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Številka 5/2007 ~ Issue 5/2007
PDF DATOTEKE
Nina Modrijan: Naslavljanje pri predajanju, pridobivanju in ohranjanju vloge govorca na parlamentarnih razpravah. Jezik in slovstvo. 5/2007. 3–17.
V prispevku je v ospredju jezikovna analiza političnega diskurza, natančneje prikaz jezikovne ustaljenosti – rabe vljudnostnih oblik in naslavljanja na parlamentarnih razpravah (sejah slovenskega DZ) ter za politični diskurz specifičnih oblik: politične (ne)vljudnosti, manipuliranja z oblikami naslavljanja, rabe zaimkov, s katerimi politiki sebe in politične nasprotnike delijo na »mi« in »oni«, ter indirektnega načina komuniciranja, ki je zaradi pogoste rabe metafor in drugih stilističnih sredstev eno poglavitnih značilnosti političnega govora. Osnovno gradivo predstavljajo dobesedni zapisi sej DZ.
Nina Modrijan: Forms of Address in Turn-taking, Gaining and Retaining the Role of the Speaker in Parliamentary Debates. Jezik in slovstvo. 5/2007. 3–17.
The article foregrounds a language analysis of political discourse, proving, to be more precise, a portrayal of standard usage of polite forms of address in parliamentary debates (at the sessions of the Slovene National Assembly). In addition, forms specific to political discourse are shown: political (im-)politeness, manipulation with forms of address, use of pronouns used by politicians when addressing themselves and their political opponents by making a distinction between “we” and “they”, and the indirect way of communication, which, due to a frequent use of metaphors and other stylistic devices, is one of the principle features pertaining to political speech. The materials used for the analysis are literal transcriptions from parliamentary sessions.
Klementina Podvršnik: Stičišča med slovstveno folkloro in pesništvom slovenske moderne. Jezik in slovstvo. 5/2007. 19–37.
Prispevek o prepletu slovstvene folklore in pesništva moderne se analitično ukvarja s folklornimi elementi na ravni besedilnega in jezikovnega sveta, ki so jih pesniki in pesnici slovenske moderne intertekstualno vnašali v svoje umetne pesmi, ter ugotavlja tvorna in trpna razmerja do folklornih predlog. Avtorji so folklorne motive, teme, osebe, čas in prostor, predmete in naravne pojave ponekod prenašali nespremenjeno, drugod pa so jih razgrajevali, podirali in transformirali v povezavi z lastnim razpoloženjem in čustvovanjem ter pri tem vzpostavljali interliterarne citate. Posebej poudarjeni so tisti folklorni elementi, pri katerih se kaže disimilacijska citatna perspektiva. Na jezikovni ravni sta bolj kot spreminjanje folklornega sloga opazna posnemanje folklornega načina izražanja, a tudi povezovanje folklornih izraznih sredstev s simbolističnim in impresionističnim jezikovnim slogom.
Klementina Podvršnik: Crossovers between Literary Folklore and the Poetry of the Slovene Moderna Literary Period. Jezik in slovstvo. 5/2007. 19–37.
The article about the crossovers between literary folklore and the poetry of the Slovene Moderna literary period is an analytical treatment of folklore elements on the level of the textual and linguistic world, intertextually applied to their poetry by the poets of the Slovene Moderna literary period, unveiling active and passive relations to folklore models. At times the authors transposed folklore motifs, themes, characters, time and place, objects and natural phenomena without any changes, while at other times they decomposed, destructed and transformed them according to their own frame of mind and feelings, while creating inter-literary citations. Especially foregrounded are those folklore elements in which a dissimilating citation perspective is evident. On a linguistic level, the imitation of folklore expression, as also linking folklore means of expression with a symbolist and impressionist language, is more noticeable than changes of folklore style.
Tina Pečovnik: Miti v dramatiki Vena Tauferja in Daneta Zajca. Jezik in slovstvo. 5/2007. 39–52.
Članek analizira Tauferjevo in Zajčevo projekcijo mita in njegovo prenavljanje. Pri razkrivanju problematike teoretičnega definiranja mitov si izbere pluralistično kombinacijo treh teorij, ki jih praktično preveri na Tauferjevi drami Prometej ali tema v zenici sonca ter na Zajčevi Káleváli. Primerja, ali je v njunih dramah mit ogrodje drame, ki ga napolnita z lastno tematiko, ali v svoje drame vpletata zgolj mitične motivne drobce. Pri tem ugotavlja, katere mite avtorja vključujeta in kako. S pomočjo teorije intertekstualnosti skuša poenotiti terminološko in pomensko zmedo glede mitičnih motivov in definirati njune intertekstualne načine. Najprej primerja protobesedilo z avtorjevo predelavo, zatem se osredotoči na skupne lastnosti in razlike med besediloma. Razišče in primerja avtorjevi mitologizaciji in ju vključi v kontekst njunih avtopoetik ter širšega družbenega dogajanja 60. in 80. let dvajsetega stoletja.
Tina Pečovnik: Myths in the Playwriting by Veno Taufer and Dane Zajc. Jezik in slovstvo. 5/2007. 39–52.
The article analyses a projection of myth and its transformation in the works by Veno Taufer and Dane Zajc. When bringing to light problems concerning a theoretical definition of myths, the author of the article makes use of a pluralistic combination of three theories which are then tested on Taufer’s play entitled Prometej ali tema v zenici sonca (Prometheus or The Dark in the Pupil of the Sun in English) and on Zajc’s Kálevála. A comparison is made on whether the myth is the framework of the play filled with the authors’ own themes, or whether the authors merely intertwine fragments of mythical motifs into their playwriting. The article also shows which myths the authors employ and how they use them. With the theory of intertextuality the article aims to make uniform confusion related to terminology and meaning as far as mythical motifs are concerned, and to define their intertextual styles. First, it compares a proto-text with the author’s rewritten text, and then focuses on the similarities and differences between the two texts. It explores and compares the authors’ mythologisation and places them within the context of their auto-poetic styles and the wider social context of the 1960s and 1980s.
Silvija Borovnik: Uporništvo ženskih likov v prozi Zofke Kveder. Jezik in slovstvo. 5/2007. 53–62.
Zofka Kveder velja še vedno za prvo slovensko pisateljico-intelektualko, ki je v slovensko književnost vstopila na prelomu iz 19. v 20. stoletje. Novejša literarnozgodovinska spoznanja (S. Borovnik, Z. Kovač, K. Mihurko Poniž) poudarjajo, da je bila v času, ko je bilo literarno snovanje moška dejavnost, da ne rečemo tudi privilegij, zelo drzna, samosvoja in inovativna osebnost. Trdno odločena, da si v svetu, kjer v poklicnem življenju domala ni bilo prostora za ženske, najde svoje mesto, je zapustila dom, ki ji ni nudil varnosti in topline, se najprej zaposlila, nato pa brez kakršnekoli podpore staršev iskala pot do izobrazbe v Trstu, nato pa na univerzah v Zurichu in Pragi. Vzporedno s študijem se je razvijalo njeno pisateljevanje. Ko sem se pred leti s poglobljenim zanimanjem začela ukvarjati s književnostjo, ki so jo pisale in ki jo pišejo slovenske ženske, sem spoznala, da vsi začetki in vse nove poti, ki so jih pisateljice in pesnice razvile v dvajsetem stoletju, vodijo prav h Kvedrovi. Tudi drugi literarni znanstveniki poudarjajo, da si je Kvedrova sama priborila ugled v slovenskem, češkem in hrvaškem slovstvenem svetu ter pisala in objavljala v štirih jezikih.
Silvija Borovnik: The Rebellious Nature of Female Characters in the Prose of Zofka Kveder. Jezik in slovstvo. 5/2007. 53–62.
Zofka Kveder is still considered the first Slovene writer-intellectual, who entered the Slovene literary scene at the turn of the 19th into the 20th century. Recent literary-historical studies (by Silvija Borovnik, Zvonko Kovač, Katja Mihurko Poniž) point out that at the time when engagement in literature was a male domain, not to say almost privilege, she was a bold, independent and innovative personality. Resolutely determined to find her own place in the professional world, though there was hardly any place left for women, she left home, which did not provide any safety or warmth, and first found employment. Then, without any help from her parents, she sought education in Trieste, and later at the universities in Zurich and Prague. Alongside her studies she began to develop her writing. When a few years ago I took a serious interest in literature, written by Slovene female authors, I came to realise that all beginnings and all new paths, developed by female writers and poets in the 20th century, point to Zofka Kveder. Other literary theoreticians also point out that it was Zofka Kveder herself who succeeded in gaining recognition in the Slovene, Czech and Croatian literary worlds by writing and publishing in four languages.
Vladka Tucovič: Domači prijatelj Zofke Kveder. Jezik in slovstvo. 5/2007. 63–72.
Leta 1904 je češki tovarnar František Vydra v Pragi pričel izdajati literarni časopis v slovenščiniDomači prijatelj (1904–1915). Njegova prva in edina urednica je postala Zofka Kveder (1878–1926), ki je k objavljanju izvirne proze in poezije poleg uveljavljenih slovenskih piscev, Ivana Cankarja, Antona Aškerca, Ksaverja Meška itd., pritegnila še neuveljavljene avtorje, npr. Ivana Laha, Prežihovega Voranca, Franceta Bevka, Stanka Majcna in množico drugih. Domačega prijatelja so brezplačno dobivali samo naročniki Vydrove žitne kave, ni ga bilo mogoče kupiti niti se nanj naročiti. Urednica je poslane prispevke mnogih začetnikov komentirala in na pisma odgovarjala v rubriki Listnica uredništva, kjer so do izraza prišle njene mentorske sposobnosti, rubrika pa je postala ena najprepoznavnejših v Domačem prijatelju.
Vladka Tucovič: Zofka Kveder’s Domači prijatelj. Jezik in slovstvo. 5/2007. 63–72.
In 1904 in Prague the Czech manufacturer František Vydra began to publish a literary newspaper in Slovene entitled Domači prijatelj (1904–1915). Its first and only editor was Zofka Kveder (1878–1926), who, in addition to publishing original prose and poetry by renowned Slovene writers such as Ivan Cankar, Anton Aškerc, Ksaver Meško and the like, also drew in authors who had not yet won recognition at the time, for example Ivan Lah, Prežihov Voranc, France Bevk, Stanko Majcen and many others. The Domači prijatelj newspaper was only delivered for free to those who ordered František Vydra’s corn coffee. Otherwise, it could be neither bought nor was it possible to subscribe to it. The editor commented on many contributions written by the beginners and also answered letters in a section Listnica uredništva (Editor’s Portfolio in English), where her supervising qualities found expression, with this section becoming one of the most prominent in Domači prijatelj.