Slavistična revija

Ključne besede: slovenščina | korpusna lingvistika | korpus govorjene slovenščine | GOS | frazeologija | paremiološki minimum | paremiološka enota | pregovor | Slovenian language | corpus linguistics | korpus of spoken Slovene | GOS | paremiological minimum | paremiological unit | proverb

Sinopsis: Prispevek predstavlja prvi poskus raziskave slovenske paremiolo gije v korpusu govorjene slovenščine GOS, ki obsega 120 ur posnetega govora. S korpusn o raziskavo, v katero smo vključili 300 najbolj poznanih paremioloških enot iz slovensk ega paremiološkega minimu - ma, smo našli 37 enot. Opisujemo razpon variant, prenovitev i n transformacij pregovorov ter prikazujemo primere njihove neprototipne rabe. Po analizi uvajalnih sredstev pregovorov pokažemo, kako ta sredstva lahko uporabimo za odkrivanje no vega frazeološkega gradiva v korpusih. Analiziramo tudi zastopanost enot v različnih tip ih diskurzov in razmišljamo o mestu paremiologije med preostalimi stavčnimi frazemi.

Abstract: The paper represents the irst attempt to examine Slovene par emiology as it is shown in the corpus of spoken Slovene (GOS) which includes 120 hours o f recorded speech. Thirty-se - ven units were identiied with corpus analysis that included 300 most well-known paremiolo - gical units from the Slovene paremiological minimum. We des cribe the range of proverb vari - ants, their actualisations as well as transformations, and provide examples of non-prototypical usage of proverbs. After analyzing the text introducers of t he proverbs, we show how these introducers can be used to detect new phraseological materi al in corpora. We also analyze the distribution of units in different types of discourse and discuss the place of paremiology among other sentential phrasemes.

Ključne besede: slovenščina | angleščina | prevajanje | podnaslavljanje | prevajalske strategije | cenzura | profanost | film | Slovenian language | English language | translating | translating strategies | subtitling | profanity | censorship | film

Sinopsis: Pričujoči prispevek na podlagi analize dvajsetih filmov obravnava strategije za podnaslovno prevajanje profanega jezika slovenščino. Obravnavani so vsi primeri profanosti v posameznem filmu; ugotovljeno je, v kolikšni meri je profanost v podnapisih ohranjena oz. kako pogosto nima ustreznice. Za prvo kategorijo je bil sestavljen glosar vseh profanih prevodnih rešitev, medtem ko so slednji primeri kategorizirani glede na uporabljeno strategijo za izogibanje profanosti: izpust, modulacija registra, substitucija z zamikom, radikalna sprememba pomena. Nadalje je obravnavano, v kolikšni meri profanost ni ohranjena iz objektivnih razlogov in kolikšen je delež cenzure, s pomočjo primerov pa so nat o ponazorjene tudi nekatere glavne značilnosti slovenskih strategij za podnaslovno prevajan je profanosti.

Abstract: Based on the analysis of twenty films, the article addresses strategies for translating profanities into Slovenian in subtitling. All examples of profanity in each film were examined. It was determined to what extent profanity was preserved in the subtitles and how often it had no equivalent. A glossary of all profane translations was made for the former category, while the latter examples were categorized according to the strategy for avoiding profanity that was used: deletion, modulation of register, substitution with a pronoun, radical change of meaning. Furthermore, it was determined how often profanity was not preserved for objective reasons and how often censorship occurred. Some main characteristics of Slovenian strategies for subtitling profane language are also illustrated with the help of examples.

Ključne besede: slovenščina | prevedena slovenščina | epistemska naklonskost | korpusna analiza | prevodoslovje | poljudnoznanstvena besedila | Slovenian language | translated Slovene | epistemic modallity | corpus analysis | translation studies | popular science texts

Sinopsis: Prispevek se ukvarja z vprašanjem, ali je mogoče skozi prime rjavo besedil, ki so v slovenščino prevedena, in primerljivih besedil, ki so izvirno napisana v slovenščini, opazovati razlike med jezikom prevodov in jezikom izvirnikov. Primerjava se osredotoča na rabo epistemske naklonskosti v poljudnoznanstvenih besedilih. Korpus obsega 200.000 besed in je sestavljen iz dveh delov: v prvem je 30 slovenskih izvirnikih besedil, v drugem pa 30 prevodov iz angleščine v slovenščino. Rezultati pokažejo razliko v pogostosti rabe izrazov epistemske naklonskosti med obema deloma korpusa, prav tako se med njima pokaže tudi razliko v pogostosti rabe posameznih leksikogramatikalni h kategorij, ki se uporabljajo za izražanje epistemske naklonskosti.

Abstract: The paper examines whether a comparison of translated and or iginal Slovene texts reveals differences between the language of translations and the la nguage of originals. The comparison focuses on the use of epistemic modality in popular science texts. The 200,000-word corpus is composed of two parts: the irst one comprises 30 origin al Slovene texts, and the second one comprises 30 texts translated from English into Slovene . The results show a difference in the frequency of use of expressions of epistemic modality be tween the two parts of the corpus, as well as a difference in the frequency of use of the individual lexicogrammatical categories used to express epistemic modality.

Ključne besede: jugoslovanski pisatelji | modernistični roman | kronotop | jugoslovanske književnosti | diskurz o ženskah | psihologizem | Yugoslave literatures | Yugoslave writers | modernist movel | chronotope | discourse of women | psychologism

Sinopsis: Modernistična literatura bivše Jugoslavije je podedovala tradicijo realistične literature, kar zadeva kronotop in književni lik, vendar se od te tradicije konceptualno tudi pomembno razlikuje. To se najočitneje razkriva v psihološkem književnem diskurzu o likih, ki zasedajo nizka mesta v hierarhiji tradicionalne družbe, kar so posebno ženske. Značilen primer je tradicionalni patriarhalni prostor hiše (kuća), ki v pisanju modernistični avtorjev iz bivše Jugoslavije običajno deluje kot negativni motiv kronotopa v diskurzu o ženskah in družini.

Abstract: The modernist literature of the former Yugoslavia inherited the legacy of realist literature in terms of "chronotope" and "subject," while also differing drastically from the legacy, conceptually speaking. This is most obviously revealed in psychological literary discourse about the low-ranking subjects of traditional society, particularly women. A typical example is the traditionally patriarchal space of the house (kuća), which typically functions as a negative motif of chronotope in the discourse about women and family by modernist writers of the former Yugoslavia.

Ključne besede: slovenska književnost | slovenska poezija | slovenski pesniki | kitica | rima | metrika | tonizem | silabotonizem | verz | Slovene literature | Slovene poetry | Slovene poets | strophe | rhyme | metrics | verse | tonic verse | syllabotonic verse

Sinopsis: Ketteju je ritem osnovna prvina poezije, zato le redko uporablja prosti verz, kar je v nasprotju z ugotovitvami starejše literarne zgodovine. Obenem je njegov metrum izjemno raznolik. Iz tradicionalne poezije in ljudske pesmi je prevzemal vse, kar je bilo neregularno: neregularno silabotoničnost in toničnost, mešanje silabotoničnega in toničnega verza, nečisto rimo. Prav tako je eksperimentiral s silabotoniko: neurejeno je mešal trozložne metrume, urejeno mešal jambe in troheje v lirski poeziji (a ne v epiki kot pesniki 19. stoletja).

Abstract: To Dragotin Kette, rhythm is an essential element of poetry, therefore he rarely uses free verse (contrary to what the traditional literary history held). At the same time, his metrics is extremely diverse. He took from the traditional poetry and folk song everything that was irregular: the irregular syllabotonics and tonics, the interplay of syllabotonic and tonic verse, and the impure rhyme. He also did numerous innovative experiments with syllabotonics, e.g., unregulated interplay of triple meters, regulated interplay of iambs and trochees, unregulated interplay of double and triple meters, mixing syllabotonics with tonics in lyric poetry (but unlike the 19th-century poets, not in epic poetry).

Ključne besede: slovenska književnost | slovenska dramatika | slovenski dramatiki | postdramsko | medijskost | tekst rizom | metagledališkost | govorne ploskve | Slovene literature | Slovene drama | Slovene drama writers | postdramatic | inter-media | text rhizome | metatheatricality | discursive layers

Sinopsis: Prispevek preuči nekaj primerov postdramskih medmedijski h tkanj ter pokaže, kako se je v sodobni dramatiki in gledališču tekst rizom, ki je zamenj al tradicionalno razumljeno fizičnost knjige, znašel na slovenskih odrskih deskah v času preloma iz 20. v 21. stoletje. Jovanović, Ravnjak, Potočnjakova, Skubic in Semeničeva so s svojimi igrami pokazali, da se je tudi slovenska pisava za gledališče usmerila v vode, ki jih je razburkalo postdramsko. Pričajo o dejstvu, da je za besedila v gledališču po postdramskem obratu značilno, da so nenehno v gibanju, procesu semioze. (Ne več) dramski tekst v gledališču tako danes predstavlja enega izmed elementov tkanja različnih medbesedil v rizomski strukturi znotraj semiosfere literature, gledališča in kulture.

Abstract: The article examines several examples of postdramatic intermedia intertwining, showing how in the contemporary drama and theater, a text rhizome, wh ich replaced the traditionally understood physicality of the book, appeared on the Slovene theater stages at the turn of the 21st century. Jovanović, Ravnjak, Potočnjak, Skubic, and Semenič have demonstrated with their plays that the Slovene writing for the theater, too, was headed for the waters disturbed by the postdramatic. They bear witness to the fact that after the postdramatic turn, theater texts tend to be in perpetual motion, in the process of semiosis. Therefore, the (no-longer) dramatic text in the theater nowadays represents one of the e lements in the weaving of various intertexts in the rhizome structure within the semiosphere of literature, theater, and culture.

Ključne besede: srbska književnost | srbski pesniki | lirski ciklusi | ciklizacija | absolutna poezija | poetična duhovnost | Serbian literature | Serbian poets | lyrical dycles | cyclization | absolute poetry | poetic spirituality

Sinopsis: U radu se nastoji istražiti kontekstualna istorijska i poetička zadatost međuratnih (neosimbolističkih i neoekspresionističkih) književnih tok ova Momčila Nastasijevića kao nedeljiva procesualna duhovnost srpskog pesništva dvadesetog veka, s posebnim osvrtom na ideologiju i poetiku koja anticipira iluminativnu matricu drugog modernizma. Primenom poetičke i interpretativno-hermeneutičke paradigme aktualizuju se težnja ka jačoj misaonoj obuhvatnosti vremena (istorije, mita i hrišćanske duhovnosti/religioznog duha pesništva) u gustoj metaforici "unutrašnjih slika", metaizičkog i morfološkog smisla maternje melodije kao povratne matrice ciklizacije pesništva Momčila Nastasijevića.

Abstract: The intention in this paper is to investigate into the contex tual historical and poetic positions of interwar (neosymbolic and neoexpressionistic) li terary paths of Momčilo Nastasijević as a continuity of spiritual journey of Serbian poetry in the twentieth century. By applying the poetic and interpretative paradigms, we actualize the tendenc y towards stronger imaginative inclusion of time (history, myth and Christian spirituality/religious spirit of the poetry) in the thick metaphor of "internal pictures", metaphysical and morphological sense of mother melody as a recursive matrix of his poetry.

Ključne besede: hrvaška književnost | hrvaška poezija | akademsko pesništvo | 17. st. | Croatian literature | Croatian poetry | academic poetry | 17th century

Sinopsis: Pjesničko djelo Frana Krste Frankopana do sada nije proučavano u kontekstu starijih zapadnoeuropskih tradicija, niti je njegova poetika stavljena u širi kontekst hrvatske, a još manje europske književne kulture 17. stoljeća. U radu se uspoređu je pjesništvo F. K. Frankopana s lirskim opusom talijansko-austrijskoga pjesnika Leopold a Wilhelma Crescentea (1614-1662) sadržanom u pjesničkoj zbirci Diporti (1656). Osim u kontekstu talijanskih akademija u Beču u 17. stoljeću, pjesništvo F. K. Frankopana promatra se i u kontekstu furlanske dijalektalne poezije u 17. stoljeću, posebno pjesnika Ermesa di Colloreda i Eusebija Stelle.

Abstract: Fran Krsto Frankopan's literary work has not yet been studied in the context of older Western European traditions, nor has its poetic concept been placed within the wider context of the Croatian, let alone European, literary culture of the 17 th century. The intention of my article is to compare F. K. Frankopan's poetry with the work of the Italian-Viennese poet Leopold Wilhelm (1614-1662), also known as Crescente, and his collection of poems Diporti from 1656. Besides in the context of the appearance of learned societies, especially Italian academies in Vienna in the 17th century, this article also analyses F. K. Frankopan's work in the context of Friulan dialectal poetry of the 17th century, especiall y Ermes di Colloredo and Eusebio Stella.

Ključne besede: slovenska književnost | slovenska literarna zgodovina | 20.st. | ocene in poročila

Ključne besede: slovenska književnost | slovenske pisateljice | 19.-20. st. | ocene