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Številka 5/2004 ~ Issue 5/2004
PDF DATOTEKE
Andreja Žižek Urbas: Pojmovanje časa in prostora ter kozmologija v poeziji in poetiki Gregorja Strniše. Jezik in slovstvo. 5/2004. 3–11.
Poezija in poetika Gregorja Strniše sta nastajali postopoma in sinkretično ter sta utemeljeni na podlagi križišč filozofije, mitskega mišljenja in naravoslovnih znanosti, predvsem kozmologije. V svojo hermenevtiko besedne umetnosti je vpeljal znanstvene postavke, kot so posebna in splošna teorija relativnosti ter načelo nedoločljivosti, na svoj način pa je odgovoril tudi na spekulativne teorije o dobri ubranosti vesolja in antropičnem načelu vesolja. Njegove pesniške zbirke, med katerimi izstopa zadnjih pet (Želod, Oko, Škarje, Jajce ter Vesolje), lahko razumemo kot kozmološke modele, saj so zgrajene na podlagi premišljenih kompozicijskih principov, pri čemer vedno znova definirajo prostor in čas. Strniši sta znanost in poezija pomenili dve možni poti k uzrtju vesolja, resnice, vsega, žal pa ostaja njegova poezija za marsikaterega bralca preveč enigmatična in hermetična.
Andreja Žižek Urbas: Comprehension of Time and Place, and Cosmology in the Poetry and Poetics of Gregor Strniša. Jezik in slovstvo. 5/2004. 3–11.
The poetry and poetics of Gregor Strniša were created in a gradual and syncretic process, based on the meeting points between philosophy, mythic thought and the natural sciences, in particular cosmology. He introduced scientific principles into his literary hermeneutics, such as the specific and general theory of relativity and the principle of indeterminism, while in his own way, he also answered the speculative theories of good harmony of the universe, and the anthropic principle of the universe. His collections of poetry, the most prominent being the last five (Želod or Acorn in English, Oko or Eye, Škarje or Scissors, Jajce or Egg, and Vesolje or Universe), can be understood as cosmological models, since they are built on the basis of thought-out compositional principles, which over and over again define place and time. For Strniša, science and poetry are two possible routes towards the comprehension of the universe, truth, everything; unfortunately, his poetry remains too enigmatic and hermetic for many readers.
Mateja Pezdirc Bartol: Najnovejša slovenska dramatika med platnicami in odrom. Jezik in slovstvo. 5/2004. 13–21.
Sodobna slovenska dramatika se srečuje s svojevrstnim fenomenom: ima izjemno kvalitetno in razvejano gledališko dejavnost, medtem ko je produkcija slovenskih dramskih besedil minimalna, knjižne objave redke, na odre pride v povprečju na sezono po eno slovensko delo na gledališko hišo, literarna veda kaže za sodobno dramatiko bistveno manj zanimanja v primerjavi s poezijo in prozo, zato lahko upravičeno govorimo o t. i. krizi nacionalne dramatike na različnih nivojih njenega delovanja. V članku bomo skušali navesti nekaj ključnih razlogov za navedeno stanje: slovenska literatura po eni strani nima tradicije pisanja dramskih besedil, kakovostnih domačih besedil je malo, po drugi strani pa mnoge uveljavljene oblike sodobnega odrskega dogajanja nastajajo mimo besedil, množična komercialna gledališča pa segajo po mednarodnih uspešnicah. Za povečanje zanimanja tako piscev in gledališčnikov kot širše javnosti so bili ustanovljeni različni festivali, natečaji, nagrade, med katerimi je najodmevnejša Grumova nagrada.
Mateja Pezdirc Bartol: The Most Recent Slovene Playwriting between the Covers and the Stage. Jezik in slovstvo. 5/2004. 13–21.
Contemporary Slovene playwriting is met with a unique phenomenon: it has an extremely diverse theatre production of high quality, while the production of Slovene plays is minimal, their book publications are rare, approximately one Slovene text is staged per Slovene theatre on average, while literary studies have shown considerably less interest in contemporary Slovene playwriting compared to that in poetry and prose; therefore it is justified to speak of a so-called crisis in national playwriting on various levels. This aim of this article is to provide some key reasons for the current state of affairs: on the one hand, Slovene literature does not have a tradition of writing plays, there are few Slovene plays of good quality, while on the other hand, many forms of contemporary stage activities that have won recognition are created parallel to the text, and mass commercial theatres favour international hits. Several festivals, competitions, and awards have been created with the intention of increasing interest of both writers and theatre people, as well as the wider public, with the Grum award being met with the widest response.
Dragica Haramija: Tema smrti v mladinski prozi. Jezik in slovstvo. 5/2004. 23–34.
Ob analizi približno petdesetih otroških in mladinskih proznih književnih del se je pokazalo, da smrt v njih nima enoznačnega pomena, temveč je njena vloga različna glede na naslednje dejavnike: glede na to, ali je smrt tema ali motiv nekega proznega besedila, glede na književne vrste (pravljica, fantastična pripoved, povest, mladinski roman) in umeščenost teh proznih književnih del med realistično ali iracionalno prozo, glede na vrsto smrti (smrt zaradi starosti, bolezni, nesreče ali delovne nezgode/igre, zaradi samomora ali kot posledica zločina ali vojne) in glede na starost bralca (v predbralnem obdobju seveda poslušalca), saj so faze razumevanja smrti močno povezane z otrokovim kognitivnim razvojem.
Dragica Haramija: Death as a Topic in Youth Prose. Jezik in slovstvo. 5/2004. 23–34.
The analysis of approximately fifty children’s books and youth prose has shown that the concept of death does not bear a single meaning; its role differs according to the following factors: according to whether death is the topic or motif of the prose work, according to literary genre (fairy tale, fantasy story, short story, youth novel) and the placing of such prose work amongst either realistic or irrational prose, according to the type of death (death caused by old age, disease, misfortune, accident at work/play, suicide or death as a consequence of crime or war), and according to the age group of the reader (or listener in the case of those who are at the pre-reading stage), since phrases of understanding death are strongly correlated to the child’s cognitive development.
Mojca Schlamberger Brezar: Diskurzivni pristop k problemu določnosti v slovenščini. Jezik in slovstvo. 5/2004. 35–44.
Kategorija določnosti je bila v slovenskih slovnicah iz konca 20. stoletja obravnavana predvsem s formalnega stališča, ne pa s stališča diskurza. Za njeno kompleksno prepoznavanje jo je treba natančno definirati diskurzivno, saj strukturalne analize ne dajejo zadostnega vpogleda v problematiko. Diskurzivno gledanje na problem določnosti v slovenščini osvetli primere rabe določnih oblik, ki na prvi pogled niso zajeti v definiciji »določno je, kar je že znano« – to so primeri anaforične ter deiktične rabe, ki vključujejo elemente, ki so dostopni tudi iz stvarnega konteksta. Hkrati pa opozori na velik razkorak, ki se v slovenščini pojavlja med govorjenim in zapisanim jezikom in ki je najverjetneje vzrok za mnoge napake, ki se pojavljajo v primerih, kjer je treba izbirati med določno in nedoločno obliko.
Mojca Schlamberger Brezar: A Discursive Approach to the Problem of Definiteness in the Slovene Language. Jezik in slovstvo. 5/2004. 35–44.
In Slovene grammar books from the end of the 20th century, the category of definiteness is treated from a formal point of view, and not from the point of view of discourse. For its complex recognition it needs to be accurately defined from the point of discourse, since structural analyses do not provide an adequate insight into this particular issue. A discursive treatment of the problem of definiteness in Slovene elucidates the uses of definite forms, which, at first sight, are not incorporated into the definition of “definite is what is already known”, i.e. the uses of anaphora and deixis, which include elements discernible from the real-world context. At the same time, the author points to the great discrepancy between written and spoken Slovene, which is most likely the cause of many mistakes arising in the decision-making process on whether to use a definite or indefinite form.
Mojca Smolej: Členki kot besedilni povezovalci. Jezik in slovstvo. 5/2004. 45–57.
V pričujočem članku se bomo osredotočili na tiste členke, ki se funkcijsko ne udejanjajo na ravni pomenskega preoblikovanja oz. pomenske natančne določitve delov besedila (pomenska modifikacija) pač pa (le) na ravni besedilotvornosti oz. besedilnega povezovanja. Členke v vlogi besedilnih povezovalcev bomo tako razumeli kot besedilna povezovalna sredstva, ki izražajo pomensko-logične odnose med povedmi oz. deli besedila.
Mojca Smolej: Particles as Textual Connectors. Jezik in slovstvo. 5/2004. 45–57.
The article focuses on those particles whose function is not realised on the level of meaning transformation or a precise determination of meaning within parts of a text (meaning modification), but (only) on the level of textual formation or textual correlation. Particles in the role of textual connectors will be understood as textual connective devices, which express meaning and logical relations between sentences or parts of a text.