno Shakespeareovim sonetom – a nastalim pod utjecajem talijanskoga humanista Francesca Petrarke i njegova Kanconijera. U radu se predstavljaju i razlikuju pojmovi prijevoda, prepjeva i adaptacije. Iznose se temeljni traduktološki problemi, s fokusom na prepjevne poteškoće i nezahvalnu poziciju u kojoj se prevoditelj nalazi – s prijenosom metra i stiha, sroka i drugih glasovnih podudaranja, teme i sadržaja, te drugih versifikacijskih elemenata. U radu se pobliže predstavljaju i temeljni versifikacijski sustavi i pojmovi, ali i književno-povijesne okolnosti u kojima Tottelov zbornik nastaje te se pokušava iznijeti važnost njegova utjecaja na englesku liriku i konzumaciju poezije u Engleskoj uopće. Konačno, ponuđeni prepjevi potkrjepljuju navedene teorijske smjernice za prepjevni proces
- …
