Papers on Philology Sciences (1976.-2002.)
The Symbolism and the Style of the Glagolithic Magical Ceremony of Purification
Having drawn attention to the importance of learning about Glagolithic writings and tales and to the need of correctly transliterating these texts particularly in the light of newer medical knowledge about the magical effects of words on illnesses and on the objective world at large, the author analyses an older transcription of the text of a Glagolithic ceremony of purification from curses dating from 15th century Vinodol. Taking as his aim the analysis of the symbolism and the style of the magical text and the final critical transliteration the author meticulously examines the possible problems and suspicions brought about by the language of the author of the old manuscript particularly those which are the result of damages suffered by the text. This procedure gave certain insights concerning the language and stylistic value of the text of the ceremony and the emphatic creativity of the writer/scribe which the author recognizes as characteristic for magic’s relationship to language.
Copyright (c) 2018 Radovi. Razdio filoloških znanosti
Pisac u ovome članku polazi sa stajališta, da je sve ono, što u jeziku i pismu pospješuje čovjekovo općenje s bivšim pokoljenjima i sa svojim suvremenicima (i što pospješuje proširivanje znanja o sebi i svijetu), zdravo; a da je ono naprotiv, što ta općenja i proširivanje znanja otežava, bolesno. Pošavši od toga, izlaže temeljne ustrojbene vrline i mane jezika i pisama različitih jezičnih zajednica cijelog svijeta. Glede dioništva u proširivanju ljudskog znanja i spoznaje o čovjeku i svijetu, pisac dijeli jezike na dvije grupe: na grupu jezika, koji raspolažu pismenom predajom, i na one, koji ne raspolažu takvom predajom. Za razliku od dosada predloženih gramatičkih podjela jezika, on predlaže podjelu na: 1. klasificirajuće, 2. izolirajuće, 3. flektirajuće. Treću grupu dijeli na tri podgrupe: a) aglutinirajuće jezike, b) jezike s unutarnjom fleksijom, c) one s vanjskom fleksijom. U narednome izlaganju pokazuje, zašto je njegova podjela bolja od dosada predloženih.
The Place of the Accent in Russian and in the Croatian “Čakavian” Variant (“Čakavian” Usage on the Middle Dalmatian Islands)
We investigated the place of the Russian and Čakavian accent in 407 pairs of nouns, and 451 pairs of verbs. The targeted material shows that 86,7% of the nouns have the accent in the same place in the N. sg. 89% of the verbs have the accent in the same place in the infinitive. We see a significant correspondence in the position of the accent. 60,7% of the nouns, which in N. sg. have the same place of the accent, retain the same place in other forms of singular and plural, while only 22% of the targeted verbs retain the same place as in the infinitive (we investigated the forms of the present tens, the past tense and the imperative). In both systems accent can change its place in other forms. Therefore it is possible for both systems to undergo the same changes (5% of the nouns, 6,2% of the verbs). In other cases we found a total discrepancy in the position of the accent (8 % of the nouns, 12,6% of the verbs), or a partial correspondence (21% of the nouns, 43% of the verbs). The accent changes place mostly in the present, while it mostly keeps the same place as in the infinitive in participle (past tense) and imperative . The movement of the accent in feminine form of the past tense, which can be found in monosyllabic verbs in russian, cannot be found in čakavian.
The Basic Dichotomies of Structural Linguistics and the Explanation of the Term "Emptiness" in Ronald Barthe's Empire of Signs
Thinking about the basic dichotomies of Ferdinand de Saussue through the prism of semiotics, that is through the understanding of the realisation of a sign within a particular culture, we will see that these dichotomies can be used and applied in equal measure on many levels in which a specific culture embodies itself. The sign does not necessarily have to derive from a speech communication act. The creation of signs does not recognise the boundary of being restricted to only one segment of human activity. This freedom of creating and understanding signs in other human activities as well (for example, in architecture, music, painting and others) opens the possibility of comparing signs with those belonging to other cultures. Ronald Barthes in his book The Empire of Signs deals with the comparison of signs and their functioning in other cultures. However, in order to understand the specificity of the "Eastern" sign in its wholeness Barthes goes back to its origins. This origin, according to Barthes, is realised in "emptiness" which enables him, free of any experience, to freely think and explain the signs under observation. Free of this ballast Barthes is free to think and explain signs, that is, he is free to name/signify signs in such an ideal system.
Based on the findings from EFL classrooms observations, the author gives a description of current teaching practices and evaluates the teaching approach in relation to the principles of modem language teaching.
Reflections on the metaphorical motivation for proverb meaning
In this study proverbs and metaphors are perceived as models of cognitive economy and as adjustment of cognitive patterns to the needs of communication. It seems that the maker of a proverbial sentence frequently selects metaphors as categorization tools of our experience. Quite often we rely on models of the concrete world to conceptualize abstract phenomenon. We have spatial conceptualization of abstract world, e.g. A man is wolf to a man (atrocity = wolf). The structure of proverb represents a kind of compromise in which the needs of production, perception and memory are all partially satisfied. This kind of analysis helps us to understand the way in which humans link words together in their minds. We would like to suggest that there is a motivation principal for such syntactic properties of proverbs and that is the leamability principle.
Endings in Flann O'Brien and Samuel Beckett
In the article the author takes the context of the end of the century and examines how questions of endings play a significant part in human life. He buttresses his argument by referring to writers who have considered the importance of this temporal break both on the personal and on the social- historical level. The central part of the article deals with the topic of the representation of endings in the work of the Irish novelists Flann O'Brien and Samuel Beckett. According to his argument, regardless of the important ways the texts of these writers differ, both clearly show that the framework in which one is positioned has an immense influence on the way we negotiate the impact of endings. This insight enables the author to draw attention to what, in his opinion, is the specificity of twentieth century existence but, going by the knowledge which he finds inscribed in die Irsih texts, he makes it clear that he is well aware how pronouncements on endings might be no more than the discourse of a generation that feels the licking away of the biological clock.
Vasilij Rozanov as a Forerunner of the Avant-garde
Vasilij Vasiljevič Rozanov (1856-1914), representative of Russian modernism, writer, journalist and religious thinker, is a forerunner of avant-garde (European and Russian) art. He did not formally belong to it but he heralded it with his genric and stylistically de-hierarchical and de-canonized forms and with all of those elements or constitutive factors which were essentially different from modernism. In his work The Theory of Prose (O teorii prozy, 1929) Victor Schklovsky will interpret him in an avant-garde fashion and devote a whole chapter to his work. The main intention of the paper is to draw attention to the Russian avant- garde, more specifically the Russian literary avant-garde and to attempt to investigate the extent to which Rozamov was a "spontaneous"(Flaker), unintentional avant-garde writer incorporated into this "language of the cultural epoch" as Lotman calls the avant-garde without explicitly using the term. The article attempts to show how this author's prose evinces those stylistic features which can be deemed constitutive for the formation of the avant-garde which is explained by the fact that the sweep of action of the avant-garde is significantly broader than the core of this stylistic formation. Rozanov's dynamic forms which oppose the rationality of systematized thought are characterized by the unbreakable ties between the private/intimate and the public. In the desire to fixate the smallest and most dispersed movements of knowledge (the "manuscript nature" of the soul) in his casual and brief notes, according to the most diverse and up to then unusual themes, the documentary, real, authentic life material is transformed into literary fiction -(auto)biographical facts are raised to the level of stylistic facts. The constant merging of aesthetic and extra-aesthetic material - alongside constant demonstrative shifting of ideological positions - determined the entire output of this controversial writer whose nonsystematic thought, without doing violence to it, is almost impossible to systematically expound. Rozanov's basic books (Lonesome Things - Uedinennoe, 1926, Fallen Leaves- Opavšie list'ja, I.-H., 1913-1915 and The Apocalypse of Our Times - Apokalipsis našega vremeni, (1918) heralded existentialism and at the same time designated the discovery of a new literary genre, new methods of philosophizing and a new dimension to the writer.
Marie Luise Kaschnitz's (1901- 1974) literary output was in large part determined by themes from her own life anti the lives of her nearest of kin so that the reader gets the impression that she has elaborated her life in literature almost without any estrangement or camouflage. Various diary forms, for example the fictive diary, hold a special place in her work. If "fictive" signifies something which has been "made up, presupposed, represented, created in the imagination" the fictive diary ought to register fabricated events, feelings and the conditions of an imaginary self. However, in the two works in which she uses the diary form, The House of Childhood (Das Haus der Kindheit) written in 1956 and the short story "Feet in the Fire" ("Die Füße im Feuer") from 1964, the reader finds a common more or less (auto)b io graphical base but they are nevertheless designated as fictive diaries, hi spite of autobiographical facts, that is , its element of real autobiography, these texts are examples of artistic prose in which the diary self, that is the I-narrator who is not identical with the authoress, observes and describes herself and the real outer world but in such a fashion that reality is fictionalized and literarized. The self is in the middle of the microcosmos from which it embarks on inner and outer journeys through the spaces of reality and the imagination. Because of the fact that the diary encompasses man/the self both in space and in time these journeys are also through time. For Kaschnitz the fictive diary is a way of capturing contents from her own life in which the very subjective and "recognizable" initial self experienced numerous transformations within the literary work. For Kaschnitz the diarist the post and memory are those temporal and spatial dimensions which (seem to) erase the present as a dimension of the time and the space of writing. The diary form lakes upon itself the registration of the inner process of a specific self but also prevents the disconnection of the passage back from the past into the present. In these works which can be designated as autobiographical diaries of memory, the form of the diary takes upon itself the function of narrating a self (THe House of Childhood) or thematizes tire alienation of lire individual within the contemporary world using the suggestive, immediate and concise form of the short story ("Feet in tire Fire").
Nazor's Short Story Writing - From Engaged to Intimate Allegorical Prose
Three mutually connected and yet independent circle of motifs and themes are characteristic for Nazor's short stories from the period of his modernistic phase (Istrian Tales, 1931, 1917; Hundred names, 1916). The first circle is composed of the first Istrian tales ("Veli Joze", "Divičin grad" and "Boškarina") published in journals between 1907 and 1910 and only collected in the second and the third edition of Istrian Tales. These were the first works of their kind to elaborate the national and the social themes pertaining to Istria. The second circle is marked by Arcadian motifs and encompasses the short stories published in the first edition of the collection Istrian Tales (1913) - "Halugica", "King Albus", "Plecida the Virgin", "Wood without Nightingales". The short stories of this circle are still connected to the national thematic but Nazor in them simultaneously speaks of his inner conflicts and aspirations. The prose work "Lighthouse" (1918) published at a later date also belongs to these allegorical short stories. The third circle, made up of short stories from the collection Hundrednames, is tightly connected to the second circle especially as far as its allegorical expression is concerned but it is dominated by themes of inner cleansing, self-abnegative sacrifice and sublime loneliness. The short story "The Legend of St Christofer" falls within this circle.
The travel books of the Enlightenment are a revision of the image of the Oversea drawn up in the period of Discoveries. The travel books of the Discoveries note that the indigenous live in complete lawlessnes and as their law they have sexual rules. They state that these tribes live as beasts and doubt whether they are humans at all. The travel books of the discoveries are inclined to the opinion that the oversea aboriginals live following the law of nature and are therefore wiser than we are. Some travel books describe Siam and China comparing them with Europe and comparing Buddhism with Christendom, both according to religious faiths and theological doctrines. It is always the spirit of criticism and comparation which is the mark of these books. Other books as the books by the brothers Ulloa describe Spanish colonialism and the evangelisation of the aboriginals which did not achieve its aim. James Cook developed a new pattern of behavior towards the aboriginals. His behaviour is benevolent, his helps them with distributions of seeds, flocks and even tools but keeps on bord of his ship fire arms which grant him superiority, a pattern of behavior which can be considered a mark of English colonialism and English behavior towards the rest of the world. Russian travel books are marked by a spirit of militarism and etatism, the Russians made endeavours to penetrate into China, or to compel the natives of eastern Siberia to pay taxes. An image of Man and of the animist emerge out of these travel books and we see that the animist society does know marriage, but only the concubinate. Children are rare, humans are sacrificed and fallen foes also eaten. The endeavours to christianaize them mostly failed. These travel books reveal the importance and influence of the Oversea for Europe and of Europe for the Oversea. Antonine de Bougainville drew up a new type of sexual behaviour influenced by the sexual life of the aboriginals. He pointed out to Europeans that what we call nowadays sexual permissivenes. His suggestions became a firm flashpoint for all leftist mouvements up to now. The travel books excrced a strong influence on literature and that can be noted in the case of Jonathan Swift, some travel books became akin to biographies as the book by James Boswell Journal o f a Tour to the H ebrides w ith Sam uel Johnson. One can say that the travel book of the Englightenment let in philosophy and statemanship, criticism of the colonial administration. It flattened the self confidence of Europeans and created a new view of the world which was described as an misunderstanding of Europe and its colonies. Europe became well aware of its abuses, administrative and economic misconduct in the Oversea. The travel books on Italy proliferated. In Austrian travel books we note a strong propensity towards popularism which also happens in the German travel books for instance in the Lügengeschichte, which was the book on Baron Miinhausen. German travel books and precisely Goethe explores the relationship of nature and arts. In his late travel books Goethe inventarizes the threasuries of the nation in cultural and scentific achievements, universities etc. In his travel books we note a propensity towards autobiographism which is a mark of the Enlightenment.
Pan, pani and panstwo as polite addressive expressions in the polish language
In the article the author traces the sociolinguistic formation of the concepts pan, pani and panstwo which incessantly took place throughout the centuries. An examination of their grammatical status points to the existence of differentiated, although synonymous, definitions of this expression. Today they are designated as "equivelant", "substitutes" or "forms of the second person pronoun" and accompanied with the attribution "contextual". The author opines that they still possess an enormous use "value" - to fill in the incomplete pronoun communicativity which the author links with the identification of gender which the nouns pan, pani and panstwo carry within themselves outside of the addressive context.
The history of culture and the history of education in Zadar have been characterized by the presence of the Italian language as well. Zadar was a bilingual ambiance throughout centuries. Similarly to other Dalmatian cities, a unique literature originated here often even in three languages: Latin - which was a sort of "official language"(as it was elsewhere), the native language - Croatian, and Italian, which was embraced as the third language by the writers from these parts because it represented an approaching to the great Christian civilisation that Zadar was connected with by the sea and which, at the same time, served as a rescue from the influence of the islamized hinterland. During the Venetian, the French and the Austrian domination, the presence of Italian in the history of education of Zadar was emphasized when it had a privileged position compared to Croatian and it was then that during Austrian rule, Italophonic officials and the inteligentsia were made to immigrate. Throughout history, in spite of political contradictions, Zadar has become the standard-bearer of literarcy and Croatian-Italian civilisational vontacts in general as well as it has become the town where Croatian and Italian cultural heritage emerged and were fostered owing precisely to the phenomenon of bilingualism. Hence, it is not the same to write about learning Italian in comparison to any other foreign languauge in Zadar today. Concrete statistical data have been displayed in the papier showing the number of native speakers of Italian today (officially, the 1991's census informs us about 113 people in the broader town area speak Italian, while the evidence of the Comunita degli Italiani di Zara shows that there are 198 native speakers of Italian in the city.) Statistical data are given about the number of pupils and students of Italian in the elementary and secondary state schools as well as private language schools and university students in Zadar where of the total number of 17 254 students of all ages more than three thousand learn Italian language and literature. Course programs and curricula are given in the papier as well as an analysis of the techniques and conditions for teaching Italian as a foreign language.
Ivo Pilar's contribution to literary theory and criticism
Ivo Pilar (1874-1933) wrote several important works in which he discussed critical and theoretical aspects of literary and artistic creation. These works belong to the study of literature but the Croatian public is a lot more familiar with his geopolitical and historical writings. The reason why his works on the study of literature have been put aside for a long time does not necessarily have to do with their relevance in the Croatian literary history but with the fact that during the pro- Serbian regime they were labeled as politically incorrect. Although Pilar never developed a characteristic theoretical concept that would secure him a position among other modernist critics in Croatia, his work in this field certainly deserves our greater attention. Into the existing study of literature and art in general, Pilar introduced his own innovative ideas. Interesting choice of themes, aesthetic criteria (combining literature and visual arts) and the fact that his works were published in Zagreb and Sarajevo make Pilar's work an essential part of a more complete and more detailed synthesis of the Croatian literary theory and history on the undivided Croatian cultural territory. Franjo Markovic, a member of the older generation of modernist writers, harshly criticized Pilar, the first of the three younger writers (Pilar, Dežman, Gjalski). His intention was to discredit Pilar's Secesija. Nevertheless, he eventually recognized its great importance. Pilar published a series of important articles: "Secesija, studija o modernoj umjetnosti" (Vienac, Zagreb 1898), "Zagrebački literarni pokret" (Kranjčević's Nada, Sarajevo 1903) and "Kako su nastala Zapamćenja" (Napredak). In these articles Pilar defines himself as a promoter of modem art: art which he brings from Berlin and Vienna to Zagreb and Sarajevo. Pilar's theoretical work is parallel to the creative writings of Silvije Strahimir Kranjčevič. Pilar also tried to introduce aesthetic criteria into his criticism. Barac was familiar with his contribution to the Croatian literary history and writing about Markovic and his attack on the young generation of modernist writers; he directly presents us the work of Ivo Pilar. The fact that Pilar wrote about the study of literature during a period of about thirty years shows that his work in this field was not just a young man's whim, but a systematic study of the phenomena he was interested in.
Roman literature as the forerunner of world literature
At the beginning the author briefly sets forth the roots of Roman literature and the bases on which it founded its creativity. In continuation he designates it as the history of productively educating and transforming the literary genres adopted from Greek literature. Because even though it cannot be conceived without the Greek substratum this literature is nevertheless not a mere copy of Greek literature. Its specific attraction consists in the fact that the fabric of Greek literature, through the integration of authentically Roman material, spawns a new and specific artefact for which there is no equivalent in Greek literature. Ultimately, the author states the reason why it is precisely Roman literature which is the real forerunner of both today's civilisation and contemporary world literature. This is the reason why neither the Chinese nor the Japanese, neither the Indian nor the Muslim world - the author intentionally mentions these huge population conglomerates - cannot resist the irresistible powers of logic or of information or the attractions of a Homer or of Carmina Burana which were formerly composed and sung throughout the German-speaking Holy Roman Empire by clerici vagantes - the joyful scholars. Neither can the forementioned peoples nor any other civilised region in today's world resist the pull of the said cultural phenomena which sprang up in antique, today - by way of precisely Roman - world literature.
New homeland or anti-homeland literature
The anti-homeland (Anti-Heimatroman) novel is a literary genre which appeared during the sixties and seventies in Austria and there became very popular. Lierary critics are not in full agreement regarding the name and the corpus of texts belonging to the genere. Some propound the thesis about a radical anti-homeland novel and draw a sharp distinction between this genere and the traditional homeland novel (Heimatroman). As a consequence, when choosing the works which they subsume under this genre they do not adhere to the most important genric constants which characterize homeland literature. This is patrticularly relevant to the village-agrarian space as the setting of the plot. Die second approach is based on the thesis upholding the continuity of the literary genre of the homeland novel and as the basis of explaining the genre uses Rossbacher's typology of the homeland novel. This means that only those works which contain a minimum of generic constants can be numbered among transformed homeland novels which accordingly negates the anti-homeland novel as a distinctive genre. From a comparison of these two theses it can be concluded that the appelation antihomeland novel is a more appropriate term because it expresses in a much better way the radicalism of the changes undergone by the traditional homeland novel during the two decades under consideration while at the same time it does not negate the fact that the genre is a continuator of the homeland novel tradition.
Realistic and modernistic simultaneity; Flaubert and Rozanov
Simultaneity is a phenomenon while simultaneism is a system of transferring or modeling simultaneous processes. At llie start of his chapter "The fonns and programs of simultaneism" in the book The Basis of Modernism, V. Žmegač gives an example of simultaneism from a novel out of the realistic tradition - Flaubert's Madame Bovary. However, V. Žmegač cautions llrat Flaubert's "representation of simultaneity" - taking place as it does amongst spatially distanced events - "despite its unusual appearance, is an element which accords without obstacles with the vision of reality which was customary in the literary works written in accordance with the programatic intentions of realism". Žmegač maintains that one can speak of simultaneism as a modernistic procedure only when "the homogeneity of action in the old sense of the word has been discarded, that is, when one of its 'series' does not stand in an immediate fabular relation with another". According to this conception simultaneism emphasises the disparity of phenomena - the joining of a number of different, various happenings, events or processes within the framework of one whole (the text) in one and the same temporal constellation - "so that this second kind of simultaneism can conditionally be named disparatism ".
Robert Frosts poetry: the duality of the senex
The senex archetype in Frost's poetry is used extensively, it serves him to portray three antithetical aspects of human condition, aspects characterized by both positive and negative categories. These categories are not portrayed as static divisions, but as poles dinamically and complexly interrelated. This paper examines three of Frost's works "Mending Wall", "An Old Man's Winter Night" and "Directive" as examples for the study of the paradoxical senex consciousness. While the archetypal senex figures in the "Directive" and "An Old Man's Winter Night" represent primarily the antithetical aspects of the nature of humans, the senex protagonists in the "Mending Wall" reflect the inherent binary oppositions and ambivalence within the contradictory and paradoxical world of humankind. Thus, we can say, that Frost's portrayal of the archetype of the senex acknowledges the symbolic paradigm of the human condition.
Franz Grillparzer between the diary and the autobiography
The most important representative of Austrian Pre-Marchian literature, Franz Grillparzer (1791-1872) kept a diary almost throughout his entire life, recording what he had experienced and seen during his travels. At the request of the Imperial Academy of Science he wrote his autobiography. The article describes the main features of Grillparzer's diary, his travel diary and autobiography. These texts show the dramatist, story teller and the lyric of the Biedermeir as a typical and authentic figure of a turbulent historical period (the Wien congress, the Napoleonic wars, the introduction of censorship, 1848). Grillparzer is both a patriot and a faithful subject of the crown but also a man seeking liberation from all kinds of shackles; he is an anxious man who retreats into himself because he had been broken by outer social- political relationships but also a defiant "revolutionary" who defends himself with the pen. Using comparative examples from two, almost contradictory authobiographical species - diaries and authobiographies - and correlating Grillparzer's autobiographical writings with Rousseau's Confessions , the author gives an analysis of Grillparzer's relation to power and censorship, a description of his creative process and his relationship towards colleagues- fellow literary figures. The differences in the style of writing and the choice of content between the diary, as a form of analysis, and the autobiography, as a form of synthesis, stem from the inner regularity of two kinds of autobiographical writing.
Hellenistic travel books and the travel books of greek writers during the roman empire
The author begins his article with the observation that Alexander the Great conquered precisely those lands which were previously described by Greek travellers which warrants the conclusion that the travel book had not only an economic but also a cultural-political significance. The travel books of Hellenic writers are described in the continuation of the article. The author targets famous works which are analysed for the extent that they exibit the features of the travel book and with the purpose of coming up with a historical poetics of this genre within a given period of time. At times these travel books are periegesis across Greece written to facilitate travelling through Greek temples and to orientate the travellers. Some of the travel books are reports written by Roman clerks who used the Greek language and sent their reports to Rome in this language. Among the Hellenic travel books there is quite a number of those which were supported by the Egyptian state interested in the expansion of its markets. Other travel books such as the one attributed to Strab were written with the intention to describe the known world as a world dependent on Rome as its center. In two cases, in the case of Pythagoras and Antenor, we are dealing with travel books whose originals were probably lost so that they have been handed down to us in very free translations. Lukian's travel book derives from the shamanistic Greek journeys into the other world. Such journeys are to be found in myths and in the Odyssey. Lucian intellectualized his journey to the other world, distancing himself from the mythic mentality and writing a satire on the contemporary world. A common element in these texts is that the strong writerly individuality does not appear as the central relational point of the travel book. The author with his experience keeps in the background. Instead of this we find an emphasis on his scholarly endeavours with a simultaneous appreciation of Homer's Odyssey. In this travel book an image of the world finally came into being which, as the continuation of the image of the world inscribed in the Greek travel books, became the first image of the world in existence. This image of the world had a world-wide circulation from Thule in the northwest to Taprobana in the southeast.
Colours and metaphors: cognitive perspectives
In this study our primary interest is to explore the cultural-cognitve elements of metaphors dealing with colours. Proverbs, phrases and metaphors are perceived as an adjustment of cognitive and linguistic patterns to the needs of communication. Recent research in psycholinguistics shows that the meaning of many idioms are motivated by people's conceptual knowledge, which includes metaphorical schemes of thought. Like idiomatic phrases, proverbs give significant insights into the poetics of mind because they reflect how our metaphorical conceptualization of experience bears on particular social situations. Metaphoric language has its preference regarding colours. Mainly basic, focal colour terms are used in metaphors; some colours are used more frequently than others. Black, white and red are the most frequent having the largest map of experience. In conclusion, metaphoric language gives us insight into the structure of human mind.
The town of Murter is one of the largest rural settlements on the Adriatic islands. Its first mentioned in archives under the name of Srima dates back to the year 1285. The surnames that are dealt with in this paper have been confirmed in archival material, in authorial works and on the field from the 14th century to the present day. Besides listing all the accessible surnames down through the epochs the author gives a description of their genesis, their distribution and their meanings. The basic features of the body of evidence of Murter surnames are the following: a large number of autochtonous surnames, a large number of those bearing "old" surnames on the one hand and a large number of new surnames pertaining to a small number of people (all of these can be attributed to the process of litoralisation during the last thirty years). The Romanic element, confirmed on many points along the Adriatic (especially in the cities), hardly plays any role in the Murter surname formula. Of far more significance is the one (primarily Croatian) relating to those who settled on the island under pressure of different circumstances in the past. The author explains this by the fact that activities in which the alochton (particulary Romanic) population engaged on the island and in the town itself were underdeveloped or non-existent (seafaring, fishing, trade, crafts) so that the mobility of the population was exceptionally weak. On the semantic level, the lack of motivation of those impulses connected with these activities and the significant motivational confirmation of those stemming from the land, the natural world and farming ought to be expalined in the same light.
What is the purpose of communication within the system of language?
After prolonged discussions pertaining to language as a means of acquiring knowledge, about the realtionship between thought and language, language is nowadays most frequently defined "as a system of articulated signs which is used by members of a community for the purpose of communication". The purpose of the article is to establish the means (morphological and syntactical) which have been developed and formalized in order for language to function in speech communication between human beings. We are referring to the following means; a grammatical case - the vocative; a verbal aspect - the imperative, two sentence modalities - the imperative and the interrogative; four parts of speech - personal pronouns, interrogative pronouns, adverbs and adjectives. The author concludes that this is a relatively small but nevertheless wholly sufficient number of language elements which make it possible that all the expressive possibilities of language be put into the service of communication between human beings.
The bernardine texts of the Croatian middle ages
When in the 13th century Croatian literature turned to the West for the source of its themes and motifs it was opened up to the influence of St Bernard of Clairvaux the great Cistemcian mystic. In the article the author describes the paths of dissemination of Bernard's works and ideas from France to Croatia, shows the significance of monastic communities (especially of the Cistercians, the Templars and the Franciscans) in mediating these works and ideas and lays down the cultural conditions enabling such a transfer (shools, printing houses, libraries and similar venues). However, of more importance than the preconditions and the context of the reception of the great mystic is the list of Bemardine texts which have been preserved, those ascribed to him (that is, are somehow related to him) or those that describe him and his life. All three types of texts have been preserved in Croatian, particularly in the Glagolitic literaure of die Middle Ages but but there were also Cyrilic and Latin texts written a long time ago. These texts can be found all over the entire Croatian territory. Some of them have not been published and are therefore not accessible to the wider public. Their publication ought to be one of the tasks of Croatian paleoslavistic studies. However, the most significant fact still remains that the most famous Medieval texts bear some connection with Bernard of Clairvaux: Prenje duse s tijelom (Controversy of soul and body) and the unique poem S(vi)t' se kon'ca (The World Ends). In addition, one of the most beautiful poetic expressions of Cistemcian mysticism, the hymn Jesu dulcis memoria, has also been preserved in a Croatian translation. Finally, Marko Marulić also had important and numerous connections to Bernard's works.
Carnivalisation in the "anecdotes" of Daniil Harms
As the background of this work stands M. Bakhtin’s theory of the earnivalisation of literature, i.e. of carnival consciousness as "the great popular feeling of the world throughout past milleniums" which is transposed into literature in the form of carnivalcsque categories: eccentricity, carnival msalliances, profanation and, especially, familiarization (the very basis of the carnival). The author refers to the work of L. Szilard who has expanded Bakhtin's thesis by contending that carnivalcsque thought is not restricted to the past but that it is to be "basically interpreted as something that is retained and constantly renewed by the collective unconsciousness particularly during disruptive, crisis-laden periods of time". The avant-garde movement can be considered as one of these periods - of enormous upheaval which is, as Bakhtin says, "always preceded, as its preparatory step, by a certain carnivalisation of knowledge". Carnivalesque features, accompanied by a prevailing sense of "the joyful relativity of dominant truths and powers" (Bakhtin) come to the fore within this "anti-formative formation"; L. Szilard shows that avant-garde literature featured all the elements which were only afterwards recognized as the qualities of twentieth century carnivalesque art. We thus find in the "anecdotes", the anti-normative lexis of Daniel Harms, a memeber oi the "Oberin" group from the twilight of the Russian avant-garde, a lively reflection of the carnivalesque consciousness. In his "anecdotes" from the "lives"/"byta" of the famous names belonging to Russian national but also to world literature/culture and civilisation, the reader finds the vivacious ambivalent carnivalesque spirit which does not assign anything absolute value but, through its liberating and renewing laughter, depreciates whatever is firmly entrenched, ordered according to strict hierarchical rules, al, that is "monolithieally serious and dark, full of awe and piety" (Bakhtin), It is becouse of this that carnivalcsque categories can be applied to Harm's brief forms where the dethronization (the carnivalesque "razvenčanie") of formerly ''untouchable" greatness (Gogol, Pushkin. Dostoyevski, Tolstoy...) represents, at the same lime, their new affirmation.
Konstrukcije s glagolom “BBITB”konstrukcija “Y MEHNECTB (HET )” u ruskom jeziku
1. i 2. lice jednine i množine sadašnjeg vremena od glagola “bili” u suvremenom ruskom književnom jeziku se ne upotrebljava. Upotrebljava se tek u nekim slučajevima oblik 3. lica jednine “ecn." i veoma rijetko 3. lice množine “cyri”. “Ecti," se upotrebljava u suvremenom niskom jeziku; I) kao kopnla složenog predikata u znanstvenim konstrukcijama; 2) pri postojanju ili posjedovanju nečeg (i za jedninu i za množinu). Ako se konstatira prisutnost bilo kakvih osobina, duševnog stanja, bolesti, glagol “ecn,” se ne upotrebljava.
Accentual movements in the present tense of mulitsyllable Russian and Cakavian verbs
In an effort to investigate the relationship between the Russian and čakavian accent the article analyses the accentuial movements in the present of mulitsyllabic čakavian and Russian verbs. Allhough the author in the infinitive perceives a significant correspondence (arround 85%) in the position of the accent, in the present tense, due to the movement of the accent, this relationship undergoes changes. An analysis of the tergeted material (358 pair of multisyllabic verbs) shows dial in the infinitive 302 pairs have the accent inlhe same position. The movement of the accent in the present has lead to the formation of a number of types of accent groups. The number of verbs of a particular type is expressed in percentages. A complete correspondence in the position of the accent in trie present tense is shown liy 44% of the material (39% of verbs which in the present retain the same position of the accent as in the infinitive and 5% of verbs which in both systems undergo a movement of the accent from the root syllable to the suffix). A total discrepancy in the position of the accent in tire present is visible in 26% of the verbs (these are verbs where the accent is moveable in one system and fixed in the other). Partial correspondence is evident in 30% of the verbs in our corpus of examples (primarily because of Russian verbs which frequently in the first person singular have their accent on the suffix while in the other cases the accent is on the root).
"The Russian writer Vasilij Rozanov (1856-1919) is "one of the philosophical representatives of Russian modernism" (A. Flaker). With his two books of autobiographical- essayistic, non-fabular prose (Lonesome Things - Uedinennoe, 1912 and Fallen Leaves - Opavšie list'ja, I-II, 1913-1915) he provoked and shocked a readership brought up on traditional art and accustomed to realistic (therefore, mimetic) texts. "By juxtaposing and placing in opposition different thematic clusters" (A.Flaker), a procedure characteristic for avantgarde culture which he himself heralded, Rozanov did not only demolish the institution of the novel but also, simultaneously, dehierarchized and decanonized the entire system of classic Russian literature. This non-belletristic, as V. Šklovski labels it, "non-narrative prose" ("vnesjužetnaja proza" in Russian) represents a collage of seemingly unordered notes (a system within a non-system) about various themes. The individual/the intimate makes contact with the collective/the all human: documentary autobiographical fragments with the previously "low" "kitchen theme" (V. Šklovski uses the term in referrring to the banal everyday and domestic sphere, the theme of one's own person such as physical appearance, financial and marital affairs) are to be found on equal footiong with the author's thoughts on literature and publishing in general, on Russian literature, Russia, ideology, Orthodox religion, the phenomenon of Jewery, belief and God... The author has chosen notes dealing with God, interesting and unusual to the extent that they speak of a loner's and rebel's God - a "private" God, only Rozanovljev's own and nobody else's God.
Vladoje Dukat as an intermediary of british literature in Croatian criticism between 1914-1940
The author investigates the last, literary critical, period of the career of Vladoje Dukat, one of the founders of Croatian Anglistic studies. Taking stock of and investigating ten bibliographical units (published between 1915 and 1931), the author concludes that these are chiefly shorter texts, generally occassional pieces and commentaries which testify to a long since superceded approach to the literary work. There are traces of the comparative method especially on the poetical-esthetic level with a focus on narrative and formal-genric parallels with which Dukat belongs to the pioneering phase of the development of the comparatist methodology in Croatian literary criticism. Nevertheless, the value of Dukat's intermediary critical endeavour during this period ought to be sought in his role as a professor with the academic-pedagogical and animating functions this role presupposes.
Klaić wrote fiction only in the earlier period of his literary production. His prose and verse reveal linguistic and stylistic characteristics typical of the writing from the end of 19th century. This essay is an attempt to analyse the language and style in his only novel Mother and Daughter (Majka i kći). A modem reader may feel discouraged from reading the novel due to an abundance of archaic expression and the synthax, especially the word order, heavily influenced by the German language. On the other hand, by skillfully using narration, description, dialogue and letters in the development of the plot, Klaić proves himself to be a true craftsman of this genre.